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Connecting art markets : Guilliam Forchondt's dealership in Antwerp (c. 1632-78) and the overseas paintings trade /
"Connecting Art Markets proposes that vertically-integrated art dealers operating on a large scale acted as cultural mediators, and offers an aggregate view that connects artistic and market developments at both sides of the Atlantic."--Publisher description
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Boston :
Brill,
2016.
|
| Colección: | Studies in the history of collecting & art markets ;
v. 1. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Acknowledgments; List of Abbreviations; Introduction; Chapter 1 Art Dealers as Cultural Agents: The Case of Guilliam Forchondt; 1.1 A Markets Approach to Early Modern European and Latin American Art; 1.2 Art Dealers in Early Modern Art and Markets History; Guilliam Forchondt as Case Study; Chapter 2 The Southern Netherlands Factor in the Transatlantic Paintings Trade; 2.1 Transatlantic Art Trade through Shipping Documents; 2.2 The Transatlantic Journey and Traffic; The Planning Stage; The Transatlantic Journey; Transatlantic Traffic during the Seventeenth Century.
- Flemish Merchants in the American Trade2.3 Transatlantic Art Trade Flows, 1630-80; Artworks in the Carrera de Indias; 2.4 Selling Paintings from the Southern Netherlands in the New World; Reactions in Mexico and Peru to the Competition; Chapter 3 The Forchondt Business Model; 3.1 Antwerp's Painting Industry and Guilliam Forchondt; 3.2 The Forchondt Business; Valuation and Scope of the Business; Products, Processes and Profits; 3.3 Market Dynamics and the Changing Structure of the Firm; The Family Business; Contracting and Subcontracting Arrangements; Suppliers; Agents and Buyers.
- Chapter 4 Marketing Paintings through their Characteristics4.1 Antwerp Art Production for Exports and Buyers' Preferences; 4.2 Preferences for Paintings by Geographical Location; The Southern Netherlands; The Dutch Republic; France; Vienna and German Cities; The Iberian Peninsula and the Americas; Chapter 5 The Long-Distance Commercial Network with Spain and the Americas; 5.1 Early Modern Commercial Networks in the Art Trade; 5.2 Guilliam Forchondt's Commercial Network; Scope and Scale of Forchondt's Commercial Relationships; Shipping and Financial Intermediaries for the Iberian Peninsula.
- Forchondt's Art Trade Network with Spain and the AmericasChapter 6 Dealer Behavior in Spain and the Americas; 6.1 Flemish Paintings for the Iberian Peninsula and the New World; 6.2 Production and Reproduction of Paintings; 6.3 Dissemination of Multiple Originals and Adaptability of Visual Motifs; 6.4 Painters, Dealers and the Market for Paintings in Seville, Cadiz, Mexico and Peru; Conclusion; Appendices; Bibliography; Unpublished Primary Sources; Published Primary Sources; Secondary Sources; Index.