Page 7

Source: The Art Market 2019 — View full report (PDF)
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Acknowledgments

Chapter 6 looks at sales and developments in the
online art market, reporting on its size and key
structural features. The chapter also reports on how
big data and new technologies are transforming
some areas of the market.

Chapter 7 provides a contextual overview of
world wealth, showing how changes in the size and
distribution of wealth within and between regions are
shaping trends in the art market. This chapter focuses
on high net worth wealth and presents the results of
a comprehensive survey of high net worth collectors
in the UK, Germany, Japan, Singapore, and Hong Kong
carried out in 2018 in conjunction with UBS.

Chapter 8 discusses the significant economic
contribution the art market makes to the economies
in which it operates in terms of employment and
revenues, as well the support of a range of ancillary
industries. It concludes the report by reviewing some
of the key issues that may shape the market in 2019.

I would also like to thank UBS for their help with
the HNW collector surveys, which provided important
regional and demographic insights for the report.
I am grateful also to Professor Olav Velthuis for his
comments and suggestions on the survey instrument.

The primary fine art auction data supplier for this
report was Artory, and I am most grateful to Nanne
Dekking, along with Lindsay Moroney, Anna Bews,
and Chad Scira, for their hard work and dedication in
putting together this very complex set of data.
The auction data on China is supplied by AMMA (Art
Market Monitor of Artron) and my sincerest thanks
for its continued support of this research on the
Chinese auction market.

I am very grateful to XU Xiaoling the Shanghai Culture
and Research Institute for her dedication and insight
in helping research the complexities of the Chinese
art market.

We were able to tackle the very important issue
of gender in the art market in this report, and much
of that important analysis was made possible by
the support of Artsy, who allowed Arts Economics to
use part of its extensive database on galleries and
artists to analyze this and other issues dealt with in
the report. My sincerest thanks to Anna Carey and
the team at Artsy for their willingness to support this
and other important research in the sector.

A critical part of the research each year involves a
global survey of art and antique dealers. I would like
to say a special thanks to Erika Bochereau of CINOA
(Confédération Internationale des Négociants en
Oeuvres d'Art) for her continued and untiring support
of this research, along with the presidents of the
dealer associations around the world who promoted
the survey among their members. Thanks also to Art
Basel for helping to distribute the survey. My deepest
gratitude goes to all of the individual dealers who
took the time to support this research by completing
the survey. I am also very grateful to all those dealers
who shared their valuable insights on the art market
through interviews and discussions during the year.

Many thanks to all of the top- and second-tier auction
houses that also took part in the auction survey.
Thanks especially to Susan Miller (Christie's), Joshua
Charlton-Briggs (Sotheby's), Caroline Conegliano
(Phillips), and Eric Bradley (Heritage Auctions).

Thanks also to the online companies for their support
of the survey and in providing other information
on the sector, and especially to Andrew Gully
(Invaluable) and Ben Reese (Auction Mobility) for the
use of their online auction data, as well as Richard
Lewis (the-saleroom.com) for data supplied on the UK.

My sincerest thanks also to Taylor Whitten Brown,
whose sociological perspectives on gender in the art
market were a highly valuable addition to this report,
and whose continuing academic work in this area
is so critically important in expanding the knowledge
base with objective, scientific, and rigorous research.

Many thanks also to Professor Roman Kräussl
for the use of his extensive gender database for the
auction sector and his thoughts on gender in the
art market. I'm grateful also to Diana Wierbicki of
Withersworldwide for her help with information
and insights into US tax regulations.

Thanks also to Susanne Massmann and Marek Claassen
at Artfacts.net for their support and provision of
data on fairs and galleries. Many thanks also to all of
the art fairs that shared information for the report.

Finally, I am very grateful to Noah Horowitz and
Florian Jacquier for their time and encouragement in
helping to coordinate the research.

Dr. Clare McAndrew
Arts Economics