دانلود کتاب Art Markets, Agents and Collectors: Collecting Strategies in Europe and the United States, 1550–1950

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Title Page\nCopyright Page\nContents\nList of Plates\nList of Figures\nSeries Editor’s Introduction\nAcknowledgements\nIntroduction\nPart I: Agents in the market, 1550–1720\n I: Introduction: Agents in the art market, 1550–1720\n Chapter 1: Hans Albrecht von SprinzensteinAn Austrian art agent in the service of Archduke Ferdinand II of Tyrol\n Chapter 2: Marco Boschini and the artists of his time\n Chapter 3: International art dealers, local agentsand their clients in seventeenth-century Habsburg Inner Austria\n Chapter 4: James Thornhill as an agent-collector inearly-eighteenth-century Paris\nPart II: Agents in the long eighteenth century\n II Introduction: Hidden figures – agents in the longeighteenth century\n Chapter 5: Scottish agents in Rome in the eighteenth century: The case of Peter Grant\n Chapter 6: ‘An oracle for collectors’: Philipp von Stosch and collecting and dealing in art and antiquities in early-eighteenth-century Rome and Florence\n Chapter 7: Shaping the taste of British diplomats in eighteenth-century Venice\n Chapter 8: Establishing honest trading relationships: Academic painters in the art market of eighteenth-century France\n Chapter 9: The German art market in the eighteenth century\n Chapter 10: Playing the market: Lord Yarmouth, the Prince Regent and the role of the royal agent 1806–19\nPart III: The agent in the modern European art market, 1820–1950\n III: Introduction: The art market in Europe, 1820–1950\n Chapter 11: Edward Solly, Felice Cartoni and their purchases of paintings: A ‘milord’ and his ‘commissioner’ anticipating a transnational network of dealers c. 1820\n Chapter 12: ‘To see once again the glorious picture by Moretto before it is forever lost for Rome’: How an artist’s position in the canon of taste was enhanced in the nineteenth century\n Chapter 13: ‘It is not my fault if in all the private collections, the Dutch paintings surpass all.’: Thoré-Bürger’s promotion of Dutch art in the Parisian art market of the 1860s\n Chapter 14: The Beurdeleys: A dynasty of curiosity dealers and their networks\n Chapter 15: Collaboration and resistance: The National Gallery, London and the Italian art market at the end of the nineteenth century\n Chapter 16: ‘I shall set at once about the work’: Some agents in China\n Chapter 17: Promoting themselves: Agents and strategies in early Surrealism’s art market\nPart IV: Agents in the market for American collectors\n IV: Introduction: Collecting alliances in the United States duringthe long nineteenth century\n Chapter 18: Can a leopard change its spots?René Gimpel, art dealer\n Chapter 19: Samuel P. Avery’s early careerThe emergence of a successful art agent,art dealer and art expert\n Chapter 20: Dealing with allegories of the fourparts of the worldJames Hazen Hyde (1876–1959) and his network\n Chapter 21: Laying the foundation: Harold Woodbury Parsons and the making of an American museum\n Chapter 22: Convergences: Art history, museums and scholar-agent Martin Birnbaum’s transatlantic art for the public\nBibliography\nContributors\nIndex