Source: The Art Market 2022 — View full report (PDF)
This is an exact page excerpt from the Acknowledgments section of the full report.

The Art Market 2022 presents the results of research 
on the global art and antiques market in 2021. The 
information presented in this study is based on data 
gathered and analyzed directly by Arts Economics 
(artseconomics.com) from dealers, auction houses, 
collectors, art fairs, art and financial databases, 
industry experts, and others involved in the art trade. 
(The Appendix offers an outline of some of the main 
data sources used in the report.)

I would like to extend my gratitude to the many 
suppliers of data and insights that make this report 
possible. A critical part of this research every year  
is the global survey of art and antique dealers. I would 
like to say a very special thanks once again to Erika 
Bochereau of CINOA (Confédération Internationale 
des Négociants en Oeuvres d’Art) for her continued 
support of this research, along with the presidents  
of the dealer associations around the world who 
promoted the survey among their members in 2021. 
Thanks also to Art Basel for helping to distribute  
the survey. The completion of this report would not 
have been possible without the help of the individual 
dealers who took the time to support this research  
by completing the survey. I am very grateful to them 
all for their continued help and support. My special 
thanks also goes to those dealers who shared their 
valuable understanding of the art market through 
interviews and discussions during the year.

Many thanks to the top- and second-tier auction 
houses that took part in the auction survey, and who 
offered their insights on the evolution of this sector  
in 2021. A special mention to Graham Smithson and 
Susan Miller (Christie’s), Simon Hogg (Sotheby’s), 
Jason Schulman (Phillips), and Jeff Greer (Heritage 
Auctions). Thanks also to Louise Hood (Auction 
Technology Group) and Suzie Ryu (LiveAuctioneers.
com) for their data on online auctions.

I am extremely appreciative of the continued support 
from Tamsin Selby of UBS with the HNW collector 
surveys, which continued to expanded significantly 
this year, including 10 markets with the addition  
of Brazil for the first time, providing hugely valuable 
regional and demographic data for the report. 

Data on NFTs was supplied by NonFungible.com  
and I am very grateful to Gauthier Zuppinger for his 
help and enthusiasm in allowing us access to his 
fascinating data. In addition, very special thanks to 
the two expert authors who shared their invaluable 
perspectives and knowledge on NFTs and their 
relationship to the art market: Amy Whitaker and 
Simon Denny.

Thank you to Diana Wierbicki and her colleagues from 
Withersworldwide for their help with information  
on tax and regulations. My special gratitude to Pauline 
Loeb-Obrenan from artfairmag.com for giving us 
access to her comprehensive database on art fairs. 

The primary fine art auction data supplier for this 
report was Artory, and my appreciation goes to 
Nanne Dekking along with the data team Anna Bews, 
Chad Scira, and Benjamin Magilaner for their 
dedication and support in putting together this very 
complex set of data. The auction data on China  
is supplied by AMMA (Art Market Monitor of Artron), 
and I am very thankful for their continued support of 
this research on the Chinese auction market. Many 
thanks also to Richard Zhang for his help researching 
the Chinese art market.

Finally, my sincerest gratitude to Anthony Browne  
for his help and advice on parts of the report,  
Marc Spiegler for his insights, and especially Nyima 
Tsamdha for coordinating production.

Dr. Clare McAndrew 
Arts Economics

Acknowledgments

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