17th Century
General
Anderson, C., The Flemish merchant of Venice: Daniel Nijs and the sale of the Gonzaga art collection, New Haven and London, 2015.
Ayers, J., Impey, O. and J. Mallet, Porcelain for Palaces: The Fashion for Japan in Europe 1650-1750, London, 1990.
Brown, J., Kings and Connoisseurs: Collecting Art in the Seventeenth Century, Princeton, 1995.
Haskell, F., Patrons and Painters, New Haven, 1963.
Britain
Brotton, J., The Sale of the Late King’s Goods: Charles I and his art collection, London, 2006.
Betcherman, L., ‘The York House and its Keeper,’ Apollo, 92, October 1970.
Chaney, E., (ed.), The Evolution of English Collecting, New Haven, 2003.
Chaney, E. and T. Wilks, The Jacobean Grand Tour: Early Stuart Travelers in Europe, London, 2013.
Davies, R., ‘The inventory of the Duke of Buckingham’s collection,’ Burlington Magazine, vol. 10, 1906-7.
Haskell, F., The King’s Pictures, New Haven, 2013.
Hearn K., ‘A Question of Judgement: Lucy Harrington, Countess of Bedford as ‘Art Patron and Collector,’ in The Evolution of English Collecting: the Reception of Italian Art in the Tudor and Stuart Periods, Cheney, E., New Haven and London, 2003.
Howarth, D., ‘The Patronage and Collecting of Alathea, Countess of Arundel, 1606-54,’ Journal of the History of Collections vol. 10, no. 1, 1998.
Howarth, D., ‘Charles I and the Gonzaga Collections,’ in Chambers, D. and J. Martineau, Splendours of the Gonzaga, London, 1981.
Howarth, D., Lord Arundel & His Circle, New Haven, 1987.
Jaffé, D., ‘The Earl and Countess of Arundel: Renaissance Collectors,’ Apollo, vol. CXLIV, no. 414, August 1996.
Lockyer, R., The Life and Political Career of George Villiers, Duke of Buckingham 1592-1618, London, 1981.
Leith-Ross, P., The John Tradescants, Gardeners to the Rose and Lily Queen, Cambridge, 1998.
Macgregor, A. (ed.), The Late King’s Goods, Oxford, 1989.
Macgregor, A., Tradescant’s Rarities: Essays on the Foundation of the Ashmolean Museum, 1683, Oxford, 1983.
McEvansoneya, P., ‘A Note on the Duke of Buckingham’s Inventory,’ Burlington Magazine, vol.128, 1986.
McEvansoneya, P., ‘Some Documents Concerning the Patronage and Collections of the Duke of Buckingham,’ Rutgers Art Review, vol. 8, 1987.
McEvansoneya, P., ‘An Unpublished Inventory of the Hamilton Collection in the 1620s and the Duke of Buckingham’s Pictures,’ Burlington Magazine, vol. 134, 1992.
Millar, O., The Queen’s Pictures, London, 1977.
Peck, L. L., Consuming Splendour, Cambridge, 2005.
Strong, R. Henry, Prince of Wales, and England’s Lost Renaissance, New York, 1986.
Waagen, G., ‘The Great Trio: Charles I, Arundel & Buckingham,’ F. Herrmann, The English as collectors, London, 1972.
Watson, K. and C. Avery, ‘ Medici and Stuart: A Grand Ducal Gift of ‘Giovanni da Bologna’ bronzes for Henry Prince of Wales, 1612,’ Burlington Magazine, vol. 113, 1973.
Wilks, T. (ed.), Prince Henry Revived: Image and Examplarity in Early Modern England, Southampton and London, 2007.
Flanders
Belkin, K. L. & F. Healey, A House of Art-Rubens as a Collector, exhibition catalogue, Rubens House, Antwerp, 2004.
Clark, K., Rembrandt and the Italian Renaissance, New York, 1966.
De Marchi, N., and H. van Miegroet, ‘Pricing Invention: “Originals,” “Copies,” and their Relative Value in Seventeenth-Century Netherlandish Art Markets,’ in Ginsburg, V. and P.-M. Menger, (eds.), Economics of the Arts, Amsterdam, 1996.
Dreher, E.P., ‘The Artist as Seigneur: Chateaux and Their Proprietors in the Work of David Teniers II,’ Art Bulletin, vol. 59, no. 197.
