The articles in this double issue, selected from papers presented at a conference held at Princeton in 2017, center around the treasury of San Isidoro de León to address wider questions about the meanings of cross-cultural luxury objects and textiles in royal-ecclesiastical collections.
Art Crossing Borders offers a thought-provoking analysis of the internationalisation of the art market during the long nineteenth century. Twelve experts, dealing with a wide variety of geographical, temporal, and commercial contexts, explore how the gradual integration of art markets structurally depended on the simultaneous rise of nationalist modes of thinking, in unexpected and ambiguous ways. By presenting a radically international research perspective Art Crossing Borders offers a crucial contribution to the field of art market studies.
This publication is open access and can be freely downloaded directly from the Brill website here.
on the art market related to the avant-garde remains still largely unexplored today.
The author of the present book aims to contribute to this field through a study
of collecting, art market strategies, and networks that fostered and sustained
Surrealism in the interwar and post-war periods in Britain. The volume focuses
on the London Gallery, the only Surrealist gallery to be active in England
since the end of the 1930s. It was managed by two Surrealist artists who were
also collectors: the Belgian E.L.T. Mesens and the British Roland Penrose. The London
Gallery opened in 1938, two years after the significant International Surrealist Exhibition held at the New Burlington
Galleries in London, an exhibition followed by the foundation of the Surrealist
This article, based on recently discovered material in several archives, tells the story of the bronze doors of the Morgan Library. It narrates the travel of the allegedly Renaissance bronze doors from their acquisition in Florence in 1901, to their brief sojourn in London before arriving in New York to adorn the principal façade of McKim, Mead & White’s building. This case study also addresses the attribution of the work to Thomas Waldo Story (1855–1915) and analyzes his position within the complex social microcosm of the art market in which the acquisition of J. Pierpont Morgan’s doors took place.