Art: financial aspects Books

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Book SynopsisA 2024 Book of the Year pick in the Economist, Independent, Prospect, Apollo, New Yorker and at WaterstonesA 2024 Summer Read in the Economist, Telegraph, Guardian, New Yorker, i, and the Evening Standard'My favourite book of 2024... A masterclass of a book' Brandon Taylor'An art world Great Gatsby, deliciously withering and dishy.' Patrick Radden KeefeDECEPTION IS A FINE ART. When Orlando Whitfield first meets Inigo Philbrick, they are students dreaming of dealing art for a living. Their friendship lasts for fifteen years until one day, Inigo - by then the most successful dealer of his generation - suddenly disappears, accused of a fraud so gigantic and audacious it rocks the art world to its core.A sparklingly sharp memoir of greed, ambition and madness, All That Glitters will take you to the heart of the contemporary art world, a place wilder and wealthier than you could ever imagine.'Explosive... the inside story of the biggest art fraud in American history' Guardian'Liar's Poker, but for art' Economist

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Book SynopsisAn updated edition of this essential practical handbook for all those involved in, or studying, the dynamic field of curating. From pitching your ideas and writing loan requests to working with artists, lenders and art handlers, to writing interpretation material, installing and promoting your exhibition; The Curator's Handbook is the most clear and complete guide yet to the art and practice of curating. An introduction maps the history of curating from its origins in the 17th century to the multifarious roles of the curator today: tastemaker, custodian, interpreter, educator, facilitator, organizer. Adrian George then guides the reader, across thirteen chapters, through the process of curating an exhibition. Each step is described in valuable detail and clear, informative language by this experienced curator, whose text pinpoints the keys to success (as well as which pitfalls to avoid). With advice and tips from a renowned cast of international museum directors and curators including Daniel Birnbaum, Aric Chen, Elizabeth Ann MacGregor, Hans Ulrich Obrist, Jennifer Russell and Nicholas Serota this new edition, updated to reflect current concerns in the art world and the latest recommended best practices, remains the essential handbook for all students, museum and gallery professionals, as well as established or aspiring curators.

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Book SynopsisWhy would a smart New York investment banker pay twelve million dollars for the decaying, stuffed carcass of a shark? By what alchemy does Jackson Pollock’ s drip painting No.5 1948 sell for $140 million? The first book to look at the economics of the modern art world, and the marketing strategies that power the market to produce such astronomical prices, this surprising and revelatory book explores the money, lust, and self-aggrandizement of the art world in an attempt to determine what makes a particular work valuable while others are ignored. Drawing on interviews with past and present executives of auction houses and art dealerships, artists, and the buyers who move the market, Thompson launches the reader on a journey of discovery through the peculiar world of modern art to reveal the source of Charles Saatchi’s Midas touch, and how far a gallery like White Cube has contributed to Damien Hirst becoming one of the highest-earning artists in the world.Trade Review'If you read no other book about art in your life, read the one that's gripped me like a thriller for the past two days.’ – Richard Morisson‘This enthralling, revelation-rich trip through the “money game” of the art market brings an economist’s eye – and a dry, sceptical wit- to its absurdities.’‘Don Thompson is an entertaining sceptic when it comes to contemporary art…a much-needed attempt to get to grips with the mysteries of the art market…Thompson’s knowledge of markets and law is a convincing and informative read.’'If you read no other book about art in your life, read the one that's gripped me like a thriller for the past two days.’ – Richard Morisson ‘ This enthralling, revelation-rich trip through the “ money game” of the art market brings an economist’ s eye – and a dry, sceptical wit- to its absurdities.’ 'Intriguing and readable' ‘ Don Thompson is an entertaining sceptic when it comes to contemporary art… a much-needed attempt to get to grips with the mysteries of the art market… Thompson’ s knowledge of markets and law is a convincing and informative read.’

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Book SynopsisArlene Dávila draws on numerous interviews with artists, dealers, and curators to explore how and why the contemporary international art market continues to overlook, devalue, and marginalize Latinx art and artists.Trade Review“In this current moment of national rupture surrounding the Latino immigrant it is ironic that the new focus on Latinx artists and communities should come to the forefront as a powerful cultural movement. Arlene Dávila’s new work on Latinx art is a timely examination of the complex issues of cultural definition, art markets, race and representation, and geopolitical reference points. In the embattled world of diverse art and artists Dávila's book provides a map of clarity.” -- Amalia Mesa-Bains, MacArthur fellow and coauthor of * Homegrown: Engaged Cultural Criticism *“Kudos to Arlene Dávila, founding director of the Latinx Project at New York University, and the only person who could have written this groundbreaking new book! First, identifying Latinx, perhaps most importantly, as a political constituency and as a market for art historical appreciation and consumption, Dávila makes the case for a singular recognition and consideration of a massive (and rapidly growing) part of American culture. While highlighting intersectionality in her exploration of Latinx identity, she is an astute documentarian of shared experiences in the American landscape. Yet, this book is a must-have primer for those concerned with trends in international contemporary art.” -- Franklin Sirmans, Director, Pérez Art Museum Miami"An indispensable text that considers the plights of Latinx artists through the lens of race and class disparities in both North and South America. . . . Dávila’s text is a vital resource on Latinx art, complete with a supplemented 'non-comprehensive list of artists everyone should know' and recommendations of Latinx Instagram accounts to follow." -- Valentina Di Liscia * Hyperallergic *"The marketing of modern and contemporary art from Latin America is one of the success stories of the globalist decades, giving a once-niche interest a presence in big North American museums. Exactly the opposite is true of Latinx art, loosely defined as work made by artists of Latin American birth or descent who live primarily in the United States. That lack of institutional support is dictated by the politics of class, economics and race, the cultural anthropologist Arlene Dávila argues in this important broadside of a book." -- Holland Cotter * New York Times *"An outstanding contribution to the field of Latinx art, this book addresses the defining traits of the art category and its place in the contemporary art world. . . . The wide range of Latinx art experts she interviews, from artists, curators, writers, critics and gallerists, draw the contours of a remarkably vibrant cultural field that is still undervalued. Her analysis not only dissects the conditions of Latinx artistic invisibility; it also proposes a path of action to overcome them and to create a more equitable art system." -- Taína Caragol * Smithsonian Magazine *"With deep research and details about the ways in which the market continues to overlook and undervalue the work of Latinx artists, Arlene Dávila’s Latinx Art is one of this year’s most important contributions to the art world as a whole. . . . That this book exists is itself an important milestone in the struggle for equity in the art world." -- Maximilíano Durón * ARTnews *"Arlene Dávila advances a groundbreaking analysis of Latinx art in the way she centers on matters of race, class, and nationality as primordial to understanding this category. . . . As a scholar independent of the art world’s social circuit, Dávila describes in great detail the ingrained power dynamics that deny institutional access to Latinx artists. In doing so, she delivers an unprecedented service to the field, considering the silencing force exerted by hierarchical structures that traverse the art world, and the artists’ reliance on good relations with gatekeepers in order to have any shot at exhibition and market spaces." -- Taína Caragol * Latin American and Latinx Visual Culture *“Latinx Art is appropriate for new and nonacademic audiences, because Dávila is one of the most accessible scholarly authors. . . . A must-read for Latinx studies students and scholars and beyond.” -- Karen Mary Davalos * Latino Studies *Table of ContentsAcknowledgments & Reader Instructions vii Introduction. Making Latinx Art 1 1. What Is Latinx Art? Lessons from Chicanx and Diasporican Artists 23 2. Exhibiting Latinx Art: On Critics, Curators, and Going "Beyond the Formula" 48 3. Nationalism and the Currency of Categories 79 4. On Markets and the Need for Cheerleaders 104 5. Whitewashing at Work, and Some Ways Out 138 Conclusion: At the Vanguard of Arts and Museum Activism in the Twenty-First Century 168 Appendix A: Noncomprehensive List of Artists Everyone Should Know 177 Appendix B: Additional Resources 185 Notes 189 References 203 Index 223

