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Book SynopsisBefore Damien Hirst stuffed a shark, before Basquiat picked up a spray can, before Andy Warhol started The Factory, a pile of unwanted Jackson Pollocks changed everything. From them emerged the first major modern art dealer. It was 1947, and the art world would never be the same. From the early days on 57th Street, to the rise of SoHo in the 60s, to the emergence of Chelsea as the hotbed of art galleries, we see the meteoric rise and the devastating falls of the most renowned dealers: Larry Gagosian, David Zwirner, Arne Glimcher, and Iwan Wirth. With unparalleled access, the longtime Vanity Fairreporter tells us the story of contemporary art through the people who coddled, supported, and funded the likes of Jeff Koons, and Cy Twombly.It's a story of backstabbing, betrayals, fruitful partnerships, genius, and ever larger sums of money. The world of contemporary art is inextricable from the wild wealth and naked financial opportunism that surrounds it.

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Book SynopsisQueen as King traces the origins of San Isidoro in León as a royal monastic complex, following its progress as the site changed from a small eleventh-century palatine chapel housed in a double monastery to a great twelfth-century pilgrimage church served by Augustinian canons. Its most groundbreaking contribution to the history of art is the recovery of the lost patronage of Queen Urraca (reigned 1109-1126). Urraca maintained yet subverted her family’s tradition of patronage on the site: to understand her history is to hold the key to the art and architecture of San Isidoro. This new approach to San Isidoro and its patronage allows a major Romanesque monument to be understood more fully than before.Trade Review'...Thanks to Therese Martin's sweeping and accessible study of the royal family of León and its patronage of a series of monuments in their capital city, Spain's art historical isolation through the early twelfth century has been breached. Informed by the last two decades of feminist scholarship, Martin has shone a very revealing light on a series of, until now, misunderstood monuments, and put in high relief the contributions of Spain's royal women to the development of its artistic, and political, traditions.... This is an astoundingly synthetic work. Martin draws on the evidence of chronicles, inscriptions, manuscript painting, sculptural and architectural style, iconography from sculpture and paintings, archeological remnants, and mason's marks.'... Diane Reilly, Medieval Feminist Forum, 2007. '...Martin's meticulous analysis of the structure of the church and the work of its masons is impressive, and she may be correct in re-assigning the patronage of this important church...' Rose Walker, The Medieval Review, 2007. ...Therese Martin has written a fascinating, intricate study. … With its engaging text, lavish illustrations, informative appendices, and exciting interpretations, Queen as King is a real pleasure to read and savor.... Ernest E. Jenkins, Bulletin of the Society for Spanish and Portuguese Historical Studies, vol. XXXII, 1 and 2, 2007 “Using a rich mixture of evidence, art historian Therese Martin persuasively makes the case that Queen Urraca of Castilla-León (r. 1109-1126) was one of the most significant patrons of San Isidoro of León. Martin effectively incorporates the technical aspects of architectural history into a larger narrative of political history... Queen as King grapples with the relationship between architecture, gender, and history, and significantly adds to the historiography of Queen Urraca, an important ruler of the Spanish Middle Ages.” Miriam Shadis, American Academy of Research Historians of Medieval Spain, Newsletter: Spring – Supplement "The study of medieval queens as agents in European political life and as patrons of visual culture has mushroomed in the past decade from an obscure subject to a lively field. Therese Martin's book makes valuable contributions to the topic, for her study is at once a comprehensive monograph of a key Romanesque monument, San Isidoro de León, an analysis of the decisive impact of the female patronage in the construction and cultic identity of the church, and a consideration of the rulership of one of the key patrons of San Isidoro... One of the most valuable contributions of Martin's volume is her survey of literature not widely known beyond Hispanic specialists. In addition to a rich bibliography on San Isidro and related monuments, Queen as King offers access to valuable resources for Spanish royal women... " Kathleen Nolan, Speculum, 2008 '...Martin's is the first study to unite the analysis of archaeological data, the study of chronicles and charters, epigraphy, stylistic analysis, the politics of patronage, and a feminist perspective... Looking hard at evidence often skimmed over by previous scholars, she builds a convincing case that the present structure was largely completed under the patronage of Queen Urraca (r. 1109-26), who ruled the unified kingdoms of Spain as an independent monarch, an unprecedented role for a woman in medieval Iberia... An important contribution to both the history of art and the understanding of medieval queenship...' Alexa K. Sand, Sixteenth Century Journal, XXXIX/2 2008Table of ContentsAcknowledgements Chapter One From Patron to Harlot: How Did Queen Urraca Get Here from There? Chapter Two The Establishment of San Isidoro as a Palatine Chapel: Fernando I (d. 1065) and Sancha (d. 1067) Chapter Three The Power of the King’s Sister: The Infanta Urraca (d. 1101) and Alfonso VI (d. 1109) Chapter Four Dynastic Propaganda in a Queen’s Patronage at San Isidoro: Urraca of León-Castilla (reigned 1109–1126) Chapter Five The Painted Cycle of the “Pantheon,” c. 1109 Chapter Six The Infanta Sancha (d. 1159), Alfonso VII (d. 1157), and Construction of the Monastic Complex Chapter Seven Queen as King: Urraca of León-Castilla (d. 1126), Matilda of England (d. 1167), and Melisende of Jerusalem (d. 1161) Appendix A Capitals Appendix B Masons’ Marks Bibliography Index

