Search results

1

Prices of works of art by living and deceased artists auctioned in Poland from 1989 to 2012

100%

Szyszka A., Białowąs S.

Economics and Business Review

|

2019

|

vol. 5 (19)

|

issue 4

112-127

2

FACTORS AFFECTING THE PRICES OF ARTWORKS IN THE POLISH AUCTION MARKET

100%

Lucińska A., Schabek T.

Metody Ilościowe w Badaniach Ekonomicznych

|

2014

|

vol. 15

|

issue 1

92-103

EN

The turbulences of the contemporary financial markets lead to exploration of alternative assets such as art. The aim of this pilot study is to investigate for the price determinants of paintings on the Polish art market using transaction data from art auctions involving the works of 50 most significant Polish artists. The study proved that some factors are statistically significant for the price of paintings; these include the subject (i.e., self-portrait), the age and size of the artwork, and the reputation of the artist.

3

RETURNS FROM THE ART MARKET. PRICE INDEX EVALU-ATED FOR THE MOST-TRADED POLISH PAINTERS

100%

Witkowska D., Kompa K.

Metody Ilościowe w Badaniach Ekonomicznych

|

2014

|

vol. 15

|

issue 2

414-428

EN

Relatively new approach toward investing is to concern pieces of art as in-vestment instrument or collateral. In order to decide whether art is a good in-vestment, it is necessary to evaluate expected returns, which might be ob-tained from such investment thus an art price index should be developed. The aim of the paper is to discuss artworks as investment assets and evaluate price index of paintings produced by 11 Polish artists whose artworks were traded the most often on auctions that held in Poland in the years 2007-2010. In our research, employing data concerning 750 objects, we apply he-donic index methodology to estimate returns from the paintings market. Our results justify the opinion that art can be treated as safe asset class, especially in comparison to equity market.

4

Wrażliwość hedonicznych indeksów cen na przykładzie indeksów cen dzieł znanych malarzy polskich

100%

Witkowska D.

Econometrics. Ekonometria. Advances in Applied Data Analytics

|

2014

|

issue 2(44)

17-30

EN

The aim of the research is construction and evaluation of the hedonic price indexes for Polish paintings. In the paper we discuss basic problems concerning specification of the model which describes artworks prices, employing qualitative characteristics. Empirical investigation is conducted on the basis of individual data concerning auctions of paintings that took place in Poland in years 2007-2010. We show that different specification of hedonic models and changes of the sample containing traded objects significantly affect index value. We propose construction of aggregated indexes that are less sensitive to the single model specification.

5

Sensitivity of the Art Market to Price Volatility

100%

Borowski K.

Finanse i Prawo Finansowe

|

2020

|

vol. 2

|

issue 26

11-36

EN

The purpose of the article: The art market becomes very popular among investors, when there is strong turbulence on the stock market. In times of calm, the art market is used by investors to diversify risk and build more efficient investment portfolios according to the Markovitz’s theory. The aim of this paper is to: (i) present the peculiarity of investment on the art market, represented by art market indexes in comparison to traditional investments in other financial market segments (money market, equity indexes and commodity market), (ii) to verify the hypothesis of normality of the distribution of rates of return of the analyzed art market indices as well as (iii) to analyze calendar effects occurrence on the art market.Methodology: Comparison of rates of return on the stock, bond, commodity and money markets with rates on the art market in four different time intervals. For each of the analyzed periods, an income-risk map was presented, taking into account the spectrum of financial instruments, including six art indexes: Old Masters, 19th Century, Modern art, Post War art, Contemporary art and Global art. The hypothesis of normality of the distribution of rates of return of the art market indices for four analyzed periods was verified with the use of Jarque-Bera test.Results of the research: Comparison of rates of return on the stock market and art market leads to the conclusion that their relationship depends on the period chosen. For two of the analyzed periods, the rates of return on the stock market were higher than on the art market, but for others periods, the opposite. The distribution of quarterly rates of return resulted to be a normal distribution for almost all of analyzed indices and time periods. Calendar effects were observed in the case of four analyzed indexes.

6

Sensitivity of the Art Market to Price Volatility

100%

Borowski K.

