Abstract
Auction catalogues from 1689 to 1692 reveal that tens of thousands of pictures were offered for sale in London during these years, but little is known about the purchasers. Using evidence from probate inventories, this article argues that the London middle classes were major buyers of the paintings available at these sales, and that this new group of art consumers was important to the development of both the art market and the art theoretical discourse of the period.
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