Abstract
In the early 1900s, London's art market and art press were parts of a complex system of interactions in a rapidly developing professional milieu where the boundaries between and among the roles of the art critic, artist, and dealer were still being defined. This article investigates the contributors—and their connections with the art market—to three newly founded specialist art periodicals: The Connoisseur (established 1901); The Burlington Magazine (begun 1903); and its little-known sales supplement, the short-lived Burlington Gazette (1903–1904). Whereas The Connoisseur had a close, uncomplicated relationship with the art market, with many dealers writing articles for it and advertising their wares on its pages, the Burlington and its Gazette had a more complex relationship with the trade: they took a moral, “purist” stance towards the commercial world while also participating in it.
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