Finanse i Prawo Finansowe

|

2021

|

issue Numer Specjalny

25-50

EN

The purpose of the article: The art market becomes very popular among investors, when there is strong turbulence on the stock market. In times of calm, the art market is used by investors to diversify risk and build more efficient investment portfolios according to the Markovitz’s theory. The aim of this paper is to: (i) present the peculiarity of investment on the art market, represented by art market indexes in comparison to traditional investments in other financial market segments (money market, equity indexes and commodity market), (ii) to verify the hypothesis of normality of the distribution of rates of return of the analyzed art market indices as well as (iii) to analyze calendar effects occurrence on the art market. Methodology: Comparison of rates of return on the stock, bond, commodity and money markets with rates on the art market in four different time intervals. For each of the analyzed periods, an income-risk map was presented, taking into account the spectrum of financial instruments, including six art indexes: Old Masters, 19th Century, Modern art, Post War art, Contemporary art and Global art. The hypothesis of normality of the distribution of rates of return of the art market indices for four analyzed periods was verified with the use of Jarque-Bera test. Results of the research: Comparison of rates of return on the stock market and art market leads to the conclusion that their relationship depends on the period chosen. For two of the analyzed periods, the rates of return on the stock market were higher than on the art market, but for others periods, the opposite. The distribution of quarterly rates of return resulted to be a normal distribution for almost all of analyzed indices and time periods. Calendar effects were observed in the case of four analyzed indexes.

7

The Contemporary Art Market in Poland – paintings

100%

Borowski K., Kosmala W.

Journal of Management and Financial Sciences

|

2014

|

vol. 15(1)

63-80

EN

Alternative investments are very popular among investors in the period of economic downturn. During the last period of time, the art market, especially the market of paining has became very popular segment of alternative investments. The extension of the investment portfolio of works of art leads to efficient portfolios curve shifts upwards. This fact means that the portfolios, which include works of art can bring higher returns with the same level of risk than investment portfolios without this group of assets. The paper presented the current prevailing trends in the Polish art market in the paintings as well as the factors determining the development of this market.

8

Changes in the global art market

88%

Bialynicka-Birula J.

Oeconomia Copernicana

|

2018

|

vol. 9

|

issue 4

695-714

EN

Research background: The dynamics of the art market are usually presented in terms of price fluctuations, price indexes and financial returns. This paper proposes the value and volume approach, which has not been considered in an aggregative way for a long time in the economic literature. Purpose of the article: The aim of the paper is to present changes in the global art market in the period 2002-2015. The results of dynamic analysis of the art market are presented, including two approaches: value of transactions and volume of transactions. The impact of the global crisis on the art market is considered. Methods: In order to present the changes on the global art market, statistical indexes of dynamics (single base and chain indexes) are used. Moreover, trend analyses have been conducted for the value and volume of transactions on the art market. The sources of data on the global art market are from Artprice, ArtTactic, and TEFAF (The European Fine Art Foundation). Findings & Value added: In the analysed period of 2002-2015, sales on the global art market generally increased. The value and volume of sales peaked in 2007 and 2014. The art market was considerably affected by the economic recession in 2009, but in the next year it recovered. The trend analyses allow the changes on the market to be described by means of mathematical functions, and the countries with the largest share in the global art market can be identified. Particular attention has been paid to the existence of a triad on the art market consisting of Europe, the USA and China. It is noteworthy that Europe and the USA have rapidly lost market share to China.

9

Construction Of Hedonic Price Index For The “Most Liquid” Polish Painters

75%

Kompa K., Witkowska D.

Folia Oeconomica Stetinensia

|

2014

|

vol. 14

|

issue 2

76-100

EN

Art market has been developing in Poland and the first Art Fund was established in 2011. Therefore it seems that investment in art can be considered as alternative form by Polish investors. In order to decide whether art is a good investment, it is necessary to evaluate expected returns which might be obtained from such investment thus an art price index should be developed. The aim of the paper is to discuss artworks as investment assets and evaluate price index of paintings produced by 11 Polish artists whose artworks were traded the most often on auctions that were held in Poland in the years 2007–2010. In our research, employing data concerning 750 objects, we apply the hedonic index methodology to estimate returns from the paintings market. The results of our investigation show that hedonic quality adjustment essentially influences evaluation of artwork prices therefore we propose the aggregated hedonic index which might better describe situation at the art market than the hedonic index biased by the specification of a single model.

10

Art as an investment in Poland - the first 20 years after the collapse of the central planning economy

75%

Potocki T., Rogozińska A.