Duerloo, L., Dynasty and Piety. Archduke Albert (1598-1621) and Habsburg Political Culture in an Age of Religious Wars, Farnham, 2012.
Held, J., ‘Artis Pictoriae Amator: An Antwerp Art Collector and his Collection,’ in J. Held, (ed.), Rubens and his Circle, Princeton, 1982.
Honig, E., Painting and the Market in Early Modern Antwerp, New Haven, 1998.
Jaffé, M., Rubens and Italy, Oxford, 1977.
Muller, J., Rubens: The Artist as a Collector, Princeton, 1989.
Muller, J., ‘Private Collections in the Spanish Netherlands: Ownership and Display of Paintings in Domestic Interiors.’in Sutton, P. (ed.), The Age of Rubens¸ Exhib. Cat. Boston-Toledo, 1993-4.
Schuckelt, H., Dier TurckshedCammer. Sammlung orientalischer Kunst in der kurfustsachsichern Rustkammer, Dresden.
Thomas, W. and L. Duerloo (eds.), Albert & Isabella 1598-1621: essays, Turnhout, 1998.
Van den Brink¸P.B.R., ‘The Art of Copying: copying and serial production of paintings in the Low Countries in the 16th and 17th centuries, in van den Brink (ed.), Brueghel Enterprises, Exhib. Cat. Maastricht, Brussels 2001
France
Bouenot-Déchin, P. and G. Farhat, André Le Nôtre in Perspective, New Haven and London, 2014.
Brown, P., The Fabrication of Louis XIV, New Haven and London, 1992.
Caldicott, C.E.J., Gaston d’Orléans: mécène et ésprit curieux’ L’age d’or ou de mécénat (1598-1661), Paris, 1985.
Castelluccio, S., Le Garde-Meuble de la Couronne et ses intendants du XVI au XVIII siécle, Paris, 2004.
Castelluccio, S., Le Prince et le Marchand: le Commerce des meubles et des objets d’art par les marchands merciers parisiens pendent le règne de Louis XIV, Paris, 2014.
Cowen, P., ‘Philippe d’Orléans, l’Avant Garde, The Porcelain owned by Philippe d’Orléans, Regent of France’, Journal of the History of Collections, vol. 18, no.1, 2006.
De Conihout, I. and P. Michel, Mazarin, Les Arts et :Les Lettres, Paris, 2006.
Dethhan, G., Gaston d’Orleans: Conspirateur et prince charmant, Paris, 1981.
Dew, N., Orientalism in Louis XIV’s France, Oxford Scholarship on Line, 2009.
Ferrier-Caveriviere, L’image de Louis XIV dans la litérature française, Paris, 1981.
Gougeon, C. (ed.), Un Temps d’exubérane: Les Arts Décoratifs sous Louis XIII et Anne d’Autriche, Paris, 2002.
Guiffrey, J., Comptes des Bâtiments du Roi sous le règne du Louis XIV, Paris, 1881-1901.
Guiffrey, J., Inventaire Général du mobilier de la Couronne sous Louis XIV, Paris, 1885-6.
Hamilton, A., & Francis R., Andre Du Ryer and Oriental studies in seventeenth-century France, London and Oxford, 2004.
Hatton, R., Louis XIV and his world, London, 1972.
Howarth, W.D., Life and Letters in France in the 17th century, London, 1965.
Lux, D., Patronage and Royal Science in 17th-century France, Ithaca, 1989.
McCabe, I., Orientalism in Early Modern France, Oxford, 2008.
Michel, P., Mazarin, Prince des Collectionneurs: Les Collections et l’Ameublement du Cardinal Mazarin (1602-1661), Paris, 1999.
Milovanivic, N., and A. Maral (eds.), Louis XIV l’homme et le roi, Exhibition catalogue, Versailles, 2010.
Roche, D., A History of Everyday Things: the birth of Consumption in France 1600-1800, Cambridge, 1977.
Saule, B., ‘Le premier goût du roi à Versailles. Décoration et ameublement’, Gazette de Beaux-Arts, Oct. 1992.
Schnapper, A., Le Géant, la Licorne et la Tulipe. Les Cabinets de Curiosités en France au XVIIème Siècle, Paris, 1988.
Schnapper, A., Curieux du Grand Siècle. Collections et Collectionneurs dans la France du Dix-Septième Siècle, Paris, 1994.
Stankevitch, B., Le Gout Chinois en France au Temps de Louis XIV, Paris, 1970.
