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Zusatztext How did Old Master paintings - once feared to be tainted by unscrupulous copies and dubious attributions - come to hold such a prized pride of place in private collections and museums? This fascinating collection! full of fresh research and exciting archival discoveries! reveals a complex network of dealers! agents! and collectors at work over the turbulent decades from the French Revolution to the Great Depression! developing new modes of authoritative expertise and adopting shrewd strategies in order to render the Old Master market into a global business. Informationen zum Autor Susanna Avery-Quash is Senior Research Curator (History of Collecting) at the National Gallery, UK, where she is responsible for activities associated with the Gallery's research strand 'Buying, Collecting and Display'. Her recent publications concerning the history of collecting and the art market include three co-edited volumes which each appeared in 2019: London and the Emergence of a European Art Market, 1780-1820, The Georgian London Town House: Building, Collecting and Display and Leonardo in Britain: Collections and Reception History. Barbara Pezzini is an art and cultural historian who has written extensively on European Old Masters and British art of the period 1830-1970. Barbara has previously worked as Editor of Visual Resources and in curatorial, research and archival projects for the National Gallery, National Trust, Burlington Magazine and the Art UK Sculpture Project. Klappentext As a result of the Napoleonic wars, vast numbers of Old Master paintings were released on to the market from public and private collections across continental Europe. The knock-on effect was the growth of the market for Old Masters from the 1790s up to the early 1930s, when the Great Depression put an end to its expansion.This book explores the global movement of Old Master paintings and investigates some of the changes in the art market that took place as a result of this new interest. Arguably, the most important phenomenon was the diminishing of the traditional figure of the art agent and the rise of more visible, increasingly professional, dealerships; firms such as Colnaghi and Agnew's in Britain, Goupil in France and Knoedler in the USA, came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market.Investigates for the first time the origin, development and rise of the Old Master market in the eighteenth and nineteenth centuries, and its international dissemination. Zusammenfassung As a result of the Napoleonic wars! vast numbers of Old Master paintings were released on to the market from public and private collections across Continental Europe. The knock-on effect was the growth of the market for Old Masters from the 1790s up to the early 1930s! when the Great Depression put an end to its expansion.This book explores for the first time the global movement of Old Master paintings and investigates some of the changes in the art market that took place as a result of this new interest. Arguably! the most important phenomenon was the diminishing of the traditional figure of the art agent and the rise of more visible! increasingly professional! dealerships; firms such as Colnaghi and Agnew's in Britain! Goupil in France! and Knoedler in the US! came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market. Inhaltsverzeichnis List of FiguresSeries Editor's IntroductionForeword, Gabriele Finaldi (National Gallery, UK) AcknowledgementsList of Abbreviations Introduction, Susanna Avery-Quash (National Gallery, UK) and Barbara Pezzini (Independent Scholar, UK) Part I: Developing European Networks, 1780-1894 1.The European Market for Itali...