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Book SynopsisBased on Guilliam Forchondt’s surviving business documentation in Antwerp and applying an aggregate and data-driven approach, Connecting Art Markets focuses on the role of art dealers in mediating the supply and demand for art, behaving in particular ways as to influence the markets for artworks in which they were strategically invested. Van Ginhoven presents her findings on Guilliam Forchondt’s workshop production volumes and transatlantic art trade flows, and evaluates the relationship between the production of paintings in the Southern Netherlands, their local, regional and overseas distribution channels, and the markets for these works in Europe and the Americas during the seventeenth century.Trade Review"This study, the first publication in Brill’s new series Studies in the History of Collecting and Art Markets, is an excellent example of economic and digital art historical research in which statistics and visualizations are used very effectively to contribute novel insights to historical debates." Claartje Rasterhoff, Amsterdam University "... Sandra van Ginhoven’s Connecting Art Markets. Guilliam Forchondt’s Dealership in Antwerp (c.1632–78) and the Overseas Paintings Trade, carried out with the utmost scholarly care and creativity and vividly written, is a resounding accomplishment. It is, basically, art market studies at its best, and thus an excellent and inspiring kickoff of the new Studies in the History of Collecting & Art Markets series edited by Getty’s Christian Huemer." Koenraad Brosens, University of Leuven For the full review see https://www.artmarketstudies.org/brosens-koenraad-review-of-sandra-van-ginhovens-connecting-art-markets

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Book SynopsisThe professional career and success of Wilhelm Bode (1845-1929) relied on the business of connoisseurship. Like other contemporary art historians involved in the commerce of art, he was entangled in the reciprocal dynamics and interdependencies of the nascent discipline of art history, connoisseurship and the art trade. The volume introduces new material and a fresh perspective on Bode’s strategic participation in the Western art market, exposing the particular consequences of these entanglements on the birth of the art historical canon and showcasing his complex agency within the art marketplace of the late nineteenth and the early twentieth centuries.Table of ContentsList of Illustrations Notes on Contributors Introduction: The Entanglement of Art Historical Scholarship, Connoisseurship and the Art Trade in the Late Nineteenth Century Part 1: Deploying Connoisseurship to Affect the Market 1 Wilhelm Bode and His Loyal Lieutenants: The Trade in Dutch Pictures, 1879–1914  Michael J. Ripps 2 Wilhelm Bode and Charles Sedelmeyer in 1882–83: The Start of a Fateful Relationship  Catherine B. Scallen 3 Wilhelm Bode and Johannes Vermeer: Creating a Taste and a Market  Esmée Quodbach Part 2: Navigating the Italian Marketplace through Networks of Dealers and Intermediaries 4 Wilhelm Bode and the Italian Art Trade in Renaissance Sculpture: The Case of Genoa  Michela Zurla 5 Bardini and Beyond: Wilhelm Bode and the Art Dealers in Florence  Patrizia Cappellini Part 3: Art Advisory and Strategic Relationships with Collectors 6 Some Remarks on Wilhelm Bode and the Art Market in Italy, 1880s–1909: The Cases of Pietro Foresti (1854–1926) and A. Chiesa  Fulvia Zaninelli 7 Wilhelm Bode and the Collector Adalbert von Lanna  Michaela Watrelot Part 4: Bode’s Double Game 8 The Spy of Venice: Gustav Ludwig and Wilhelm Bode between Art Market and Art Research  Martin Gaier 9 Wilhelm Bode and the Rise and Fall of the Grand-ducal Gallery of Oldenburg  Sebastian Dohe and Malve Anna Falk Index

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