Table of Contents

A Handbook of Cultural Economics, Second Edition

A Handbook of Cultural Economics, Second Edition

Elgar original reference

Edited by Ruth Towse

The second edition of this widely acclaimed and extensively cited collection of original contributions by specialist authors reflects changes in the field of cultural economics over the last eight years. Thoroughly revised chapters alongside new topics and contributors bring the Handbook up to date, taking into account new research, literature and the impact of new technologies in the creative industries.

Chapter 3: Art Dealers

Olav Velthuis

Subjects: economics and finance, cultural economics, intellectual property, public sector economics


Olav Velthuis Art dealers mediate supply and demand on the primary and secondary markets for art. In doing so they compete with other intermediaries such as auction houses, or with artists themselves, who sell their work directly out of their studios. The work they sell may range from prints or other multiples worth several hundreds of dollars to multimilliondollar works of art by old and modern masters or contemporary celebrity artists. At the high end of the market, some dealers predominantly sell to a small fixed club of wealthy collectors who have expressed loyalty to them over a long period of time. At the lower end, art dealers may cater to the demand of a relatively anonymous group of buyers who are interested in acquiring a piece for decorative reasons or as a souvenir of a tourist trip. Almost invariably, dealers are small-scale enterprises employing only a few people, with a single owner who also operates as managing director. The rare exceptions are large art dealers in the centres of the global art market, New York and London, who run several exhibition spaces and may have over 50 employees. Apart from labour costs, the main expenses art dealers incur are rent and the inventory they may have in case they sell from stock (Shubik, 2003). Since banks are often reluctant to provide capital to what is considered to be a risky enterprise, many dealers attract capital, for instance to renovate their exhibition space or to add works of art to...

You are not authenticated to view the full text of this chapter or article.

Elgaronline requires a subscription or purchase to access the full text of books or journals. Please login through your library system or with your personal username and password on the homepage.

Non-subscribers can freely search the site, view abstracts/ extracts and download selected front matter and introductory chapters for personal use.

Your library may not have purchased all subject areas. If you are authenticated and think you should have access to this title, please contact your librarian.

Further information