The outstanding collection of European bronze scupltures formed by Peter Marino, which focuses especially on French and Italian bronzes of the High Baroque, includes masterpieces by some of the greatest sculptors of their age, among them Ferdinando Tacca, Giovanni Battista Foggini, Robert le Lorrain, and Corneille van Clève. This volume of the contributions to the symposium held in June 2010 testifying to the importance of the Marino Collection includes ten essays by distinguished scholars of sculpture. Charles Avery, author of major monographs on Giambologna and Bernini, discusses the impetus behind one of the most exciting models in the Marino Collection, a Hercules and Antaeus, after Maderno. Geneviève Bresc-Bautier, Director of the Louvre Sculpture Department, examines the discovery of a large number of small pieces of terracotta sculpture, thought to be from the workshop of Andrés-Charles Boulle, which was destroyed in 1720. Anthea Brook, who has published extensively on Ferdinando Tacca, considers the attribution of a pair of small Florentine bronze hunting groups in the Marino Collection, making the case for Damiano Cappelli - a bronze-casting specialist in the workshop of Tacca - to be considered as a scupltor capable of creating his own designs. Rosario Coppel investigates the impressive collection of small bronzes of the 3rd Duke of Alcalá(1583-1637), who was Philip IV's extraordinary ambassador to Pope Urban VIII and later Viceroy and Captain General in Naples. Phillippe Malgouyres, Curator of Bronzes, Ivories, and Metals at the Louvre, discusses the bronze casts after Bernini sculpture, a little-studied subject in the wide field of Bernini studies. Jeffiner Montagu, Senior Fellow of the Warburg Institute, attempts to put together and define the oeuvre of the unknown sculptor of the magnificent 15-figure group of bronze hunters, their hounds and a bull, in the Suermondt Ludwig Museum in Aachen. Independent scholar Regina Seelig Teuwen extoles Guillaume Berthelot as a sculptor of small bronzes, while Jeremy Warren, Collections and Academic Director at the Wallace Collection, discusses the challenges of cataloguing the Peter Marino Collection for the 2010 exhibition. Dimitros Zikos of the Museo Nazionale del Bargello in Florence presents the extraordinary collection of bronzes and terracottas of Giuseppe and Ferdinando Borri. Eike Schmidt, James Ford Bell Curator of Decorative Arts and Sculpture at the Minneapolis Institute of Art, discusses the adaption of two-dimensional models in Giovanni Battista Foggini's bronze sculpture.

Volume III in the 'Studies in the History of Collection' series, published in association with the Beazley Archive in the University of Oxford. 14 papers on The Mechanisms of the Art Market 1660-1830 presented at a symposium at the Wallace Collection, London in December 2003. Contents: Introduction (Neil De Marchi); 1) The Art Trade and its Urban Context: England and the Netherlands compared, 1550-1750 (David Ormrod); 2) The Auction Duty Act of 1777: the beginning of institutionalisation of auctions in Britain (Satomi Ohashi); 3) The Almoneda: the second-hand art market in Spain (Mari-Tere Alvarez); 4) The Market for Netherlandish Paintings in Paris, 1750-1815 (Hans J. Van Miegroet); 5) Le tableau et son prix a Paris, 1760-80 (Patrick Michel); 6) The System Governing Appraised Value in Ancien Regime France (Alden R. Gordon); 7) The Marquis de Vasse Against the Art Dealer Jacques Lenglier: a case-study of an eighteenth-century Parisian auction (Francois Marandet); 8) Pierre Sirois (1665-1726): le premier marchand de Watteau (Guillaume Glorieux); 9) The Purchase of the Past: Dr Richard Rawlinson (1690-1755) and the collecting of history (John Cherry); 10) John Anderson and John Bouttats: picture dealers in eighteenth-century London (David Connell); 11) Sir Godfrey Copley as Patron and Consumer, 1685-1705 (David Mitchell); 12) The Rise and Fall of a British Connoisseur: the career of Michael Bryan (1757-1821), picture dealer extraordinaire (Julia Armstrong-Totten); 13) 'In Keeping with the Truth': the German art market and its role in the development of connoisseurship in the eighteenth century (Thomas Ketelsen); 14) Abraham Hume e Giovanni Maria Sasso: il mercato artistico tra Venezia e Londra nel settecento (Linda Borean).