Szanto, M., ‘L’affaire Jabach : Charles Le Brun et les tableaux de Louis XIV’, Revue de l’art, vol. 192, 2016,
Tuilleries Exhibition Catalogue, Les Collections de Louis XIV: dessins, albums, manuscrits, Tuilleries, 1978.
Watson, F., and Whitehead, J., ‘An Inventory Dated 1689 of the Chinese Porcelain in the Collection of the Grand Dauphin, Son of Louis XIV, at Versailles,’ Journal of the History of Collections, vol. 3, no. 1, Oxford, 1991.
Germany and Hapsburg Collections
Fimpeler-Philippen, A. and S. Schürmann, ‘Ein Blick auf un hinter die Mauern des Schlosses,’ in Fimpeler-Philippen, A. and S. Schürmann (eds.), Das Schloss in Düsseldorf, Düsseldorf, 1999.
Fischer, H., ‘Kurfürst Lothar Franz von Schönborn und seine Gemäldegalerie,’ in Berichte des historischen Vereins für de Pflege der Gschichte des ehemaligen Fürstenbistums zu Bamberg, vol. 80, 1928.
Fleischer, V., Fürst Karl Esuebius von Liechtenstein als Bauherr und Kunstsammler (1611-84), Vienna and Leipzig, 1910.
Gerkens, G., Das fürstliche Lustschloss Saldahlem und sein Erbauer Herzog Anton Ulrich von Braunschweig-Wolfenbüttel, Braunschweig, 1974.
Heppe, K-B., Anna Maria Luisa Medici-Kurfürstin von der Pfalz, Düsseldorf, 1988.
Marx, B. (ed.), Kunst und Repräsentation am Dresdener Hof, Munich and Berlin, 2005.
Möhlig, K., Die Gemälde des Kurfürsten Johann Wilhelm von Pfalz-Neuburg (1658-1716), Dusseldorf and Cologne, 1993.
Popova, K., ‘Rekonstruktion der Dresdener Künstkammer auf der Grunlage des Inventars von 1640,’ in Marx, B. (ed.), Kunst und Repräsentation am Dresdener Hof, Munich and Berlin, 2005.
Savoy, B., Tempel der Kunst. Die Entstehung des öffentilchen Museums in Deutschland 1701-1815, Mainz, 2006.
Italy
Bell, J. and T. Willette (eds.), Art History in the Age of Bellori: Scholarship and Politics in Seventeenth-Century Rome, Cambridge, 2002.
Borean, L. and S. Mason (eds.), Figure de colleczionisti a Venezia tra Cinque e Seicento, Venice, 2002.
Borean, L. and S. Mason (eds.), Il collezionismo d’arte a Venezia: il Seicento, Venice, 2007.
Cappeletti, F. (ed.), Decorazione e collezionismo nel Seicento: Vicende di artisti, commitenti, Mercanti, Rome, 2003.
Cavazzini, P., ‘La diffusione della pittura nella Roma di primo Seicento: collezionisti ordinary e mercaniti,’ Quaderni storici, vol. 39, 2004.
Cavazzini, P., ‘Claude’s Apprenticeship in Rome: The Market for Copies and the Invention of the Liber Veritatis,’ Kunsthistorisk Tidskrift, vol. 73, 2004.
Cavazzini, P., Painting as Business in Early Seventeenth-Century Rome, University Park, Pennsylvania, 2008.
Cecchini, I., Quadri e commercio a Venezia durante il Seicento: Uno studio sul mercato del’arte, Venice, 2000.
Cecchini, I., ‘Al servizio dei collezionisti : La professionalizzazione nel commercio di dipinti a Venezia èil ruolo della botthege,’ in Aikema, B., R. Lauber and M. Seidel, Il collezionismo a Venezia e nel Veneto ai tempi della Serenissima, Venice, 2005.
Di Gioai, S. (ed.), Cristina di Svezia- Le colleczioni reali, Milan, 2003.
Cropper. E. (ed.), The Diplomacy of Art: Artistic Creations and Politics in Seicento Italy, Bologna, 2000.
Fantoni, M., L. Matthew and S. Matthews-Grieco, The Art Market in Italy 15th-17th centuries, Modena, 2002.
Feigenbaum, G. and F Freddolini (eds.), Display of Art in the Roman Palace 1550-1750, Los Angeles, 2014.
