Connecting Art Markets

Guilliam Forchondt’s Dealership in Antwerp (c.1632–78) and the Overseas Paintings Trade


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.
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EUR €124.00USD $149.00

Biographical Note

Sandra van Ginhoven, Ph.D (2015), Duke University, is Research Associate II at the Getty Research Institute in Los Angeles. She has published articles on the role of art dealers and her research at the intersection between art history and economics engages tools for data analysis and visualization.

Review Quotes

"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


All interested in the history of art markets, particularly art historians, economists, early modern and business historians, as well as cultural economists dealing with cross-cultural relationships.

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