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Book Synopsis''The very best book on the subject ever published'' Bernard Ewell, Personal Property Journal (the trade publication of the American Society of Appraisers)The art world can appear impenetrable to the beginner. This classic book, in print since 1990, is an invaluable primer that will help anyone to penetrate the thickets of inscrutable ''insider info'' and esoteric jargon. Updated for today''s art market, including online buying, The Art of Buying Art is without a doubt the most accessible book on how to research, evaluate, price and buy artworks - for anyone who wants to buy art. No previous knowledgeof art or the art business is necessary. Topics include: how to research and evaluate art prices like the professionals how to build a quality collection how to spot fakes and forgeries how to buy art at auctions and directly from artists how to negotiate prices Trade ReviewThe very best book on the subject ever published -- Bernard Ewell * Personal Property Journal (the trade publication of the American Society of Appraisers) *A no-brainer for art collectors and art professionals . . . [that] . . . explains many of the mysteries of the art world -- Bernard Ewell, senior member of the American Society of Appraisers

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Book Synopsis“[How to Become a Successful Artist] goes straight to the business of being an artist... Resch’s book offers practical advice to remind readers that there’s a lot more to being an artist than just making art.” – ArtNewsThe must-have business guide for all artists, written by the leading specialist in the global art marketWritten for artists of all levels, ages and mediums the latest book from bestselling author Magnus Resch explores how artists can have a career in the field they love. He answers the most important questions including: How do I find gallery representation? How do I write an artist statement? How should I price my artworks? And what's the best Instagram strategy? Case studies are drawn from interviews with leading experts and practitioners, including artists, gallerists, and curators. It's an invaluable resource to explain the core business principles of being an artist and reveals how to make it in the art market. This must-have guide includes business advice from the art world's leading experts, such as Hans Ulrich Obrist, Jeffrey Deitch, Simon de Pury, Mera & Don Rubell, Mr. Brainwash, Oscar Murillo, Sean Scully, Peter Halley, Kenny Scharf, Lucien Smith, Lisa Schiff, Julian Schnabel, Georgina Adam, Katherine Bernhardt, Shirin Neshat, Laurie Simmons, Jordan Wolfson, Jitish Kallat, Zhang Huan, Rashid Johnson, Marilyn Minter, Raymond Pettibon, and many more. “ [How to Become a Successful Artist] goes straight to the business of being an artist... Resch’s book offers practical advice to remind readers that there’s a lot more to being an artist than just making art.” - ArtNews Trade Review"Bolstered by interviews with art-world luminaries, Resch's book offers practical advice to remind readers that there's a lot more to being an artist than just making art." - ArtNews"This new book is determined to do away with the stereotype of the starving creative." - The Art Newspaper"Magnus Resch has the art world down to science." - Cultured"Get the inside scoop on how to become a successful artist." - Buzzfeed"How to get rich with art! This book is a business plan for artists." - Welt Am Sonntag"There's no magic wand to make you into a successful artist but this book comes pretty close." - FAD Magazine"Everything artists need in order to succeed financially." - Neue Zürcher Zeitung (NZZ)"Magnus Resch explains in 10 short chapters how to transition from an art world loser to an art world winner." - Berliner Tagesspiegel"In the era of the social network's totalising grip, Resch distils data into a formula for art-stardom." - Spike Art Magazine"In his book, Magnus Resch addresses issues such as why are some artists more successful than others." - Sleek"Magnus Resch can help you become a successful artist." - Whitewall"This book provides a lot of information about the art market." - Volkskrant"A must read for artists." - Bunte"Magnus's tone is direct, very clear and personable." - Monopol Magazin