Hook, J., ‘Urban VIII: The paradox of a spiritual monarchy,’ in Dickens, A. G. (ed.), The Courts of Europe:
Politics, Patronage and Royalty 1400-1800, London, 1977.
Lavin, M.A., Seventeenth-Century Barberini Documents and Inventories of Art, New York, 1975.
Lemoine, A., Nicholas Regnier (alias Niccolò Regnieri) ca 1588-1667: Pientre, collectioneur et marchand d’art, Paris, 2007.
Pozzolo, E. M dal and L. Tedoldi (eds.), Tra commitenza e collezionismo: Studi sul mercato dell’ arte nell’Italia settentrionale durante l’età moderna, Vicenza, 2003.
(Rietbergen, P., Power and Religion in Baroque Rome: Barberini Cultural Policies, Leiden, 2006.
Spear, R. and P. Sohm, Painting for Profit: The Economic Lives of Seventeenth-Century Italian Painters, New Haven and London, 2010.
Waddy, P., 17th C Roman Palaces, Massachesetts, 1990.
Walker S. and F. Hammond, Life and the arts in the Baroque Palaces of Rome; ambiente barocco, New York, 1999.
Spain and Portugal
Brown, J. and J. H. Elliott, A Palace for a King: The Buen Retiro and the Court of Philip IV, Yale University Press, New Haven and London, 2003.
Checa, F., El Real Alcázar de Madrid : dos siglos de arquitectura y coleccionismo en la corte de los reyes de España, Madrid, 1994.
Cumberland, R., An Accurate and Descriptive Catalogue of the Several Paintings in the King of Spain’s Palace at Madrid; with some account of the pictures in the Buen-Retiro, London, 1787.
Elliott, J., Philip IV of Spain, Prisoner of ceremony, Cambridge University Press, Spain, 1988.
Feros, A., ‘El Duque de Lerma: valimiento y construcción de un Nuevo paradigm politico,’ in J.A. Escudero (ed.), Los validos, Madrid, 2004.
Orso, S. N. Philip IV and the Decoration of Alcazar of Madrid, Princeton, 1986.
Ubeda de Los Cobos, A. (ed.), Paintings of the Planet King. Philip IV and the Buen Retiro Palace, Madrid and London, 2005.
Von Barghahn, B., Philip IV and the ‘Golden House’ of the Buen Retiro: in the Tradition of Caesar, New York and London, 1986.
United Provinces
Bok, J. M., ‘The Painter and His World: The Socio-Economic Approach to 17th-century Dutch Art,’ The Golden Age of Dutch Painting in Historical Perspective, Cambridge, 1999.
Clark, K., Rembrandt and the Italian Renaissance, New York, 1966.
Crenshaw, P., Rembrandt’s Bankruptcy: The Artist, His Patrons, and the Art World in Seventeeth-Century Netherlands, Cambridge, 2006.
Lammertse, F and J. van der Veen (eds.), Uylenburgh & Son: Art and Commerce from Rembrandt to De Lairesse, 1625-1675, Zwolle, 2006.
Keblusek, M. and J. Zijlmans (eds.), Princely Display: The Court of Frederik Hendrik of Orange and Amalia van Solms, The Hague, 1997.
Montias, M., Artists and Artisans in Delft: A Study of the Seventeenth Century, Princeton, 1982.
Montias, J., ‘Cost and Value in Seventeenth-Century Dutch Art,’ Art History vol. 10, 1987.
Montias, J. ‘Art Dealers in the seventeenth-century Netherlands,’ Simolus, vol. 18, 1988.
Montias, M., Art at Auction in 17h-century Amsterdam, Amsterdam 2002.
Montias,M. and J. Loughman., Public and Private Spaces: Works of Art in Seventeenth-Century Dutch Houses, Zwolle, 1999.
North, M., Art and Commerce in the Dutch Golden Age, New Haven and London, 1996.
Ploeg, P. van der and C. Vermeeren (eds.), Princely Patrons: The Collection of Frederick Henry and Amalia of Solms, The Hague, 1997.
Schwartz, G., Rembrandt’s Universe: His Art, His Life, His World, London, 2006.
Treanor, V., ‘Une abundance extra ordinaire’: The Porcelain Collection of Amalia van Solms, Early Modern Women: An Interdisciplinary Journal, vol. 9, 2014.
