Droit de suite, which translates literally as "right of continuation, " began in France in the 1920s.
Yet in practice droit de suite benefits a tiny number of artists, most of them already wealthy.
The U.K. had 24%, while France, the first country to impose the droit de suite, had a measly 4%.
Nor, lastly, does the case against the droit de suite rest on the special claims of London's art market.
Defenders of the droit de suite sometimes point to the royalties that accrue to sales of books and recorded music.
With its concentration of showrooms and expertise, London will probably continue to thrive even after the advent of the dreaded droit.
Unfortunately, while the British government can commission reports on droit de suite's malign effects, it is powerless to stop it being imposed.
Its pre-sale estimate is quoted net of buyers' premium, VAT, the artist's resale tax (or droit de suite, as it is usually known), and any other extra cost.
EU. Eight other European countries already have droit de suite.
Affianced to the lovely Imoinda, the warrior prince Oroonoko, heir to a west African throne, is obliged to suffer the king his grandfather's insistence on his droit de seigneur.
To deny the validity of the droit de suite is not to be a philistine: arguably, it is more philistine to equate the value of a work of art with its price.
Once the droit de suite kicks in, a Buenos Aires collector looking to unload a cache of Lucian Freuds would have a financial incentive to sell through a New York gallery rather than one in London.
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