Women Art Dealers

Véronique Chagnon-Burke is an art historian, co-founder of Women Art Dealers Digital Archives, co-chair of The International Art Market Studies Association, section editor for the Art Market Dictionary, and former Director of Christie’s Education in New York (2002–2021).Caterina Toschi is Associate Professor of contemporary art history and history of photography at the University for Foreigners of Siena, Italy. She is co-founder of Women Art Dealers Digital Archives and Senzacornice, and Associate Director of the Santa Maddalena Foundation.

• Notes on Contributors Acknowledgements Series Editor PrefaceIntroduction, Women Art Dealers: Creating Markets for Modern Art, 1940–1990, Véronique Chagnon-Burke (WADDA/International Art market Studies Association, USA)Prolegomenon, The ideology of the Gaze in Photography: Canons and Anti-Canons of Women Art Dealers’ Portraits (1924–2013), Caterina Toschi (University for Foreigners of Siena, Italy)Part One: The Promotion of Modern Art in the Aftermath of World War Two1. The Girl with the Gallery: Edith Halpert in the Mid-Twentieth Century New York Art Market, A. Deirdre Robson (University of West London, UK)2. Simone Kahn Collinet: From Member to Promoter of Surrealism, Alice Ensabella (University of Grenoble, France) 3. Nelly van Doesburg and Peggy Guggenheim. Their Role in Establishing the Reputation of Theo van Doesburg and De Stijl, Doris Wintgens (formerly Museum De Lakenhal, The Netherlands)4. The Konstsalongen Samlaren of Agnes Widlund in Stockholm, Christina Brandberg (University of Loughborough, UK)5. Galerie Gmurzynska in the Cold War Period, Elena Korowin (Albrecht-Ludwigs-Universität Freiburg, Germany)Part Two: The Rise of New Markets 6. Bertha Schaefer: "A Case of Ambidexterity." Bringing Modern Art into American Homes, Antonella Camarda (University of Sassari, Italy) 7. Gabriella Cardazzo at Galleria del Cavallino in Venice, Lisa Parolo (University of Udine, Italy) 8. Constructing a Photography Market between New York and Paris: The Role of the Zabriskie Gallery (1970s–1990s), Isabella Seniuta (University Paris 1 Panthéon-Sorbonne, France)9. Linda Givon, the Goodman Gallery, and the Politics of the Contemporary Art Market in South Africa, 1966–1990, Federico Freschi & Lara Koseff (University of Johannesburg, South Africa) 10. Mapping the Impact of Women Art Dealers in Los Angeles: A Few Case Studies, Pietro Rigolo (Getty Research Institute, USA)11. "The Boom in Boone:" Mary Boone in SoHo in the Early 1980s, Carlotta Castellani (Center for Italian Modern Art, USA) Part Three: Latin Galleries Between Italy and Portugal12. From Fashion Journalism to Art Dealing: Irene Brin and L'Obelisco Gallery, Ilaria Schiaffini (Sapienza University of Rome, Italy) 13. Topazia Alliata, Piero Manzoni and the Coincidence between Idea and Visual Language. The Case of Riducibili, Rome 1960, Carlotta Sylos Calò (University of Rome Tor Vergata, Italy) 14. Mara Coccia, a Gallery Owner in Rome, Francesca Gallo (Sapienza University of Rome, Italy) 15. Etheline Rosas: a Modern Art Conservator, an Art Dealer, and Museologist, Sofia Ponte (IADE-Universidade Europeia, Portugal)16. Dulce D'Agro and Quadrum: A Modern Art Love Story in Lisbon, Adelaide Duarte (Universidade NOVA de Lisboa, Portugal) 17. Lia Rumma: Art as Conviviality, Luigia Lonardelli (MAXXI of Rome, Italy) Index

Rich in scholarship and visual material, this book reveals the pivotal roles women played in shaping modern art markets. It challenges long-held stereotypes and provides a vital foundation for future research into the histories and contributions of women art dealers.