Finansowy Kwartalnik Internetowy e-Finanse

|

2015

|

vol. 11

|

issue 3

22-33

EN

The article aims at answering the following research question: is the Polish art market mature enough to look at art investment as an important element of portfolio diversification? To provide an answer, the Authors analyzed auctions in Poland from the period 1991-2010, which were published by Art&Business magazine. The number of the analyzed records amounted to 28951. The conclusions may be valuable for researchers specializing in art economics, investors dealing with wealth transfer, financial advisors offering financial products as well as for policy makers responsible for providing institutional infrastructure essential for development of the Polish art market.

11

Rozwój rynku sztuki jako przykład inwestycji alternatywnych

75%

Cichorska J. I.

Annales Universitatis Mariae Curie-Skłodowska, sectio H – Oeconomia

|

2015

|

vol. 49

|

issue 4

EN

The modern market offers a very rich and varied offer of investment. Among its instruments there is also an alternative form of capital investment, and one of them is the art market. Initially addressed to the wealthiest social groups, it (the art market) was of a collectible nature of the market. However, nowadays it also more often reaches portfolios of the less affluent investors, offering not only the purchase of works of art at auction or in galleries, but also investments in special investment funds. Purchase of art evolve from typical collector’s thing into the part of the assets of the owner, from which he expects a sufficiently high rate of return.

PL

Współczesny rynek proponuje bardzo bogatą i różnorodną ofertę inwestycyjną. Wśród jej instrumentów znajdują się także alternatywne formy lokowania kapitału, a jedną z nich jest rynek sztuki. Początkowo skierowany do najzamożniejszych grup społecznych, miał charakter rynku kolekcjonerskiego. Coraz powszechniej jednak dociera również do inwestorów o mniej zasobnych portfelach, proponując nie tylko zakup dzieł sztuki na aukcjach czy w galeriach, ale i lokaty w specjalnych funduszach inwestycyjnych. Zakupy z typowo kolekcjonerskich stają się częścią aktywów właściciela, mając mu przynieść odpowiednio wysoką stopę zwrotu. Statystyki umieszczone w artykule potwierdzają stały i systematyczny rozwój rynku sztuki zarówno na świecie, jak i w Polsce oraz dużą efektywność inwestycji w długim okresie.

12

Artystka a rynek sztuki: Magdalena Abakanowicz

75%

Ptak W.

Facta Ficta. Journal of Theory, Narrative & Media

|

2021

|

vol. 8

|

issue 2

333-346

EN

Weronika Ptak in the paper The Artist and the Art Market: Magdalena Abakanowicz analyzes the presence of Magdalena Abakanowicz's works on the international and domestic art market, with an emphasis on the auction market. The analysis of the auction results is accompanied by the biographical outline and artistic activity of the artist. In the first part, the artist's biography is outlined, including exhibitions and biennials important for her artistic career, which are presented in the context of the feminist history of art that was developing at that time and the first exhibitions devoted exclusively to the work of women artists. The further part of the text presents the division of the art market and its components, which affect both the position of artists and female artists, as well as their prices on the secondary market. Exhibitions, biennials, art fairs and many other factors contribute to the situation of each of the creators on the auction market, which is the only one that allows you to track transaction data. The presence of Magdalena Abakanowicz works on the global auction market has been traced from the first New York Sotheby's auction in 1988, to the 2019 auction record set at the Warsaw auction house DESA Unicum. As part of the introduction, a historical sketch and specificity of the Polish art market have been outlined, to analyze the presence of Magdalena Abakanowicz's works on the domestic art market in the context of the international market in a later part of the section. At the end of the text, the most important achievements of Magdalena Abakanowicz are presented, such as an unconventional approach to textiles and the initiation of an artistic installation, the creation of which by the artists is indispensably connected with, among others, with feminist movements and the role of female artists in creating public sculptures and city monuments. The presence of the artist on the global art market was also summarized, along with references to the representation of female artists' works in permanent collections and the average median, which has been lower than that received by men for decades.

13

Rewolucja i reakcja

75%

Haskell F., Mencfel M.

Artium Quaestiones

|

2023

|

issue 34

253-292

EN

The article is a Polish translation of a chapter from a book titled Rediscoveries in Art. Some Aspects of Taste, Fashion and Collecting in England and France. The Wrightsman Lectures delivered under the auspices of the New York University Institute of Fine Arts (Cornell University Press: Ithaca, New York 1980; first edition: Phaidon Press Limited 1976) by Francis Haskell (1928–2000), a renowned art historian, the author of classic studies on artistic patronage, the history of taste, and collecting. The subject of the essay is changes in tastes, particularly the increased interest in Italian and Northern European painting at the turn of 18th and 19th centuries and the consequences of this phenomenon for the British and French collections of painting created at that time (as well as the diverse political and social turbulences that occurred in the wake of the French Revolution and the Napoleonic wars).

