David Ormrod

The reinvention of art-history during the 1980s has provided a serious challenge to the earlier formalist and connoisseurial approaches to the discipline, in ways which can only help economic and social historians in the current drive to study past societies in terms of what they consumed, produced, perceived and imagined. This group of essays focuses on three main issues: the demand for art, including the range of art objects purchased by various social groups; the conditions of artistic creativity and communication between different production centres and artistic millieux; and the emergence of art markets which served to link the first two phenomena. The work draws on new research by art historians and economic and social historians from Europe and the United States, and covers the period from the late Middle Ages to the early nineteenth century.

In early modern Europe, and particularly in the Netherlands, commercial empires were held together as much by cities as by unified nation states. David Ormrod here takes a regional economy as his preferred unit of analysis, the North Sea economy: an interlocking network of trades shaped by public and private interests, and the matrix within which Anglo-Dutch competition, borrowing and collaboration took shape. He shows how England's increasingly coherent mercantilist objectives undermined Dutch commercial hegemony, in ways which contributed to the restructuring of the North Sea staplemarket system. The commercial revolution has rightly been identified with product diversification and the expansion of long-distance trading, but the reorganization of England's nearby European trades was equally important, providing the foundation for eighteenth-century commercial growth and facilitating the expansion of the Atlantic economy. With the Anglo-Scottish union of 1707, the last piece of a national British entrepot system was put into place.

In early modern Europe, and particularly in the Netherlands, commercial empires were held together as much by cities as by unified nation states. David Ormrod here takes a regional economy as his preferred unit of analysis, the North Sea economy: an interlocking network of trades shaped by public and private interests, and the matrix within which Anglo-Dutch competition, borrowing and collaboration took shape. He shows how England's increasingly coherent mercantilist objectives undermined Dutch commercial hegemony, in ways which contributed to the restructuring of the North Sea staplemarket system. The commercial revolution has rightly been identified with product diversification and the expansion of long-distance trading, but the reorganization of England's nearby European trades was equally important, providing the foundation for eighteenth-century commercial growth and facilitating the expansion of the Atlantic economy. With the Anglo-Scottish union of 1707, the last piece of a national British entrepot system was put into place.

The reinvention of art-history during the 1980s has provided a serious challenge to the earlier formalist and connoisseurial approaches to the discipline, in ways which can only help economic and social historians in the current drive to study past societies in terms of what they consumed, produced, perceived and imagined. This group of essays focuses on three main issues: the demand for art, including the range of art objects purchased by various social groups; the conditions of artistic creativity and communication between different production centres and artistic millieux; and the emergence of art markets which served to link the first two phenomena. The work draws on new research by art historians and economic and social historians from Europe and the United States, and covers the period from the late Middle Ages to the early nineteenth century.