Chapter 1.

Chapter 2.

Chapter 3.

Chapter 4.

Chapter 5.

Chapter 6.

Chapter 7.

Chapter 8.

Chapter 9.

Chapter 10.

Chapter 11.


The Development of the Art Market in England:
Money as Muse, 1730–1900
Thomas M Bayer  and John R Page
Website Designer: Jessie Lingenfelter
Rembrandt Harmenszoon van Rijn
Christ Healing the Sick
Christ Healing the Sick
Edwin Long
Babylonian Marriage Market
Babylonian Marriage Market
Chapter Ten

Chapter ten discusses the inevitable decline of the mid-Victorian art boom. We argue that the ‘Golden Age’ came to an end in Britain mainly due to the success of, and consequent economic dependency on, mass-marketed prints and the associated dealer-organized exhibitions. Confronted with the new medium of photography, rampant copyright violations and adverse changes in copyright laws as well as the availability of cheap substitutes, the more expensive steel engraving could no longer compete. These formidable pressures on the existing market structure were further compounded by new aesthetic theories that arose as a result of the market’s demand for innovation and undermined the well-worn product characteristics of Victorian painting. A closer examination of the Etching Revival movement is presented as a paradigm of art producers pro-actively redesigning their products and successfully challenging prevailing aesthetics. We also discuss here in greater detail the brief history of the Grosvenor Gallery as a model for the kind of innovative competition in art marketing that is both symptom and agent of change. A similar role was played by dealers from the Continent who came to England hoping to profit in London’s buoyant art market.   In addition, contemporary British painting was again threatened by a resurgence of interest in old master works which, by comparison to works by living artists, were undervalued.