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Book SynopsisYou must read this book before buying any artwork – written by the world’s leading art-market economist Navigating the world of collecting can be a tricky process, especially for one just starting out in the art market. The world’s leading art market expert Magnus Resch explains the core principles of the art market and reveals the secrets of how to build and grow an art collection. He answers questions such as: • What art should I invest in? • Where do I start? • Which gallery should I visit? • How do I get VIP tickets for Art Basel? • Where's the best place to sell my art? • Is this price fair? This book is a comprehensive guide for anyone interested in collecting art, novice or expert. Readers will learn: • How the art market really works; • How to navigate the art world; • How to start and develop a sustainable collection strategy, for every budget. Featured alongside Magnus’s advice for collecting are quotes and case studies from esteemed art world professionals, including mega collectors Shelley and Philip Aarons, Beth Rudin DeWoody, Jorge M. Pérez, Howard E. Rachofsky, and Komal Shah; museum directors Adam Weinberg and Heidi Zuckerman; art fair founder Touria El Glaoui; mega art dealers Marc Glimcher, Adam Lindemann, Jeffrey Deitch, and Simon de Pury; leading art curator Hans Ulrich Obrist; superstar art advisor Amy Cappellazzo; and artist Julian Schnabel. The book also features a foreword written by leading art collector Pamela Joyner. No-nonsense, clear prose makes this the perfect primer for anyone who is interested in collecting art. This book is for: • Art lovers who want to buy their first pieces; • Collectors who want to understand more about investing in art; • Advisors and gallerists who want to refresh their knowledge. This book, with words of advice from the most accomplished experts in the field, is like carrying an art advisor in your pocket.Trade ReviewPraise for How to Collect Art‘A refreshingly honest insider's guide to collecting.’ – The Art Newspaper‘The definitive guide to the art market and collecting in the 21st century.’ – Paper Mag‘An indispensable resource for those navigating the complexities of the art market.’ – Whitehot Magazine'Sophistication meets data in this essential guide to art investment, a timeless handbook from Magnus Resch for finding the right path in every art investment, big or small, where strategic content and effective communication converge to enlighten the modern art investor.' – CNN'A veritable acquisition manual.' – SURFACE'A recruitment manual for art collectors.' – Artnews'A transparent resource filled with data, case studies, and real-life reflections.' – Whitewall‘An excellent guide to participating in the art market for both those new to the market, as well as seasoned collectors.’ – Christies Education‘Reveals the major players throughout the art market and explains the ins-and-outs of auction houses and galleries as it guides readers on how to select the right one to work with.’ – Barron’s Penta Praise for How To Become A Successful Artist‘Bolstered by interviews with art-world luminaries, Resch's book offers practical advice to remind readers that there's a lot more to being an artist than just making art.’ – ArtNews‘This book is determined to do away with the stereotype of the starving creative.’ – The Art Newspaper‘Get the inside scoop on how to become a successful artist.’ – Buzzfeed‘There's no magic wand to make you into a successful artist but this book comes pretty close.’ – FAD Magazine‘Magnus Resch can help you become a successful artist.’ – Whitewall‘In the era of the social network's totalising grip, Resch distills data into a formula for art-stardom.’ – Spike Art MagazinePraise for Magnus Resch‘Magnus gives the art world plenty to think about.’ – New York Times‘Magnus's study explores the financial challenges facing galleries today. Anyone in the field can gain insights from his observations and research.’ – Artsy‘Resch has the art world down to science.’ – Cultured

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Book SynopsisThis accessible new book offers a fresh view of art auctions, exploring their multifaceted role in today's international art market and their transformation into spectacular theatres of the contemporary art world. From glittering black-tie events to the anonymity of the digital realm, auctions stage the creation of value and can make or break artists' careers. They are a strange phenomenon: relics from the 18th century which remain at the heart of the art market. And yet art auctions have undergone huge change in the past decades, adapting to online formats, encroaching on territory which was once the preserve of galleries, and expanding ruthlessly into new regions and categories. Kathryn Brown's incisive new survey assesses the ongoing relevance of auctions to contemporary art markets and discusses the opportunities, controversies and conflicts of value to which they give rise.

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Book SynopsisThe Art Institution of Tomorrow is a unique manifesto for raising the standard of institutional practices across the world. It suggests that existing art institutions are not equipped to deal with the radical social, economic and environmental change we are living through and engage with advancement in the arts, and that unless they re-focus on their core purpose and fundamentally transform their organisational structure and operational models, they will start to lose their relevance and influence. Built on an extensive study of non-profit visual-arts organisations and the creative industries at large, and incorporating interviews with institutional leaders from throughout the sector, the book expresses a clear outline of change that art institutions will need to undergo in order to maintain their relevance for generations to come.

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Book SynopsisTrade Review"...Huff...teaches readers how they can do the same. He provides details on effective business strategies, including: how to find your niche; what makes an effective artist website; email marketing; blogging; social media marketing; and paid advertising--then explains how to tie all these online activities into offline efforts." -- ArtDaily "...Huff also helps readers articulate the stories of their creations as a way of connecting with potential buyers. VERDICT Any artist who is ready to treat their art career seriously will want to check this guide out." -- Library Journal

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Book SynopsisThis memoir from the influential art dealer and author offers an up close and personal perspective on New York's vibrant art scene of the sixties and seventies. One of today's most respected art dealers, Michael Findlay launched his career surrounded by the most exciting figures of the late twentieth century art scene. His generously illustrated memoir traces his childhood in Scotland to his arrival in New York, where he directed one of the first art galleries in SoHo, exposing American audiences to the likes of Joseph Beuys and Sean Scully. Findlay launched the first solo exhibitions of John Baldessari, Hannah Wilke, Stephen Mueller and Billy Sullivan. He offers fascinating recollections about his relationships with painters and sculptors, art dealers and art collectors, actors, models and the creative talents at the heart of New York's Downtown scene. Making appearances in Findlay's stellar cast of characters are Andy Warhol, David Hockney, Bridget Riley, Jasper Johns, Robert Rau

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Book SynopsisWilliam Morris is perhaps best known today for the beautiful textile designs he created under the banner of Morris & Co, which continue to decorate homes around the globe. As one of the leading lights of British socialism, however, he is less well known, and this series of Morris's Manifestos seeks to highlight his extraordinary contribution to the literary canon on subjects socialist and artistic. Based on a lecture given at the Manchester Royal Institution in 1883, Art, Wealth and Riches is a thought-provoking essay that considers art as having educative and aesthetic value that should be shared with the many, rather than financial value that should be hoarded by the few. Morris asks: 'Is art to be limited to a narrow class who only care for it in a very languid way, or is it to be the solace and pleasure of the whole people?'

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Book SynopsisDiscover the extraordinary stories behind the world''s missing works of art.Travel back in time to discover works of art that have vanished from the record, as well as those that went missing and have since been reclaimed or recovered. From the treasures of Tutankhamun to the altarpiece of Ghent, a missing Fabergé egg, and Vincent van Gogh''s majestic Sunset at Montmajour, numerous masterpieces have disappeared throughout history as a result of theft, looting, natural catastrophe, or conflict... And some have resurfaced decades or even centuries later!Lost Masterpieces examines the unique story of the most significant of these artworks, the artists who created them, and those thought to be involved in their loss. It explores the various means by which museum curators and international crime investigators have unearthed missing treasures. It highlights the moral dilemma of museums that have profited from looted works of art and examines the recent heists

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Book SynopsisAn integral resource for aspiring artists, this third edition updates key pieces of the classic Starting Your Career as an Artist. In this comprehensive manual, veteran art career professionals Angie Wojak and Stacy Miller show aspiring artists how to evaluate their goals and create a plan of action to advance their professional careers, and use their talents to build productive lives in the art world. In addition, the book includes insightful interviews with professional artists and well-known players in the art scene. The third edition features a chapter on social media and includes interviews with artists, museum professionals, and educators, as well as new chapters on how to navigate the post-pandemic art world. All chapters cover topics essential to the emerging artist, such as: •Using social media to advance your practice •Health and safety for artists •Artist’s resumes and CVs •Finding alternative exhibition venues •Building community through networking •Collaborating and finding mentors •Refining career aspirations This invaluable resource is sure to encourage and inspire artists to create their own opportunities as they learn how the creativity that occurs inside the studio can be applied to developing a successful career in the art world. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

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Book SynopsisYou have the artistic talent, but do you know how to make a success of it? Turning your passion into a career in the fiercely competitive art world means becoming your own finance, business, and marketing manager - as well as a researcher, curator and administrator. From writing your first proposal to gaining gallery representation and dealing with the pressures of commercial success, this enlightening, no-nonsense book is your guide, providing all the advice, real-world experience, and inspiration you need to survive and thrive as a working artist.

