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Susanna Avery-Quash and Christian Huemer, eds., London and the Emergence of a European Art Market, 1780–1820 (Los Angeles: Getty Research Institute, 2019)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.Susanna Avery-Quash is senior research curator in the history of collecting at the National Gallery, London, where she is in charge of the research area of buying, collecting, and display. She has led research projects, organized conferences, and published extensively on the history of collecting and the art market. Christian Huemer is director of the Belvedere Research Center, Vienna. From 2008 to 2017 he headed the Project for the Study of Collecting and Provenance at the Getty Research Institute.TABLE DES MATIÈRES :AcknowledgmentsThomas W. Gaehtgens and Nicholas Penny, ForewordSusanna Avery-Quash and Christian Huemer, IntroductionPart I: Patterns• Neil de Marchi, Introduction to Part One• Peter Carpreau, English and French Auctions in a Troubled Period, 1780–1820: A Quantitative Analysis of Volume, Price, and Taste Based on the Getty Provenance Index® Databases• Bénédicte Miyamoto, British Buying Patterns at Auction Sales, 1780–1800: Did the Influx of European Art Have an Impact on the British Public’s Preferences?• Hans J. Van Miegroet, Hilary Cronheim, and Bénédicte Miyamoto, International Dealer Networks and Triangular Art Trade between Paris, Amsterdam, and London• Guido Guerzoni, The Export of Works of Art from Italy to the United Kingdom, 1792–1830• Olivier Bonfait, The Taste for Eighteenth-Century French Paintings: Internationalization and Homogenization of Demand on the London Art Market around 1800Part II: Collections• Malcolm Baker, Introduction to Part Two• Camilla Murgia, From Private to National: Exhibiting Fine Arts in London around 1800• David Alexander, The Evolution of the Print Market and Its Impact on the Art Market, 1780–1820• Wendy Wassyng Roworth, Angelica Kauffman: The Acquisition and Dispersal of an Artist’s Collection, 1782–1825• Susanna Avery-Quash and Nicholas Penny, The Dispersal of the Orléans Collection and the British Art Market• Sarah Bakkali, The Trumbull Sale of 1797: Players in the Paris–London Art Market during the French Revolution• Rebecca Lyons, Selling the Collection of Welbore Ellis Agar in 1806Part III: Agents• Filip Vermeylen, Introduction to Part Three• Julia Armstrong-Totten, From Jack-of-all-Trades to Professional: The Development of the Early Modern Picture Dealer in Eighteenth-Century London• Francis Russell, James Christie: Auctioneer and More• Carole Blumenfeld, Pierre-Joseph Lafontaine and His Exploitation of European Art Market Imbalances in Paris and London, 1795–1815• Maria Celeste Cola, Thomas Hope and Gioacchino Marini: “Roman Agent of English Gentlemen”• Ana María Fernández García, Commercial Agents of Spanish Painting in the United Kingdom, 1780–1820Selected BibliographyBiographical Notes on the ContributorsIllustration CreditsIndex