Lynn Catterson, Ph.D. (2002) Columbia University. She has moved from the 15C and is currently working on the art market in 19C Florence from the point of view of production and social network via its preeminent dealer, Stefano Bardini.

"The essays do indeed serve, as the editor hoped, to nuance the workings of the art market, showing that the actual sales and prices were the result of much careful negotiation and preparation."The Society for the History of Collecting, September 2017

• List of IllustrationsList of Contributors1. Introduction, Lynn CattersonThe Artist as Dealer2. The Many Hats of Mary Cassatt: Artist, Advisor, Broker, Tastemaker, Laura D. Corey3. The Misses Williams in Salem and Rome, Jacqueline Marie MusacchioDealers Shaping and Influencing Taste4. “A Public-Spirited Merchant”: Samuel P. Avery, Art Dealer, Advisor, Philanthropist, Leanne Zalewski5. Dealing with Cubism: Daniel-Henry Kahnweiler’s Perilous Internationalism, Fae BrauerSupply Created by Dealer6. Charles Mather Ffoulke and the Market for Tapestries in Late Nineteenth-Century America, Denise M. Budd7. The Art Dealer and the Devil: Remarks on the Relationship of Elia Volpi and Wilhelm von Bode, Patrizia CappelliniDemand Created by Dealers8. An Imaginary Italy on the Shores of Florida: Paul Chalfin, Vizcaya and the International Market for Italian Decorative Arts in 1910s, Flaminia Gennari-Santori9. Selling French Modern Art in the American Market: César de Hauke as Agent of Jacques Seligmann & Co., 1925–1940, Sébastien ChauffourThe Role of Photographs in the Selling of Art10. Stefano Bardini and C.F. Walker, His London Agent, Annalea Tunesi11. Surrogates and Intermediaries: The Informational Role of Photographs in the Art Market, Alexandra ProvoThe Bureaucratic Network12. A Lesson in Loopholes: Stefano Bardini, and the Export of the Botticelli Frescoes from Villa Lemmi, Joanna Smalcerz

Lynn Catterson, Ph.D. (2002) Columbia University. She has moved from the 15C and is currently working on the art market in 19C Florence from the point of view of production and social network via its preeminent dealer, Stefano Bardini.

"The essays do indeed serve, as the editor hoped, to nuance the workings of the art market, showing that the actual sales and prices were the result of much careful negotiation and preparation."The Society for the History of Collecting, September 2017

• List of IllustrationsList of Contributors1. Introduction, Lynn CattersonThe Artist as Dealer2. The Many Hats of Mary Cassatt: Artist, Advisor, Broker, Tastemaker, Laura D. Corey3. The Misses Williams in Salem and Rome, Jacqueline Marie MusacchioDealers Shaping and Influencing Taste4. “A Public-Spirited Merchant”: Samuel P. Avery, Art Dealer, Advisor, Philanthropist, Leanne Zalewski5. Dealing with Cubism: Daniel-Henry Kahnweiler’s Perilous Internationalism, Fae BrauerSupply Created by Dealer6. Charles Mather Ffoulke and the Market for Tapestries in Late Nineteenth-Century America, Denise M. Budd7. The Art Dealer and the Devil: Remarks on the Relationship of Elia Volpi and Wilhelm von Bode, Patrizia CappelliniDemand Created by Dealers8. An Imaginary Italy on the Shores of Florida: Paul Chalfin, Vizcaya and the International Market for Italian Decorative Arts in 1910s, Flaminia Gennari-Santori9. Selling French Modern Art in the American Market: César de Hauke as Agent of Jacques Seligmann & Co., 1925–1940, Sébastien ChauffourThe Role of Photographs in the Selling of Art10. Stefano Bardini and C.F. Walker, His London Agent, Annalea Tunesi11. Surrogates and Intermediaries: The Informational Role of Photographs in the Art Market, Alexandra ProvoThe Bureaucratic Network12. A Lesson in Loopholes: Stefano Bardini, and the Export of the Botticelli Frescoes from Villa Lemmi, Joanna Smalcerz

Lynn Catterson, Ph.D. (2002) Columbia University. She has moved from the 15C and is currently working on the art market in 19C Florence from the point of view of production and social network via its preeminent dealer, Stefano Bardini.

"The essays do indeed serve, as the editor hoped, to nuance the workings of the art market, showing that the actual sales and prices were the result of much careful negotiation and preparation."The Society for the History of Collecting, September 2017

• List of IllustrationsList of Contributors1. Introduction, Lynn CattersonThe Artist as Dealer2. The Many Hats of Mary Cassatt: Artist, Advisor, Broker, Tastemaker, Laura D. Corey3. The Misses Williams in Salem and Rome, Jacqueline Marie MusacchioDealers Shaping and Influencing Taste4. “A Public-Spirited Merchant”: Samuel P. Avery, Art Dealer, Advisor, Philanthropist, Leanne Zalewski5. Dealing with Cubism: Daniel-Henry Kahnweiler’s Perilous Internationalism, Fae BrauerSupply Created by Dealer6. Charles Mather Ffoulke and the Market for Tapestries in Late Nineteenth-Century America, Denise M. Budd7. The Art Dealer and the Devil: Remarks on the Relationship of Elia Volpi and Wilhelm von Bode, Patrizia CappelliniDemand Created by Dealers8. An Imaginary Italy on the Shores of Florida: Paul Chalfin, Vizcaya and the International Market for Italian Decorative Arts in 1910s, Flaminia Gennari-Santori9. Selling French Modern Art in the American Market: César de Hauke as Agent of Jacques Seligmann & Co., 1925–1940, Sébastien ChauffourThe Role of Photographs in the Selling of Art10. Stefano Bardini and C.F. Walker, His London Agent, Annalea Tunesi11. Surrogates and Intermediaries: The Informational Role of Photographs in the Art Market, Alexandra ProvoThe Bureaucratic Network12. A Lesson in Loopholes: Stefano Bardini, and the Export of the Botticelli Frescoes from Villa Lemmi, Joanna Smalcerz