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Book SynopsisAnnabel Keenan's timely and urgent book reviews the work that has been undertaken to date to create a more sustainable art world and proposes the next steps in system-wide change. It identifies the main sustainability issues for the art industry, arguing that artists and art activists have led the way in creating awareness of climate change, and evaluates progress to date on climate-action commitments by the various sectors of the art world, offering examples of best practice. Uncompromising in its messages, Climate Action in the Art World is essential reading for all art professionals, from artists to curators to art handlers, as well as for anyone seeking an accessible entry-point to a topic which is unfortunately only getting (literally) hotter.

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Book SynopsisThe autobiography of a society heiress who became the bohemian doyenne of the art world.Table of ContentsForeword • Introduction • Gilt-edged Childhood • Virginity • Marriage • End of My Life with Laurence Vail • My Life with John Holms • Hayford Hall • Death of John Holms • My Life with Garman • Yew Tree Cottage • Communism • Guggenheim Jeune • My Life During the War • My Life with Max Ernst • Peace • Life in the Duplex • Art of This Century • Interlude • Venice and the Biennale • Palazzo Venier dei Leoni • Ceylon, India and Venice Again • New York Revisited • Conclusion • Appendix: Venice • Index.

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Book SynopsisThe ultimate handbook for artists and makers to learn how to deliver outstanding in person and online workshops. Packed full of advice, inspiration and practical information, this book goes into all aspects of creating quality workshops, from curating a program and identifying your target students, to finding the best platform be it in person or online. Additionally, you''ll learn how to teach your creative skills all whilst juggling the practicalities of pricing and marketing. As well as checklists, examples and action points there are case studies, photos and Q&As with a wide variety of artists who successfully teach a variety of subjects such as printmaking, embroidery, ceramics, jewellery-making and hand-weaving. Award-winning creative business adviser, trainer and coach, Patricia van den Akker, teaches you how to become a better and more confident teacher and how to promote and launch your workshops to turn them into a profitable venture, whether delivering them to amateur adults, peers, or specialist groups.

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Book SynopsisVéronique Chagnon-Burke is an art historian, co-founder of Women Art Dealers Digital Archives, co-chair of The International Art Market Studies Association, section editor for the Art Market Dictionary, and former Director of Christie's Education in New York (20022021).Caterina Toschi is Associate Professor of contemporary art history and history of photography at the University for Foreigners of Siena, Italy. She is co-founder of Women Art Dealers Digital Archives and Senzacornice, and Associate Director of the Santa Maddalena Foundation.

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Book SynopsisIn equal parts a fascinating glimpse behind the scenes of some of our best-loved institutions and a guide on how governing boards should work - HRDirectorThroughout the world, thousands of people give their time, skill and energy to serving on a board. From local councils to international corporations boards play a critical role in the running and success of any organisation, large and small.In On Board John Tusa brings us behind the closed doors of the boardroom to provide an insight into the inner-working of boards. From personal squabbles to financial crises, Tusa shares his experiences serving on a wide variety of international boards such as the British Museum and American Public Radio. These lively life-stories unveil how boards overcome deep-set divisions, appoint new members and survive in times of chaos. Through these stories, Tusa provides lessons and tips on how to effectively operate in cooperative business environments. TusaTrade Review'On Board' is a serious story lightly told, with numerous hints and tips along the way on how boards behave and how they should. Every board member should read it... and learn. -- Joan Bakewell, broadcaster, writer and President of Birkbeck, University of LondonJohn Tusa is one of the bravest and most thoughtful public servants of a generation, and one of the people I admire most in British public life. -- Rory StewartJohn Tusa deals with the great and seldom asked questions: why do chairs and chief executives not get on? Why do boards make the wrong appointments? What does a great board look like? His answers – based on huge experience – are vital reading for chairs and trustees everywhere. This is a book on an important subject full of insight and interest: essential reading! -- Lord Tony Hall of Birkenhead CBE, Chairman of the National Gallery and former Director-General of the BBCPart primer, part memoir, part history, laced with psychology and social anthropology, On Board is an arresting and enlightening survival guide for anyone who aspires to sit on a not-for-profit board. It makes an eloquent case for the public value of the independent and good governance of our intellectual and cultural institutions – and the inherent obstacles to achieving it. John Tusa’s case studies, from the many distinguished boards on which he has served and chaired, provide a serious and authoritative analysis of the tenets of institutional governance. This is also a riveting and, at times, excruciatingly candid account of personal learning painfully acquired in what he describes as one of “the most demanding complex and taxing activities in the world of public life”. On Board charts the perilous navigation between the Scylla and Charybdis of personal rivalries and collective prevarication on which so many boards can come to grief. Anyone who has served as a Trustee will recognise his description of boards’ capacities for resilience and dysfunctionality, and, at their centre, the delicate chemistry of the CEO/Chair relationship. Anyone asked to join such a board will be well advised to learn from Tusa how codes, management theory and mission statements cannot substitute for decency, humanity and rigour, so much more difficult to achieve than to proscribe. In the end, good governance depends on good behaviour. -- Tim Gardam, Chief Executive, Nuffield Foundation, former Principal of St Anne's College Oxford and former Chair, Ofcom Content BoardFor anyone considering joining a board, especially one in the arts, this is an excellent guide for what awaits them. It gives a clear sense of how the complex issues and relationships are handled from someone who was there, and lessons in good governance have rarely been so fluently expressed. And for those interested in many leading characters of the London arts scene over the past 20 years, this is a hugely entertaining read. -- Sir Andrew Likierman, Professor and former Dean, London Business SchoolWith outstanding insight, John weaves his way elegantly through misunderstandings, personal ambition, indecision, and incompetence to illustrate with clarity, the consequences of flawed Chairmanship, board composition, mistaken beliefs, and finally the privilege and honour of being part of a Board that gets it right. -- Lady Alison Myners, Chair of Royal Academy TrustOne of the truly great and good, John Tusa has led many of Britain's cultural institutions and led them brilliantly. This book explains, modestly but straight-forwardly, how he has dealt with boards of trustees as helmsman, nanny, confessor, policeman, plotter, and Scout leader. Necessary reading for anyone involved in schools, arts organisations or other non-profits. -- Richard Sennett, Chairman of Trustees, Theatrum Mundi

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Book SynopsisAndrew Scrivani, food photographer for The New York Times, is one of the most respected names in the business. He is also a teacher of the craft, advising food porn obsessives, bloggers, photographers ready for the next step and anyone who loves to shoot and eat how to: see the light (craft and shape it the way you want); embrace the maths (calculate ISO, aperture, shutter speed and white balance); consider visual storytelling (single vs. multiple image narratives); master tricks for shooting in restaurants (window, bounce cards); be a control freak (shop, prep, cook, style and shoot) and turn passion into profit (work and get paid). Part straight-forward practical advice, part stories from the field with many of Scrivani’s signature pictures, this book really will make you hungry.