Tucker, R., ‘The Patronage of Rembrandt’s Passion Series: Art, Politics, and Princely Display at the Court of Orange in the Seventeenth Century.’ The Seventeenth Century, vol. 25, 2010.
Tummers, A. and K. Jonckheere (eds.), Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries, Amsterdam, 2008.
Vries, J. de, ‘Luxury and Calvinism / Luxury and Calvinism: Supply and Demand for Luxury Goods in the Seventeenth-century Dutch Republic,’ The Journal of the Walters Art Gallery, vol. 57, Baltimore, 1999.
EIGHTEENTH CENTURY
General
Baker, M., Figured in Marble. The Making and Viewing of Eighteenth-Century Sculpture, Oxford, 2000.
Black, J., The Grand Tour in the Eighteenth-Century, New York, 1992.
Blondel, J.F., L’Homme du Monde Eclairé par les Arts, Paris, 1774.
Haskell, F., Patrons and Painters-A Study in relations between Italian Art and Society in the Age of the Baroque, New Haven, 1980.
Hibbert, C., The Grand Tour, London, 1987.
Hornsby, C., The Impact of Italy: The Grand Tour and Beyond, London, 2000.
Howard, S., ‘Albani, Winckelmann and Cavaceppi. The Transition from Amateur to Professional Antiquarianism,’ Journal of the History of Collections, vol.4, no. 1, 1992.
Paul, C., The First Modern Museums of Art-The Birth of an Institution in 18th and Early-19th– Century Europe, Los Angeles, 2012.
Sloane, K. and A. Burnett, Enlightenment – Discovering the World in the Eighteenth Century, London, 2003.
Wilton, A. and I., Bignamini, Grand Tour: Lure of Italy in the Eighteenth Century, London, 1996.
Britain
Aymonino, A., ‘The Musaeum of the first Duchess of Northumberland (1716-1776) at Northumberland House in London,’ S. Bracken, A. M. Gáldy and A. Turpin (eds.), Women Collectors, 2012.
Arnald, D. (ed.), The Georgian Group, Belov’d By Ev’ry Muse: Essays to Celebrate the Tercentenary of the birth of Lord Burlington, London, 1994.
Beevers, D., Chinese Whispers: Chinoiserie in Britain, 1650-1930, exh.cat., Royal Pavilion, Brighton, 2008.
Brewer, J., The Pleasures of the Imagination: English Culture in the Eighteenth Century, London, 1997.
Bruntjen, S., John Boydell 1719-1804: A Study in Art Patronage and Publishing in Georgian London, London, 1985.
Colley, L., Britons, Forging the Nation, 1707-1837, New Haven, 2003.
Coltman, V., Fabricating the Antique: Neoclassicism in Britain 1760-1800, Chicago, 2006.
Clarke, M., & N. Penny, The Arrogant Connoisseur: Richard Payne Knight, Manchester, 1982.
Clayton, T., The English Print 1688-1802, New Haven, 1997.
Cook, B., The Elgin Marbles, London, 1984.
Cook, B., The Townley Marbles, London, 1985.
Davidoff, L. and C. Hall, Family Fortunes: Men and Women of the English Middle Class 1780-1850, Oxford, 2002.
de Bellaigue, G., ‘Dominique Daguerre and England’ in Molitor, Exh. Cat., Luxembourg, 1995.
Einberg, E. (ed.), Manners & Morals: Hogarth and British Painting, London, 1988.
Fox, R. and A. Turner (eds.), Luxury Trades and Consumerism in Ancien Régime Paris, Oxford, 1998.
Hancock, E.G., William Hunter’s World. The Art and Science of Eighteenth-Century Collecting, Oxford, 2015.
Hutchinson, S., The History of the Royal Academy, Oxford, 1986.
Hudson, D., & K. Luckhurst, The Royal Society of Arts, 1754-1954, London, 1954.
Ingamells, J., A Dictionary of Britsih and Irish Travellers to Italy in Italy 1701-1800, New Haven and London 1997.
Jackson-Stops, G., & J. Pipkin, The English Country House. A Grand Tour, London, 1985.
Jenkins, I & K. Sloan, Vases and Volcanoes: Sir William Hamilton and his Collections, London, 1996.
Laird, M. and A. Weisberg-Roberts (eds), Mrs. Delaney and her Circle, New Haven and London, 2009.
Lippincott, L., Selling Art in Georgian London: The Rise of Arthur Pond, New Haven and London, 1983.