14

Sztuka i państwo - refleksje na marginesie 'Wolnego wyboru' Miltona i Rose Friedman

63%

Tendera P., Jagielloński U.

Internetowy Magazyn Filozoficzny Hybris

|

2017

|

vol. 39 (4)

EN

In this article we reflect on the relationship between the state and the contemporary art world. We show the errors that occur in the politics of art financed from public funds. Our authority are Milton and Rose Friedman and their book Free to choose.

15

Tego się nie robi kotu, czyli o ciałach martwych zwierząt w sztuce najnowszej

63%

Pitrus A.

Zoophilologica. Polish Journal of Animal Studies

|

2019

|

issue 5

341-353

EN

The article deals with the subject of art made with body parts of animals. The motive of a dead animal has been present in art since its beginning; in cave paintings and later in Flemish still lives. Yet it is contemporary art that tries to go even further. Instead of representing dead bodies, the artists simply use them. They could be “mere” dead flies, or giant sharks. Andrzej Pitrus discusses taxidermy, which normally is not considered a proper art, but many “real” artists use this technique as well. Some ethical issues are also discussed, because many of the works are nowadays sold for steep prices. Where does the critical art end, and exploitation start? It is hard to answer this question, which nevertheless sould be asked.

16

Bezpieczna gra biznesu w obszarze sztuki współczesnej (na przykładzie kolekcji korporacyjnych)

63%

Rogozińska A.

Roczniki Kulturoznawcze

|

2015

|

vol. 6

|

issue 2

111-122

PL

W tekście omówiono zjawisko zbliżania się czy też przenikania dwóch sfer: świata sztuki i świata biznesu, które prowadzi do procesu konwergencji – upodobnienia się instytucji sztuki do korporacji (działalności artystycznej do działalności komercyjnej) i odwrotnie: instytucji biznesowych do instytucji sztuki. Uwaga skupiona została jednak na ostatnim zagadnieniu. Przedstawiono zatem korporacje, które używając swojej ekonomicznej siły, żywiołowo współzawodniczą z publicznymi muzeami sztuki i galeriami. Zaprezentowano typy działań i aktywności korporacyjnych, które doprowadziły do powstania jednych z najlepszych na świecie kolekcji sztuki, wywierając w ten sposób istotny wpływ na sztukę i globalny świat sztuki. Przyczyniły się także do potraktowania sztuki jako jednego z najbardziej skutecznych narzędzi marketingowych, służących kreowaniu pozytywnego wizerunku przedsiębiorstw i korporacji różnych sektorów. Pokazano też zjawisko korporacyjnego patronatu, który stał się potrzebny, by zrekompensować upadek dotacji państwowych. Podjęty w artykule problem włączony został w kontekst funkcjonowania globalnego rynku sztuki. Tym samym analizy kulturoznawcze uzupełniono analizami ściśle ekonomicznymi.

EN

In the text is discussed the phenomenon of infiltration of the two spheres: the art world and the business world, which leads to the convergence process: art institutions conformed to the corporation (artistic activities to commercial activities), and conversely: business institutions to art institutions. However, an attention will be focused on the last issue: corporations which use their economic power to compete with public museums and art galleries. The types of corporate actions and activities are presented that led to the creation of the best art collections in the world. Thanks to it corporations have a significant influence on the art sector and global art world. They also have contributed to treat the art as one of the most effective marketing tools for creating a positive businesses and corporations brand in different sectors. Also is shown the phenomenon of corporate sponsorship, which has become necessary to compensate the collapse of state subsidies. In conclusion, this specific issues are related to the context of the functioning of the global art market. Thus, the culture studies analysis will be complemented by the economic analyses.

17

Na aukcji i w galerii – o kilku nieznanych realizacjach plastycznych Norwida

63%

Chlebowska E.