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Book SynopsisWritten by an art advisor and former gallerist with an insider’s perspective, this book provides a timely overview of the commercial-gallery sector at a moment of rapid change and expansion. More than any participant in the art market, galleries are seen as mysterious actors with an opaque code of conduct. This book offers a fascinating view of the gallery ecosystem, presenting a systematic diagnosis of key challenges and opportunities facing the sector today. Henry Little discusses the integration of bricks and clicks, addressing the tension between a gallery’s physical premises and its online presence, further asking how the world’s largest galleries have pulled so far ahead both in terms of their physical expansion and their digital offering. In an industry which increasingly rewards consolidation and brand recognition, the book asks how small and mid-tier galleries can hold their own and whether the traditional gallery model may be under threat in an increasingly digital future.Table of ContentsForeword; Acknowledgements; Introduction; 1: Origins and Workings of a Gallery System; 2: The Space: Architecture, Location and Identity; 3: The Digital Promise; 4: Tough at the Top: The Gallery Plus; 5: Consolidation, Collaboration, Continuation; Conclusion; Notes; Further Reading; Index

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Book SynopsisMemories of a London Art Dealer is the distillation of a lifetime’s experience and expertise in the art world. Neither an autobiography nor a traditional memoir, the book consists of reflections, anecdotes, telling conversations, encounters, touches of humour and a choice selection of the triumphs and disasters, heroes and villains encountered by an accidental art dealer. Trade Review"Reading the book is like being seated in a leather wingback chair at a club, listening to an affable chap recount his favourite anecdotes. . . . This is an enjoyable canter through a veteran dealer's memories, light on details and warmly diverting." * Alexander Adams Art *

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Book SynopsisThe Wider Goldsmiths' Trade in Elizabethan and Stuart London is the first book to study all aspects of the Goldsmiths' trade. It challenges the assumption that the manufacture of silver plate and gold jewellery was the trade''s only activity during the sixteenth and seventeenth centuries. It considers associated activities such as refining, wiredrawing, and the making of small-swords and watches, as well as the development of the modern banking system.On Elizabeth I's accession, England was essentially a third world economy', with exports mainly of wool, unfinished woolen cloth and some minerals, whilst imports consisted of a great range of goods including luxuries such as silks, fine linens, and even scissors. By the end of the seventeenth century, the situation was transformed: a burgeoning maritime trade with many parts of the world enabled the import of raw materials as well as some luxury goods and a wide range of exports which included certain goods produced in London with an int

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Book SynopsisDIRK BOLL (*1970, Kassel) studied law in Göttingen and Freiburg im Breisgau. After his postgraduate studies in cultural management, he received his Ph.D. for a thesis on the structures and legal framework of art markets. In 1998, he began his career at Christie's in London and has held various management positions since then. Since 2022, he is the Board Member for 20th and 21st Century Art for EMEA (Europe & UK, Middle East & Africa). Boll is professor of Cultural Management in Hamburg, a member of the Academic Board of Christie's Education as well as External Examiner of Kingston University, London.

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Book SynopsisTrade Review"A whirlwind tour in a compact, peppy car through the tumultuous life of the most famous patron of modern art."—Prudence Peiffer, Artforum"This excellent short biography appears in Yale’s 'Jewish Lives' series, and Prose is a subtle and attentive chronicler. . . "—Kathryn Hughes, Guardian"By describing fairly the limits of her wealth, and the nous with which she spent it, Prose does justice to this great modern Maecenas."—Iona McLaren, Daily Telegraph"Vibrant."—New Yorker"This succinct biography of one of the last century’s greatest collectors is an elegantly written account of the difficult and controversial life of Peggy Guggenheim."—Marina Vaizey, Art Newspaper"Lively, complex, and inclined to shock, Guggenheim (1898–1979), the modern art collector, emerges as the embodiment of the age in Prose’s judicious biography."—Publishers Weekly"Prose skillfully blends the events of Guggenheim's experience with details about the 20th-century art scene, all in a vivid setting of time and place. Her depictions of key artists, family members, husbands, and others are distinctive in their complexity of character and contribute to a deeper understanding of the personal and professional facets of this enigmatic woman. . . . This finely researched and well-written work honestly examines the often disturbing world of an acclaimed figure."—Library Journal"Prose situates Guggenheim right in the middle of the Modernist, as a new kind of woman who is hard to define, and in that she is a perfect product and reflection of her age, never less than fascinating. Without her, modern art would be much the poorer."—Lesley McDowell, Independent on SundayIn 2014 the Jewish Book Council awarded the Jewish Book of the Year honor to the Jewish Lives series—the first time in its history that a series was so honored—in recognition of its achievements thus far and its forthcoming contributions for years to come.“An extraordinary study of an extraordinary woman’s life, by a truly gifted writer. While Detailing Guggenheim’s incredible, unique contribution as a patron of the arts, Prose presents her as both glamourous and fragile.”—Padma Lakshmi, The Week -- Padma Lakshmi * The Week *

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Book SynopsisAn impassioned and convincing case for the importance and rewards of public investment in arts and culture.