Kelly, J., The Society of Dilettanti-archaeology and identity in the British Enlightenment, New Haven and London, 2009.
Macgregor, A., Sir Hans Sloane: collector, scientist, antiquary, founding father of the British Museum, London, 1994.
McLeod, B., ‘Horace Walpole and Sèvres Porcelain. The Collection at Strawberry Hill,’ Apollo, vol. 147, no. 431, January 1998.
Michinton, W., ‘English Merchants and the Market for Art in the long Eighteenth Century,’ North, M. (ed.), Economic History and the Arts, Cologne, 1996.
Ostergard, D. (ed), William Beckford: An Eye for the Magnificent, New Haven and London, 2001.
Pears, I., The Discovery of Painting. The Growth of Interest in the Arts in England, 1680-1768, New Haven and London, 1988.
Pevsner, N., Academies of Art, Cambridge, 1940.
Scott, J., The Pleasures of Antiquity: British Collectors of Greece and Rome, New Haven, 2003.
Solkin, D., Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century, New Haven and London, 1992.
Solkin, D. (ed.), Art on the Line, The Royal Academy Exhibitions at Somerset House, 1780-1836, London, 2001.
Wainwright, C., ‘Carlton House and Wheeling and Dealing in the Eighteenth-Century,’ Apollo, vol.134, no. 356, October 1991.
Watson, F.J.B. and J. Whitehead, ‘An Inventory Dated 1689 of the Chinese Porcelain of the Grand Dauphin, Son of Louis XIV, at Versailles,’ Journal of the History of Collections, vol. 3, no. 1, 1991.
Watson, F.J.B., ‘Beckford, Mme de Pompadour, the Duc de Bouillon and the Taste for Japanese Lacquer in Eighteenth-Century France,’ Gazette de Beaux-Arts, vol. 65, 1963.
France
Aghion, I., ‘Collecting Antiquities in Eighteenth-Century France,’ Journal of the History of Collections, vol. 14, no. 2, 2002.
Arminjon, A., Madame de Pompadour et la Floraison des Arts, Montreal, 1988.
Bailey, C., ‘Conventions of the Eighteenth-Century Cabinet de tableaux: Blondel d’Azincourt’s La première idée de la curiosité,’ Art Bulletin,vol. 69, no. 3, 1987.
Bailey, C., Patriotic Taste. Collecting Modern Art in Pre-Revolutionary Paris, New Haven and London, 2002.
Bailey, F.G. (ed.), Gifts and Power: The Politics of Reputation, New York, 1971.
Bakkali, S., ‘Le Salon et le marché de l’art moderne à Paris (1791–1799),’ Kearns, J. & A. Mill, (eds.), The Paris Fine Art Salon/Le Salon, 1791–1881, Paris, 2015.
Beurdeley, M., La France à l’Encan, 1789-1799. Exode des Objets d’Art sous la Révolution, Paris, 1981.
Bonnaffé, E., Les Collectionneurs de l’Ancienne France, Paris, 1873.
Campardon, E., Madame de Pompadour et la Cour de Louis XV. Ouvrage Suivi du Catalogue des Tableaux Originaux, du Catalogue des Objets d’Art et de Curiosité du Marquis de Marigny, Paris, 1867.
Clement de Ris, L., La Curiosité, Collections Françaises et Etrangères, Cabinets d’Amateurs, Biographies, Paris, 1864.
Clement de Ris, L., Les Amateurs d’Autrefois, Paris, 1877.
Coquery, N., L’Hotel Aristocratique: Le Marché du Luxe à Paris au Dix-Huitième Siècle, Paris, 1998.
Crow, T.E., Painters and Public Life in Eighteenth-Century Paris, Paris, 2000.
Davillier, C., Les Porcelaines de Sèvres de Madame du Barry, Paris, 1870.
de Bellaigue, G., ‘Dominique Daguerre and England’ in Molitor, Exh. Cat., Luxembourg, 1995.
Fox, R. and A. Turner (eds.), Luxury Trades and Consumerism in Ancien Régime Paris, Oxford, 1998.
Glorieux, G., A l’Enseigne de Gersaint: Edmé François Gersaind, marchand de l’art sur le Pont Notre-Dame, Paris, 2002.
de Goncourt, E. & J., L’Art du Dix-Huitième siècle, Paris, 1873.
Gordon, A.R., The Houses and Collections of the Marquis de Marigny, Los Angeles, 2003.
