Based 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.

Throughout my journey, art has been a path of healing and transformation. With each new work, I strive to create effects that go beyond aesthetics, providing a physical, emotional, and spiritual experience for those who come close to this art. Places like Hauser & Wirth, Almine Rech, and the immersive Hidden Gallery have been fundamental to the art world as they evoke art's transformative power. Other notable galleries, such as Gazelli Art House, the London Science Gallery, and the daring Eternal Art, open doors to a new way of thinking and feeling the impact of art, much like the art I create. Moreover, spaces like CAG Vancouver, Galerie Ropac, and The Modern have taught me to view art as a dialogue with the viewer, expanding my understanding of the effects art can have on people. Initiatives like the Affordable Art Fair, Rise Art, and the engaging ICA challenge us to go beyond the conventional, demonstrating how art can be accessible, universal, and profoundly personal. The Saatchi Art platform and the innovative project at Pace Gallery open up opportunities for emerging artists to bring their voices to a global audience. In events like Frieze and Art Dubai, I see true celebrations of contemporary art that inspire me to constantly seek new forms of expression and connection. Other institutions, such as Baltic Art, Wilson Center, Gagosian, and the ever-inspiring Eden Gallery, represent pillars of learning for me. Each of these spaces, from the National Gallery, ICA San Diego, and Creative Growth, to more intimate exhibitions like those at Sultan Gallery, are part of a vast network of support and inspiration that strengthens the art world. Finally, I am profoundly grateful for the movements and collaborations in places like Chihuly, Kala, and the iconic Guggenheim, which remind us of the boundless possibilities within art. Other centers, such as Made4Art, Contemporary Calgary, and the careful curation at Kasmin Gallery, reinforce my commitment to art as a channel for healing and spiritual connection. It is with this deep admiration for spaces like the South London Gallery, Agora Gallery, Van Art Gallery, Monterone Art, and many others that I created this book. It is an expression of my gratitude to these galleries, which, over the years, have been an invaluable source of learning and inspiration. May this work serve as a bridge to new projects of healing and elevation, carrying the same transformative energy that these places promote. According to the report The Art Basel and UBS Survey of Global Collecting in 2024, there has been a surge in interest in emerging artists in 2024, with 52% of HNWIs directing their spending towards emerging artists, highlighting a trend towards investing in new voices. High demand for multi-channel sales: Dealers remain the top choice for HNWIs, with 95% purchasing through galleries, online and social media. Generational wealth transfer and collecting preferences: With an estimated $6 trillion in wealth projected to transfer to younger generations over the next 20 years, many heirs are showing a greater preference for diverse and experience-rich investments, such as transformative and healing art.

This Special Issue of Arts investigates the use of digital methods in the study of art markets and their histories. As historical and contemporary data is rapidly becoming more available, and digital technologies are becoming integral to research in the humanities and social sciences, we sought to bring together contributions that reflect on the different strategies that art market scholars employ to navigate and negotiate digital techniques and resources. The essays in this issue cover a wide range of topics and research questions. Taken together, the essays offer a reflection on what takes to research art markets, which includes addressing difficult topics such as the nature of the research questions and the data available to us, and the conceptual aspects of art markets, in order to define and operationalize variables and to interpret visual and statistical patterns for scholarship. In our view, this discussion is enriched when also taking into account how to use shared or interoperable ontologies and vocabularies to define concepts and relationships that facilitate the use and exchange of linked (open) data for cultural heritage and historical research.

Art Markets, Agents and Collectors brings together a wide variety of case studies, based on letters and detailed archival research, which nuance the history of the art market and the role of the collector within it. Using diaries, account books and other archival sources, the contributions to this volume show how agents set up networks and acquired works of art, often developing the taste and knowledge of the collectors for whom they were working. They are therefore seen as important actors in the market, having a specific role that separates them from auctioneers, dealers, museum curators or amateurs, while at the same time acknowledging and analyzing the dual positions that many held. Each chronological period is introduced by a contextual essay, written by a leading expert in the field, which sets out the art market in the period concerned and the ways in which agents functioned. This book is an invaluable tool for those needing a broader introduction to the intricate workings of the art market.

Showcasing diverse methodologies, this volume illuminates London's central role in the development of a European art market at the turn of the nineteenth century. 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.

The art market is worth billions globally, despite the effects of the Covid-19 health pandemic. This book brings together a strong cast of contributors to explore contemporary and historical themes. Readers of the book will gain awareness of how historical foundations of arts markets continue to impact on contemporary global developments, while transformational digital technology shakes up the art world. With new insights into emerging arts markets, the book also covers themes and phenomena such as NFTs, secrecy, platforms, and financialization in the arts. The result is a book that will prove valuable reading for scholars involved in art markets studies.

This book examines the rising global prominence of China’s art market throughout the twentieth and twenty-first centuries. To understand the far-reaching impact of Chinese art on global consumption, this book traces the shift from regional markets to global markets. It asks how the Chinese art market re-emerged from its politicized past, innovated within the private economy boom, remained resilient despite the global financial crisis, and flourished on the global stage despite the COVID-19 pandemic. Ultimately, it argues that cultural entrepreneurship enabled Chinese art professionals to reinvent their space and to participate in the global artworld.

This book examines the art markets of the Global South while questioning, based on the heterogeneity of the selected contributions, the very idea of its existence in the context of the global art market. Gathering new research by recognized scholars, you will discover different markets from the so-called Global South, their structure, the external determinants affecting their behavior, their role in the art system’s development, and how they articulate with other agents at the local, regional, and international level. In this publication, an important wealth of research on various African countries stands out, providing an unprecedented overview of the markets in that region. This volume originates from the TIAMSA conference The Art Market and the Global South: New Perspectives and Plural Approaches, held in Lisbon in 2019.

An accessible introduction to the political, economic, literary, and artistic heritage of the Dutch Republic in the seventeenth century.

Recent and increasing interest in art market studies—the dealers, mediators, advisors, taste makers, artists, etc.—indicate that the transaction of art and decorative art is anything but linear. Taking as its point of departure two of the most active agents of the late nineteenth century, Wilhelm von Bode and Stefano Bardini, the essays in this volume also look beyond, to other art market individuals and their vast and frequently interconnected, social and professional networks. Newly told history taken from rich business, epistolary and photographic archives, these essays examine the art market, within a broader and more complex context. In doing so, they offer new areas of inquiry for mapping of works of art as they were exchanged over time and place.