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Book SynopsisIn just half a century of growth, the art fair industry has transformed the art market. Now, for the first time, art market journalist Melanie Gerlis tells the story of art fairs' rapid ascent and reflects on their uncertain future. From the first post-war European art fairs built on the imperial 19th-century model of the International Exhibitions, to the global art fairs of the 21st century and their new online manifestations, it's a tale of many twists and turns.The book brings to life the people, places and philosophies that enabled art fairs to take root, examines the pivotal market periods when they flourished, and maps where they might go in a much-changed world. Trade Review 'a scintillating read’ – Artnet News'could not have been better timed' – Country LifeTable of ContentsSeries Editors' Foreword; 1. Introduction: The art fair phenomenon; 2. Early Days: Europe, 1966 to 1976; 3. Markets new and old: The US and Maastricht, 1976 to 1995; 4. Golden Age: London, 1995 to 2008; 5. Brave new worlds: Asia and the Middle East, 2008 to 2011; 6. Everywhere: 2011 to 2020; 7. Nowhere: 2020 to 2021; Notes; Bibliography; Acknowledgments; Index

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Book SynopsisCensored Art Today is an accessible, informed analysis of the debates raging around censorship of art and so-called ‘cancel culture’, focusing on who the censors are and why they are clamping down on forms of artistic expression worldwide. Art censorship is a centuries-old issue which appears to be on the rise in the 21st century - why is this the case?Gareth Harris expertly analyses the different contexts in which artists, museums and curators face restrictions today, investigating political censorship in China, Cuba and the Middle East; the suppression of LGBTQ+ artists in 'illiberal democracies'; the algorithms policing art online; Western museums and 'cancel culture'; and the narratives around 'problematic' monuments. His fascinating study, which draws on extensive research and interviews, reveals why censorship has become the hottest of topics, impacting substantially on artists.Trade ReviewSelected as one of Wallpaper* magazine's Best Contemporary Art Books of 2022:'From political censorship in China, Cuba and the Middle East to the suppression of LGBTQ+ artists, cancel culture and the algorithms policing art online, Harris’ superbly-researched book poses critical questions about the trajectory of free speech, free expression and ultimately, who gets to decide.' - Harriet Lloyd-Smith, Wallpaper*'Where the book really excels is in exploring the novel situation in the West, where the most prominent instances of censorship now stem from progressive concerns for social justice and inclusivity. Harris' analysis is insightful and equitable [...]. And his final chapter, on the polarising question of historically problematic statues, is one of the most cogent and elegant short accounts of the subject you're likely to read.' - Gabriel Coxhead, Art QuarterlySelected as one of FAD Magazine's Top Art Books to Read in 2023: 'I'm a fan of this series of books that takes important art topics and covers them in digestible reads. Gareth Harris looks at art in repressive regimes, the contentious issues of removing statues, and how social media controls the art we see.' – Tabish Khan, FAD MagazineTable of ContentsForeword; Acknowledgements; Introduction; 1. Political Censorship in China, Cuba and the Middle East; 2. The Suppression of LGBTQ+ Artists in 'Illiberal Democracies'; 3. The Algorithms Policing Art Online; 4. Western Museums and 'Cancel Culture'; 5. Censoring the Past? The Narratives around 'Problematic' Monuments; Conclusion; Notes; Bibliography; Index

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Book SynopsisOffering veteran insight and friendly, actionable advice from two self-made women who have helmed four successful creative businesses, this practical guide to becoming a creative entrepreneur will speak to anyone wanting to make art, be their own boss, and not have to work a second job to make ends meet. Figuring out how to make a living from your creative work poses unique challenges and obstacles. From choosing the right business model to building a brand, from managing your time to scaling up your production-starting your own creative business often means doing it all yourself. Enter The Creative Business Handbook by Alicia Puig and Ekaterina Popova, the dynamic duo behind Create! Magazine . With its conversational tone and accessible advice, this handbook lays an essential foundation for anyone wanting to earn a living with their art-no fancy business degree required! In addition to nuts-and-bolts advice based on the authors' real-life experiences, each chapter of the book includes an interview with a creative entrepreneur from a different background and craft, and ends with action steps that will help keep you on track. Written by creative business owners for creative business owners, this is the perfect book for anyone with a vision who is ready to hit the ground running.

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Book SynopsisThe first part of this essential handbook provides an art-business analysis of the market for art photography and explains how to navigate it; the second is an art-historical account of the evolution of art photography from a marginal to a core component of the international fine-art scene.In tracing the emergence of a robust art-world sub-system for art photography, sustaining both significant art-world presence and strong trade, the book shows the solid foundations on which today's international market is built, examines how that market is evolving, and points to future developments.This pioneering handbook is a must-read for scholars, students, curators, dealers, photographers, private collectors and institutional buyers, and other arts professionals.Trade Review'A must-read for anyone seriously interested in photography, its history, and how it became a major force in a generally resistant art world.' -- Joel Meyerowitz Photographer'Hacking’s concise and lively guide to the economics and inner workings of the current photography market is a must-read for anyone interested in taking the plunge as a collector.' -- Anne McCauleyTable of ContentsContents: Acknowledgements; Introduction; Part One: Navigating the Market for Art Photography: Chapter 1: Buyer Aware; Chapter 2: Authenticity and Ethics; Chapter 3: Buying; Chapter 4: Keeping and Selling; Chapter 5: Analysing the Market; Chapter 6: Investing, Monetising, Speculating; Part Two: How Photography Became Art: Chapter 7: A New Way to Make Pictures, 1839-1889; Chapter 8: The Modern, 1890-1940; Chapter 9: Art and Society, 1940-1968; Chapter 10: The Photo Boom, 1969-1980; Chapter 11: The Postmodern, 1981-1999; Chapter 12: The Contemporary, 2000 to Now; Conclusion; Appendix; Bibliography; Index