Guichard, C., Les amateurs d’art a Paris au XVIIIe siècle, Paris, 2008.
Jones, C., Madame de Pompadour, Images of a Mistress, London, 2002.
McClellan, A., Inventing the Louvre. Art, Politics and the Origins of the Modern Museum in Eighteenth-Century Paris, California, 1994.
Michel, P., ‘Rubens et les collectionneurs francais au XVIII siècle: contributions a une histoire d’une reception,’ Michel, P. and C. Heck (eds.), Le Rubenisme en Europe aux XVII et XVIII siecles, 2005.
Michel, P., Le commerce du tableau à Paris dans la seconde moitié du XVIII siècle: Acteurs et pratiques, Paris, 2007.
Poulot, D., Musée, Nation, Patrimoine: 1789-1815, Paris, 1997.
Poulot, D., ‘Provenance and value: the reception of Ancien Régime works of art under the French Revolution,’ Feigenbaum, G. and I. Reist (eds.), Provenance: An Alternative Art History, Los Angeles, 2012.
Raux, S., ‘From Mariette to Joullain: provenance and value in Eighteenth-century French auction catalogs,’ Feigenbaum, G. and I. Reist (eds.), Provenance: An Alternative Art History, Los Angeles, 2012.
Sargentson, C., Merchants and Luxury Markets: The Marchands Merciers of Eighteenth-Century Paris, London, 1996.
Smentek, K., Mariette and the Science of the Connoisseur in Eighteenth-Century Europe, Aldershot, 2014.
Stara, A., The Museum of French Monuments in Paris, 1793-1816: Killing Art to Make History, Aldershot, 2013.
Wainwright, C., ‘Carlton House and Wheeling and Dealing in the Eighteenth-Century’, Apollo, vol. 134, no. 356, October 1991.
Oberkirch, H.L., Memoires de la Baronne d’Oberkirch sur la Cour de Louis XVI et la Société Française, Paris, 1989.
Vogtherr, C., Jean de Julienne, Collector and Connnoisseur, London, 2011.
Ziskin, R., Sheltering Art: Collecting and Social Identity in Early Eighteenth-century Paris, Pennsylvania, 2012.
Germany, Austria and the Hapsburg Domains
Fittschen, K. Katalog der antiken Skulpturen im Schloss Erbach, Berlin, 1977.
Galser, H. (ed.), Kurfürst Max Emmanuel: Bayern und Europa um 1700, Munich, 1976.
Graf, H. Die Residenz in München. Hofzeremoniell, Innenraüme und Möbileirung von Kurfürst Maximilian I bis Kaiser Karl VII, Munich, 2002.
Grotkamp-Schepers, B., Die Mannheimer Zeichnungsakademie (1756/1769-1803) und die Werke der ihr angeschlossenen Maler und Stecher, Frankfurt/Main, 1980.
Hahn, P-M. and U. Schitte (eds.), Zeichen und Raum: Ausstattung und höfisches Zeremoniell in den deutschen Schlossern der Frühen Neuzeit, Munichm, 2006.
Heenes, V., Die Vasen der Sammlung des Grafen Franz I von Erbach zu Erbach, Mannheim, 1998.
Heres, G., ‘Die Dresdener Sammlungen in Keysslers Neuesten Reisen,’ Jahrbuch der Staatlichen Kunstsammlungen Dresden, vol. 11, 1978/9.
Klingenshmith, S.J., The Utility of Splendour, Ceremony, Social Life and Architecture at the Court of Bavaria, 1600-1800, Chicago and London, 1993.
Korthals Altes, E, ‘The Collections of the Palatine Electors: New Information, documents and drawings, The Burlington Magazine, vol. 145, 2003.
Kurfüsten Therese Kunigunde (1704-5), Zeitenblicke vol.8, no. 2, 2009.
Ketelson, T., ‘Art Auctions in Germany During the Eighteenth Century,’ in Art Markets in Europe 1400-1800, North, M. and D. Ormrod (eds), Aldershot, 1998.
Ketelsen, T., ‘In Keeping with the Truth’ – The German Art Market and its Rôle in the Education of Connoisseurs in the Eighteenth century’ in Auctions, Agents and Dealers: The Mechanisms of the Art Market, 1660-1830, Warren, J. and A. Turpin (eds.), Oxford, 2007.
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Italy
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United Provinces
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