Susanna Avery-Quash – författare

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.

For every great country house of the Georgian period, there was usually also a town house. Chatsworth, for example, the home of the Devonshires, has officially been recognised as one of the country''s favourite national treasures - but most of its visitors know little of Devonshire House, which the family once owned in the capital. In part, this is because town houses were often leased, rather than being passed down through generations as country estates were. But, most crucially, many London town houses, including Devonshire House, no longer exist, having been demolished in the early twentieth century. This book seeks to place centre-stage the hugely important yet hitherto overlooked town houses of the eighteenth and early nineteenth centuries, exploring the prime position they once occupied in the lives of families and the nation as a whole. It explores the owners, how they furnished and used these properties, and how their houses were judged by the various types of visitor who gained access.

For every great country house of the Georgian period, there was usually also a town house. Chatsworth, for example, the home of the Devonshires, has officially been recognised as one of the country''s favourite national treasures - but most of its visitors know little of Devonshire House, which the family once owned in the capital. In part, this is because town houses were often leased, rather than being passed down through generations as country estates were. But, most crucially, many London town houses, including Devonshire House, no longer exist, having been demolished in the early twentieth century. This book seeks to place centre-stage the hugely important yet hitherto overlooked town houses of the eighteenth and early nineteenth centuries, exploring the prime position they once occupied in the lives of families and the nation as a whole. It explores the owners, how they furnished and used these properties, and how their houses were judged by the various types of visitor who gained access.

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.

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.

For every great country house of the Georgian period, there was usually also a town house. Chatsworth, for example, the home of the Devonshires, has officially been recognised as one of the country’s favourite national treasures - but most of its visitors know little of Devonshire House, which the family once owned in the capital. In part, this is because town houses were often leased, rather than being passed down through generations as country estates were. But, most crucially, many London town houses, including Devonshire House, no longer exist, having been demolished in the early twentieth century. This book seeks to place centre-stage the hugely important yet hitherto overlooked town houses of the eighteenth and early nineteenth centuries, exploring the prime position they once occupied in the lives of families and the nation as a whole. It explores the owners, how they furnished and used these properties, and how their houses were judged by the various types of visitor who gained access.

In the late 1700s, as the events of the French Revolution roiled France, London displaced Paris as the primary hub of international art sales. Within a few decades, a robust and sophisticated art market flourished in London. 'London and the Emergence of a European Art Market, 1780-1820' explores the commercial milieu of art sales and collecting at this turning point. In this collection of essays, twenty-one scholars employ methods ranging from traditional art historical and provenance studies to statistical and economic analysis; they provide overviews, case studies and empirical reevaluations of artists, collectors, patrons, agents and dealers, institutions, sales and practices. Drawing from pioneering digital resources-notably the Getty Provenance Index-as well as archival materials, such as trade directories, correspondence, stock books and inventories, auction catalogs and exhibition reviews, these scholars identify broad trends, reevaluate previous misunderstandings and consider overlooked commercial contexts to illuminate artistic taste.From individual case studies to econometric overviews, this volume is groundbreaking for its diverse methodological range that illuminates artistic taste and flourishing art commerce at the turn of the nineteenth century.

A celebration of the National Gallery’s history of collaborating with contemporary artists, with a particular focus on David Hockney This book celebrates how artists have responded in a host of ways to the Gallery’s collection over the last 200 years. A constant reference point throughout the text is David Hockney, and an exclusive interview between him and art critic Martin Gayford discusses artistic influence. The book also explores how Hockney’s interactions with the Gallery have aided his development as a painter in groundbreaking ways. This is particularly evident in his longstanding creative engagement with Piero della Francesca’s The Baptism of Christ, a work that is depicted in two of Hockney’s paintings. Other chapters recognise the relationship that has existed between contemporary artists, the public, and the National Gallery collection for two centuries, including the pioneering exhibition series The Artist’s Eye, in which artists acted as curators to share Gallery pictures in new ways with broad audiences. Published by National Gallery Global Ltd/Distributed by Yale University Press