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Book SynopsisArturo Cifuentes and Ventura Charlin provide an expert guide to the methods, risks, and rewards of investing in art. They detail how to apply the financial and statistical tools and techniques used to evaluate more traditional investments such as stocks, bonds, and real estate to art markets.Trade ReviewThis is a magnificent book. Original, deep and detailed. It is a must read for anyone interested in understanding the intersection between markets and art. -- Sebastian Edwards, Henry Ford II Distinguished Professor of International Economics, Anderson Graduate School of Management, UCLAIn The Worth of Art, two sophisticated quantitative analysts demonstrate the value of applying the powerful tools of financial economics to a wide range of issues involving art markets. Arturo Cifuentes and Ventura Charlin have written a genuinely innovative book. Their careful exposition of statistical techniques will be required reading for participants in art markets, and their conclusions will be of interest to anyone who enjoys thinking systematically about art and what makes it valuable. -- David W. Galenson, University of ChicagoThe authors have presented a compelling way to value art, drawing on tools used in financial markets and adjusting for the idiosyncrasies of the asset class. This work, which advances an understanding of investing in art, should be welcomed by both the art world and the financial community as it deftly straddles both spheres. -- Timothy Goodell, international bankerAs art continues to be accepted as a bankable asset class unto its own, any investor looking to enter this complex marketplace should be armed with the necessary quantitative tools to complement any qualitative analysis. This book is a “must have” guide for any serious art investor—new or seasoned—looking to navigate the often rocky terrain of the art market. -- Judd Grossman, founder and managing partner, Grossman LLPThis book will help demystify the art buying process for novice and expert art collectors alike. The tools provided for financial analysis will give readers a better framework to make educated collecting decisions and buy with their head as well as their heart. -- Amelia Manderscheid, Vice President and Senior Director for Post-War & Contemporary Art, BonhamsThe Worth of Art is full of thought-provoking research and intriguing observations that provide a novel—and revelatory—lens on the world of art. Cifuentes and Charlin are invaluable guides to the complexities and intricacies of the art market. -- Bianca Bosker, author of Cork Dork: A Wine-Fueled Adventure Among the Obsessive Sommeliers, Big Bottle Hunters, and Rogue Scientists Who Taught Me to Live for TasteIlluminating and riveting. The Worth of Art is indispensable for anyone making an initial foray into art as a vehicle for building wealth. Its techniques and insights will also be new to many seasoned art investors. * CFA Institute’s Enterprising Investor *Selected as one of Martin S. Fridson's 3 favorite reads of 2023 * Shepherd *Two decades ago, Arturo Cifuentes, a Chilean financier, used his quantitative skills to parse financial derivatives with great effect: long before 2008, he warned that a financial crisis loomed (influencing my own journalism). Now, however, Cifuentes has another mission: he is redeploying his skills to analyse art, exploring issues such as the relative return and risk profile of Jean-Michel Basquiat’s paintings. (Complex calculations in his co-authored book The Worth of Art suggest that Basquiat not only outperforms US equities, but also works by Renoir and Matisse.)… At art fairs, financialisation remains a dirty word. But if this trend drives more money into the art world, those artists should have reason to raise a glass to it. As Cifuentes says, even algorithms can create beauty. * Gillian Tett, Financial Times *Essential reading for collectors, investors, and dealers -- as well as members of the art community. * Midwest Book Review *Table of ContentsPrefaceGlossaryPart I. Understanding the Art MarketsIntroduction1. Estimating Returns in the Art Market2. Simple Comparisons to Uncover Interesting Trends3. Price and Color in Paintings4. Art Market IndicesPart II. Investment Strategies5. Portfolio Management Strategies6. Art-Secured Lending7. Auction Guarantees8. The Market for Collectibles9. Art, Data, and Finance: A Few Speculations About the FutureAppendix for PoetsIndex

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Book SynopsisAI and the Art Market is the first book to offer an approachable introduction to AI for art-market professionals, considering AI's impact on and possible applications within the art world, whether as a business tool or as an artistic medium. The two primary topics of how AI is affecting the art market, and the growing market for AI art, are united under the broad theme of how art-market professionals can be better equipped to work with AI in an art-world context, as relative novices. The book addresses questions like: Can AI benefit your business? How can you best support artists working with AI and approach selling their work? What risks should you be aware of, and how can you distinguish between truly cutting-edge innovation and outlandish, unsubstantiated claims about AI? More broadly, how/is AI reshaping practices within the art market and what cultural changes should we be prepared for in the long term? AI and the Art Market puts forward a balanced overview of this increasingly

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Book SynopsisMore tales of antiques, strangeness and charm from the country auctioneerTrade Review'Marvellous . . . forget about car boot sales and eBay: this is the real thing.' * Independent on AN AUCTIONEER'S LOT *'Philip Serrell's gentle tales are redolent of a vanishing, if not already vanished, way of life.' * Daily Express *

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Book SynopsisA panoramic insider's account of the global art industry, revealing the fascinating but mysterious workings of the world of contemporary art.Trade Review'A tell-all book by the curator and art historian Matthew Israel takes readers on a year-long ride through the art world, from the heady heights of auction houses and art advisors to the practical matters of studios and shipping... A Year in the Art World will give some indication at least of what life was like in the fast lane of the pre-coronavirus art circus' - The Art Newspaper'Readers are introduced to curators, critics, gallerists and institutions across the globe' - Aesthetica'Israel is interested in why art matters now, and he chatted with some of today's premier artists, dealers, and curators to provide concise and comprehensible answers to complex questions' - Artnews'A must-read for anyone curious about the inner workings of the industry' - GalerieTable of ContentsPart I: WINTER – 1. A Studio Visit; 2. Fabricators; 3. Gallery Directors • PART II: SPRING – 4. Museum Directors; 5. Art Fairs; 6. Artist Estates; 7. Art Writers • PART III: SUMMER – 8. Curators; 9. Biennials; 10. Art Schools; 11. Art Online • PART IV: FALL – 12. Art Advisors; 13. Auctions; 14. Conservators; 15. Storage, Shipping and Handling

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Book SynopsisBreakfast at Sotheby''s is a wry, intimate, truly revealing exploration of how art acquires its financial value, from Philip Hook, a senior director at Sotheby''s''Reading it is like participating in a hugely enjoyable personal tutorial given by a cultured, witty, clear-eyed, world teacher with a fully functioning sense of humour. A real delight'' - Spectator ''Hook''s view of the art world is that of the professional auctioneer. In an A-Z format, it is an entire art education contained in under 350 pages. Wry, dry and completely beguiling'' - William Boyd, Guardian, Books of the Year ''How to nail the mad, bad, crazy contemporary art world in print? Sotheby''s senior director Hook draws on 35 years'' experience in this informal memoir. He unravels, with humour, piquancy and erudition, what drives the economics of taste'' - Financial Times, Books of the Year ''It''s very hard to write an amusing book about art that has some serious things to say. But Philip Hook has done it'' - Sunday Times, Books of the Year ''An auctioneer''s alphabet of quirky reflections and off-beat lists such as ''middle-brow artists'' and ''fictional artists'': an ideal volume for the art-lover''s bedside'' - Martin Gayford, Spectator, Books of the Year ''His delightful Breakfast at Sotheby''s is a house sale of a book, a chance for him to clear out 35 years of memories as an art dealer and auctioneer, first at Christie''s and then Sotheby''s, a rival auction house'' - Economist Philip Hook is a director and senior paintings specialist at Sotheby''s. He has worked in the art world for thirty-five years during which time he has also been a director of Christie''s and an international art dealer. He is the author of five novels and two works of art history, including The Ultimate Trophy, a history of the Impressionist Painting. Hook has appeared regularly on television, from 1978-2003 on the BBC''s Antiques Roadshow.Trade ReviewHook's view of the art world is that of the professional auctioneer. In an A-Z format, it is an entire art education contained in under 350 pages. Wry, dry and completely beguiling -- William Boyd * Guardian, Books of the Year 2013 *An auctioneer's alphabet of quirky reflections and off-beat lists such as 'middle-brow artists' and 'fictional artists': an ideal volume for the art-lover's bedside -- Martin Gayford * Spectator, Books of the Year *How to nail the mad, bad, crazy contemporary art world in print? Sotheby's senior director Hook draws on 35 years' experience in this informal memoir. He unravels, with humour, piquancy and erudition, what drives the economics of taste * Financial Times, Books of the Year *It's very hard to write an amusing book about art that has some serious things to say. But Philip Hook has done it. It's more a kind of Lonely Planet guide, written from the perspective of an auctioneer. In places it's a hoot, but it's also very wise here and there, and refreshingly irreverent. Sir William Russell Flint, for example, "painted like Augustus John commissioned by Playboy magazine" * Sunday Times, Books of the Year *Reading it is like participating in a hugely enjoyable personal tutorial given by a cultured, witty, clear-eyed, world teacher with a fully functioning sense of humour. A real delight -- William Boyd * Spectator *

