Philip Hook takes the lid off the world of art dealing to reveal the brilliance, cunning, greed and daring of its practitioners. In a richly anecdotal narrative he describes the rise and occasional fall of the extraordinary men and women who over the centuries have made it their business to sell art to kings, merchants, nobles, entrepreneurs and museums.

From its beginnings in Antwerp, where paintings were sometimes sold by weight, to the rich hauteur of the contemporary gallery in London, Paris and New York, art dealing has been about identifying what is intangible but infinitely desirable, and then finding clients for whom it is irresistible. Those who have purveyed art for a living range from tailors, spies and the occasional anarchist to scholars, aristocrats, merchants and connoisseurs, each variously motivated by greed, belief in their own vision of art and its history, or simply the will to win.

The cast of characters includes Paul Durand-Ruel, the Impressionists' champion; Herwath Walden, who first brought Modernism into the limelight; Daniel-Henry Kahnweiler, high priest of Cubism; Leo Castelli, dealer-midwife to Abstract Expressionism and Pop Art; and Peter Wilson, the charismatic Sotheby's chairman who made the auction room theatre.

Philip Hook's history is one of human folly, greed and duplicity, interspersed with ingenuity, inspiration and acts of heroism. Rogues' Gallery is learned, witty and irresistibly readable.

A SUNDAY TIMES BOOK OF THE YEAR The ten years leading up to the First World War were the most exciting, frenzied and revolutionary in the history of art. They were the crucible of Modernism, when Fauvism, Expressionism, Cubism, Futurism and Abstract Art all burst forth. Simultaneously the Old Master market boomed, and art itself was politically weaponised in advance of approaching war. What was the conventional art against which Modernism was rebelling? Why did avant-garde artists become so obsessed with themselves? What persuaded a few bold collectors to buy difficult modern art? And why did others pay so much money for Old Masters? Art expert Philip Hook brings to bear a unique perspective on the art of a unique and extreme decade.

Breakfast at Sotheby's is a wry, intimate, truly revealing exploration of how art acquires its financial value, from Philip Hook, a senior director at Sotheby's 'Reading it is like participating in a hugely enjoyable personal tutorial given by a cultured, witty, clear-eyed, world teacher with a fully functioning sense of humour. A real delight' - Spectator 'Hook's view of the art world is that of the professional auctioneer. In an A-Z format, it is an entire art education contained in under 350 pages. Wry, dry and completely beguiling' - William Boyd, Guardian, Books of the Year 'How to nail the mad, bad, crazy contemporary art world in print? Sotheby's senior director Hook draws on 35 years' experience in this informal memoir. He unravels, with humour, piquancy and erudition, what drives the economics of taste' - Financial Times, Books of the Year 'It's very hard to write an amusing book about art that has some serious things to say. But Philip Hook has done it' - Sunday Times, Books of the Year 'An auctioneer's alphabet of quirky reflections and off-beat lists such as 'middle-brow artists' and 'fictional artists': an ideal volume for the art-lover's bedside' - Martin Gayford, Spectator, Books of the Year 'His delightful Breakfast at Sotheby's is a house sale of a book, a chance for him to clear out 35 years of memories as an art dealer and auctioneer, first at Christie's and then Sotheby's, a rival auction house' - Economist Philip Hook is a director and senior paintings specialist at Sotheby's. He has worked in the art world for thirty-five years during which time he has also been a director of Christie's and an international art dealer. He is the author of five novels and two works of art history, including The Ultimate Trophy, a history of the Impressionist Painting. Hook has appeared regularly on television, from 1978-2003 on the BBC's Antiques Roadshow.