Susanna Avery-Quash Boeken

Showcasing diverse methodologies, this volume illuminates London's central role in the development of a European art market at the turn of the nineteenth century. 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-two 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. 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.

The biography delves into the lives of Sir Charles and Lady Elizabeth Eastlake, along with their nephew Charles Locke Eastlake, highlighting their significant roles in the Victorian cultural and artistic scene. It examines their relationships with influential figures of the time and showcases their individual personalities and contributions, providing a detailed portrait of this notable family.

The book explores the reception of Leonardo da Vinci's artistic, theoretical, and scientific contributions in Britain from the seventeenth to the twentieth century. It highlights the influence of collectors, intellectuals, and artists on his legacy, addressing how his work was perceived and valued compared to other Italian artists. Key aspects include the provenance of significant works, the distinction between originals and copies, and the emergence of early academic discourse on Leonardo's writings. This analysis contributes to understanding cultural exchanges between Italy and Britain.

A celebration of the National Gallery’s history of collaborating with contemporary artists, with a particular focus on David Hockney