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Book SynopsisBy the turn of the 20th century, Paris was the capital of the art world. While this is usually understood to mean that Paris was the center of art production and trading, this book examines a phenomenon that has received little attention thus far: Paris-based dealers relied on an ever-expanding international network of peers. Many of the city''s galleries capitalized on foreign collectors'' interest by expanding globally and proactively cultivating transnational alliances. If the French capital drew artists from around the worldfrom Cassatt to Picassothe contemporary-art market was international in scope. Art dealers deliberately tapped into a growing pool of discerning collectors in northern and eastern Europe, the UK, and the USA. International trade was rendered not just desirable but necessary by the devastating effects of wars, revolutions, currency devaluation, and market crashes which stalled collecting in Europe.Pioneers of the Global Art Market assembles original scholaTrade ReviewWithout losing touch with the intimate, collaborative relationship of artist and dealer, Pioneers of the Global Art Market dissects the market for modern art to reveal the complex transactional networks that spanned the globe from the middle of the nineteenth century to the middle of the twentieth. In a series of authoritative studies, authors address central players in the market for contemporary European art, such as Paul Durand-Ruel and Daniel-Henry Kahnweiler, as well as less well-known figures like Paul Guillaume, whose cultivation of ties with French colonial officials opened markets for African art in Europe and America. * Michael FitzGerald, Professor of Fine Arts, Trinity College, USA *Through its emphasis on dealers’ strategies, working in cooperation across national borders, this wide-ranging collection of essays makes an original and significant contribution to our knowledge of the processes through which art from France came to dominate the international canon of modern art. * Malcolm Gee, Visiting Fellow, Department of Arts, Northumbria University, UK *Drawing together an international team of scholars working across an impressive range of archival materials, this volume offers fresh and compelling analyses of the role of the art dealer in fostering the market for contemporary art produced in Paris c. 1850-1950, as well as the arts of Africa prized by modernists, revealing how dealers wove a transnational web of relations to create and sustain demand and value for this new art. For anyone interested in the fate of modernist art or strategies that have powered the global art market, this book is a must read. * Anne Helmreich, Associate Director, Getty Foundation, USA *The art market is not only driven by visionary dealers, it also relies on highly active networks that evolved in the course of an increasingly international exchange. Contrary to widespread assumptions, such networks are not a recent phenomenon: Pioneers of the Global Art Market unites a superb selection of engrossing case studies on how, between 1850 and 1950, dealers and other players in the art world forged and strengthened increasingly far-reaching personal and business connections. The volume’s intelligent focus on Paris—then the pre-eminent hub for the trade in avant-garde art—leads to particularly revealing insights into the market’s complex nervous system. As such, this highly stimulating book provides an excellent point of departure for a deeper understanding of the history of globalization. * Johannes Nathan, Chair, The International Art Market Studies Association (TIAMSA) *Dealer-centered, [this book] places diminished emphasis on overarching historical, national, social and critical structures that frame and inform the context of modern art. * Giovanna L. Costantini, Leonardo Reviews *[Pioneers of the Global Art Market] places a fresh emphasis on pragmatic, tactical, sometimes ad hoc cooperation between dealers, in particular across national borders. * Marie Tavinor, Review, The Society for the History of Collecting *Table of ContentsList of Plates List of Figures Series Editor’s Introduction Acknowledgements 1. Introduction: Pioneers of the Global Art Market: Paris-Based Dealer Networks, 1850-1950, Christel H. Force (The Metropolitan Museum of Art, USA) 2. Parisian Dealers and the American Market, 1860–1920, Paolo Serafini (Sapienza Universita di Roma, Italy), translated by Angelica Modabber 3. Old and New Worlds: Durand-Ruel and the International Market for Impressionism, Jennifer A. Thompson (Philadelphia Museum of Art, USA) 4. Moving Mountains: Paris-Based Dealers and the Economics of Translocation, David M. Challis (Melbourne University, Australia) 5. Daniel-Henry Kahnweiler’s International Partnerships, 1907-1937, Vérane Tasseau (Independent Scholar, France), translated by Celia Abele 6. Promoting Modernism in the 1920s: The Art Journals of Paul Guillaume, Léonce Rosenberg, and Alfred Flechtheim, Ambre Gauthier (Marc Chagall Foundation, Paris, France) 7. Paul Guillaume, Marius de Zayas and African Arts: A Transatlantic Partnership, 1914–1923, Yaëlle Biro (The Metropolitan Museum of Art, USA) 8. The Thannhauser Galleries: Forming International Alliances in an Era of Change, Valerie Nikola Ender (University of Cologne, Germany) 9. “A Viking sailing over the savage sea, far, far to the north”: Walther Halvorsen, Christel H. Force (The Metropolitan Museum of Art, USA) 10. When French Dealers “Turned their Eyes Towards Scandinavia”: The Svensk-Franska Konstgalleriet in Stockholm, Christina Brandberg (University of Loughborough, UK) 11. The Galerie Paul Rosenberg and the American Market in the Interwar Era, MaryKate Cleary (New York University, USA) 12. International Dealer Networks and the Market for Impressionism in London and Glasgow: Etienne Bignou, A.J. McNeill Reid, and Ernest Lefèvre, Frances Fowle (University of Edinburgh, UK) 13. Etienne Bignou: The Gallery as Antechamber of the Museum, Christel H. Force (The Metropolitan Museum of Art, USA) 14. Capricious Cohorts: René Gimpel’s Associates, Rivals, and Patrons Diana J. Kostyrko (Australian National University, Australia) 15. Valentine Dudensing and the Valentine Gallery: Selling the US on the School of Paris, Julia May Boddewyn (Independent Scholar, USA) 16. Conclusion, Veronique Chagnon-Burke (Christie’s Education, New York, USA) Author Biographies Index

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