Studia Norwidiana

|

2015

|

vol. 33

147-160

EN

The history of Norwid’s visual works still has numerous secrets, which is not strange considering the fact that the approximate proportion of the number of the surviving works and ones that are lost is 3:2, with the overall number of the works that can be ascribed to the author of Solo a little exceeding two thousand. The awareness of the fact that there may be unknown works whose number cannot be estimated, but there is no doubt that they additionally broaden the area of the terra incognita in the world of Norwid’s pictures, still makes the problem more difficult. The article presents four unknown up till now visual works by Norwid that appeared on the world market of works of art in recent years. These are: three drawings – A Portrait of a Bearded Man, A View of an Interior with a Child, a sketch A Man Putting Up Posters and one water color entitled Pythia, that is an extraordinary example of a carefully touched up composition with sensu stricto artistic values. The presentation is accompanied by an attempt to locate the mentioned pictures on the map of Norwid’s visual works.

18

Na aukcji i w galerii – o kilku nieznanych realizacjach plastycznych Norwida

63%

Chlebowska E.

Studia Norwidiana

|

2015

|

vol. 33

147-160

EN

The history of Norwid’s visual works still has numerous secrets, which is not strange considering the fact that the approximate proportion of the number of the surviving works and ones that are lost is 3:2, with the overall number of the works that can be ascribed to the author of Solo a little exceeding two thousand. The awareness of the fact that there may be unknown works whose number cannot be estimated, but there is no doubt that they additionally broaden the area of the terra incognita in the world of Norwid’s pictures, still makes the problem more difficult. The article presents four unknown up till now visual works by Norwid that appeared on the world market of works of art in recent years. These are: three drawings – A Portrait of a Bearded Man, A View of an Interior with a Child, a sketch A Man Putting Up Posters and one water color entitled Pythia, that is an extraordinary example of a carefully touched up composition with sensu stricto artistic values. The presentation is accompanied by an attempt to locate the mentioned pictures on the map of Norwid’s visual works.

19

Globalny rynek sztuki w obliczu kryzysów 2008 oraz 2020 roku

63%

Niedzielska A.

TECHNE. Seria Nowa

|

2023

|

vol. 1

|

issue 11

259-277

EN

This article examines how the global art market responded to the two major economic crises of the early 21st century. The first crisis, rooted in the banking sector, and the second, associated with the COVID-19 pandemic, both exerted profound influences on the art trade, necessitating unprecedented adaptations. Following initial periods of collapse and paralysis in both cases, the art market swiftly regained its equilibrium, with turnover values returning to pre-crisis levels. Remarkably, this recovery outpaced that of other investment forms. Traditionally conservative art market institutions opted for substantial and rapid transformations, showcasing their adaptability and openness to change. The accelerated involvement of Chinese collectors and the integration of emerging markets into the auction and gallery circuits played a pivotal role in the global art market’s recovery from the 2008 recession. The advent of the COVID-19 pandemic presented yet another crisis, almost entirely thwarting the conventional mode of operation. This dire situation promptly motivated the art market to embrace a digital revolution driven by novel technologies that fundamentally altered its previous modus operandi. Consequently, the art market not only persevered but also surged. Collectors, particularly those born in the 1980s and 1990s, readily embraced technological changes and became instrumental in shaping the market’s future. Despite these challenges, the positions of the two dominant art markets, the United States and the United Kingdom, remained unshaken, while the rise of a third market, China, consolidated its status in the elite ranks.

PL

Artykuł dąży do odpowiedzi na pytanie o to, jak globalny rynek sztuki zareagował na dwa największe kryzysy ekonomiczne początku XXI wieku. Pierwszy miał źródło w sektorze bankowym, drugi był związany z epidemią COVID-19. Oba wpłynęły na handel dziełami sztuki, wymuszając bezprecedensowe zmiany. W obu przypadkach, po początkowej fazie załamania i paraliżu, rynek sztuki szybko odzyskał równowagę, a wartość obrotów wracała do poziomu sprzed załamania. Warto wspomnieć, że proces ten następował wyraźnie szybciej niż w przypadku pozostałych form inwestowania. Instytucje rynku sztuki, wcześniej uznawane za niezwykle tradycyjne i konserwatywne, zdecydowały się na doniosłe i szybkie przekształcenia, co dowiodło ich elastyczności i otwartości na zmiany. Czynnikiem, który przyspieszył wyjście światowego rynku sztuki z recesji roku 2008, była wzmożona aktywność kolekcjonerów chińskich i włączenie do obiegu aukcyjnego i galeryjnego rynków wschodzących. Wraz z rozprzestrzenianiem się epidemii COVID-19 rynek sztuki stanął w obliczu kolejnego kryzysu, który prawie całkowicie uniemożliwił mu funkcjonowanie w tradycyjnej formie. Dramatyczna sytuacja szybko zmobilizowała rynek sztuki do przyjęcia gwałtownej rewolucji cyfrowej. Dzięki nowym technologiom, które całkowicie zmieniły jego wcześniejszy model funkcjonowania, rynek sztuki przetrwał, a wkrótce osiągnął wzrost. Również kolekcjonerzy zaakceptowali zmiany technologiczne – szczególnie dotyczyło to pokolenia urodzonego w latach 80. i 90. XX wieku. To właśnie ci nabywcy stali się niezwykle aktywni na rynku sztuki i to oni będą kształtować jego przyszłość. Omawiane wydarzenia nie zachwiały pozycją dwóch największych rynków sztuki na świecie: Stanów Zjednoczonych i Wielkiej Brytanii, ale pozwoliły dołączyć do ścisłej czołówki trzeci rynek – Chiny.

