Elisabetta Lazzaro is Professor of Creative and Cultural Industries Management at the Business School for the Creative Industries, University for the Creative Arts, UK, and Executive Board Member of the Association for Cultural Economics International (ACEI).Nathalie Moureau is Professor of Economics at University Paul Valéry Montpellier 3, France, where she is also Researcher at RiRRA21.Adriana Turpin teaches the history of collecting and art market studies at IESA, Paris. She is Chairman of the Society for the History of Collecting.

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• Part 1: The Art Collector 1. The Artist Collector: the Example of Bernar Venet’s Collection (Gwendoline Corthier-Hardoin) 2. Walpole and the Creation of a Market for Ebony furniture from the East in Britain (Adriana Turpin) 3. African Art Acquisitions at Tate: a Case Study on the Influence of External Parties on the Collecting of African Contemporary Art (Stephanie Dieckvoss) 4. Art Malls and Popular Collecting in Post-Socialist China (I-Yi Hsieh) 5. Perspectives of Private Contemporary Art Collecting in Brazil (Nei Vargas da Rosa) Part 2: Artists as Entrepreneur and Their Career Paths 6. Art Market Stakeholders’ Actions and Strategies for the Co-creation of Artists’ Brands (Francesco Angelini & Massimiliano Castellani) 7. A Behavioural Approach to Understanding the Artist as Entrepreneur (Bronwyn Coate, Robert Hoffmann, Pia Arenius & Swee-Hoon Chuah) 8. Artists’ Promotion and Internationalisation (Elisabetta Lazzaro & Nathalie Moureau) 9. Disregarded or Adored? Remarks on Art Market Responses to Women Artists Behind the Iron Curtain (Marcela Rusinko) 10. Public and Private Art Markets (Trine Bille) Part 3: The Formation and Development of New Markets 11. Information Efficiency in Art Markets Past and Present (Darius Speith) 12. Bought-in at English Auction: Sellers Testing their Estimates in a Maturing Market (Elisabetta Lazzaro & Bénédicte Miyamoto) 13. From the Artist’s Studio to the Amateur's Portfolio: the Modern Drawing Market and Collecting in Early Nineteenth Century Paris (Sarah Bakkali) 14. The Strategy of a New Material: the Demidoff Family and Malachite (Ludmilla Budrina) 15. New Markets for Old Items: Selling Aristocratic Collections of Art and Antiquities in Interwar Slovenia (Renata Komić Marn & Tina Košak)

Elisabetta Lazzaro is Professor of Creative and Cultural Industries Management at the Business School for the Creative Industries, University for the Creative Arts, UK, and Executive Board Member of the Association for Cultural Economics International (ACEI).Nathalie Moureau is Professor of Economics at University Paul Valéry Montpellier 3, France, where she is also Researcher at RiRRA21.Adriana Turpin teaches the history of collecting and art market studies at IESA, Paris. She is Chairman of the Society for the History of Collecting.

Select Guide Rating

• Part 1: The Art Collector 1. The Artist Collector: the Example of Bernar Venet’s Collection (Gwendoline Corthier-Hardoin) 2. Walpole and the Creation of a Market for Ebony furniture from the East in Britain (Adriana Turpin) 3. African Art Acquisitions at Tate: a Case Study on the Influence of External Parties on the Collecting of African Contemporary Art (Stephanie Dieckvoss) 4. Art Malls and Popular Collecting in Post-Socialist China (I-Yi Hsieh) 5. Perspectives of Private Contemporary Art Collecting in Brazil (Nei Vargas da Rosa) Part 2: Artists as Entrepreneur and Their Career Paths 6. Art Market Stakeholders’ Actions and Strategies for the Co-creation of Artists’ Brands (Francesco Angelini & Massimiliano Castellani) 7. A Behavioural Approach to Understanding the Artist as Entrepreneur (Bronwyn Coate, Robert Hoffmann, Pia Arenius & Swee-Hoon Chuah) 8. Artists’ Promotion and Internationalisation (Elisabetta Lazzaro & Nathalie Moureau) 9. Disregarded or Adored? Remarks on Art Market Responses to Women Artists Behind the Iron Curtain (Marcela Rusinko) 10. Public and Private Art Markets (Trine Bille) Part 3: The Formation and Development of New Markets 11. Information Efficiency in Art Markets Past and Present (Darius Speith) 12. Bought-in at English Auction: Sellers Testing their Estimates in a Maturing Market (Elisabetta Lazzaro & Bénédicte Miyamoto) 13. From the Artist’s Studio to the Amateur's Portfolio: the Modern Drawing Market and Collecting in Early Nineteenth Century Paris (Sarah Bakkali) 14. The Strategy of a New Material: the Demidoff Family and Malachite (Ludmilla Budrina) 15. New Markets for Old Items: Selling Aristocratic Collections of Art and Antiquities in Interwar Slovenia (Renata Komić Marn & Tina Košak)

Elisabetta Lazzaro is Professor of Creative and Cultural Industries Management at the Business School for the Creative Industries, University for the Creative Arts, UK, and Executive Board Member of the Association for Cultural Economics International (ACEI).Nathalie Moureau is Professor of Economics at University Paul Valéry Montpellier 3, France, where she is also Researcher at RiRRA21.Adriana Turpin teaches the history of collecting and art market studies at IESA, Paris. She is Chairman of the Society for the History of Collecting.

Select Guide Rating

• Part 1: The Art Collector 1. The Artist Collector: the Example of Bernar Venet’s Collection (Gwendoline Corthier-Hardoin) 2. Walpole and the Creation of a Market for Ebony furniture from the East in Britain (Adriana Turpin) 3. African Art Acquisitions at Tate: a Case Study on the Influence of External Parties on the Collecting of African Contemporary Art (Stephanie Dieckvoss) 4. Art Malls and Popular Collecting in Post-Socialist China (I-Yi Hsieh) 5. Perspectives of Private Contemporary Art Collecting in Brazil (Nei Vargas da Rosa) Part 2: Artists as Entrepreneur and Their Career Paths 6. Art Market Stakeholders’ Actions and Strategies for the Co-creation of Artists’ Brands (Francesco Angelini & Massimiliano Castellani) 7. A Behavioural Approach to Understanding the Artist as Entrepreneur (Bronwyn Coate, Robert Hoffmann, Pia Arenius & Swee-Hoon Chuah) 8. Artists’ Promotion and Internationalisation (Elisabetta Lazzaro & Nathalie Moureau) 9. Disregarded or Adored? Remarks on Art Market Responses to Women Artists Behind the Iron Curtain (Marcela Rusinko) 10. Public and Private Art Markets (Trine Bille) Part 3: The Formation and Development of New Markets 11. Information Efficiency in Art Markets Past and Present (Darius Speith) 12. Bought-in at English Auction: Sellers Testing their Estimates in a Maturing Market (Elisabetta Lazzaro & Bénédicte Miyamoto) 13. From the Artist’s Studio to the Amateur's Portfolio: the Modern Drawing Market and Collecting in Early Nineteenth Century Paris (Sarah Bakkali) 14. The Strategy of a New Material: the Demidoff Family and Malachite (Ludmilla Budrina) 15. New Markets for Old Items: Selling Aristocratic Collections of Art and Antiquities in Interwar Slovenia (Renata Komić Marn & Tina Košak)