20

Rynek sztuki jako przedmiot zainteresowania twórców teorii ekonomicznych. Ujęcie historyczne

63%

Lewenstein M.

Problemy Zarządzania

|

2017

|

issue 2/2017 (68), t.2

149-168

EN

The art market and its history are in fact the story of exchange and adaptation to the changing needs of customers, which is also characteristic of all other industry markets. The purpose of this article is to demonstrate the evolution of the views of economists, which emerged over the centuries, focusing on the art market. The paper deals with issues connected with the art market from the perspective of history of economic thought. This article is based on a review of available literature. The first part of the work presents the history of this market. The second part is concentrated on issues related to the development of economic thought. The views of the economists presented in the paper, starting from the fourteenth century, do not exhaust the whole spectrum of issue, but are examples of views of the people whose opinions counted over the centuries.

PL

Rynek dzieł sztuki i jego historia jest tak naprawdę historią wymiany i przystosowania się do zmiennych potrzeb nabywców, co charakteryzuje również wszystkie inne rynki branżowe. Celem artykułu jest wykazanie ewolucji poglądów ekonomistów na przestrzeni wieków w stosunku do rynku sztuki. W związku z powyższym opracowanie przybliża problematykę dotyczącą rynku sztuki z punktu widzenia historii myśli ekonomicznej. Artykuł opiera się na przeglądzie dostępnej literatury. W pierwszej części pracy została zaprezentowana historia tego rynku. Druga część natomiast skupia się wokół kwestii związanych z rozwojem myśli ekonomicznej. Przedstawione w opracowaniu poglądy ekonomistów, począwszy od XIV w., nie wyczerpują całego spektrum zagadnienia, stanowią natomiast przykłady poglądów osób, których zdanie liczyło się na przestrzeni wieków.

Refine search results

Prices of works of art by living and deceased artists auctioned in Poland from 1989 to 2012

FACTORS AFFECTING THE PRICES OF ARTWORKS IN THE POLISH AUCTION MARKET

RETURNS FROM THE ART MARKET. PRICE INDEX EVALU-ATED FOR THE MOST-TRADED POLISH PAINTERS

Wrażliwość hedonicznych indeksów cen na przykładzie indeksów cen dzieł znanych malarzy polskich

Sensitivity of the Art Market to Price Volatility

Sensitivity of the Art Market to Price Volatility

The Contemporary Art Market in Poland – paintings

Changes in the global art market

Construction Of Hedonic Price Index For The “Most Liquid” Polish Painters

Art as an investment in Poland - the first 20 years after the collapse of the central planning economy

Rozwój rynku sztuki jako przykład inwestycji alternatywnych

Artystka a rynek sztuki: Magdalena Abakanowicz

Rewolucja i reakcja

Sztuka i państwo - refleksje na marginesie 'Wolnego wyboru' Miltona i Rose Friedman

Tego się nie robi kotu, czyli o ciałach martwych zwierząt w sztuce najnowszej

Bezpieczna gra biznesu w obszarze sztuki współczesnej (na przykładzie kolekcji korporacyjnych)

Na aukcji i w galerii – o kilku nieznanych realizacjach plastycznych Norwida

Na aukcji i w galerii – o kilku nieznanych realizacjach plastycznych Norwida

Globalny rynek sztuki w obliczu kryzysów 2008 oraz 2020 roku

Rynek sztuki jako przedmiot zainteresowania twórców teorii ekonomicznych. Ujęcie historyczne