Acknowledgements
First and foremost, I extend my thanks to the following leading research institutions for access to their archival resources without which this book could not have been written: the Tate Gallery Archive in London, the Courtauld Institute of Art in London, the Paul Mellon Centre for Studies in British Art in London, the Musée Rodin Archive in Paris, the Getty Research Institute in Los Angeles, the Barnes Foundation in Philadelphia, the State Library of Victoria in Melbourne and the Public Records Office of Victoria in Melbourne. I would also like to acknowledge Associate Professor Christopher Marshall who inspired my interest in art market studies and has generously provided me with ongoing support. I sincerely thank him for his assistance. I am also grateful to Dr Anita Archer for her ongoing collegiality and support. I thank Isabella Casey for her assistance in expertly translating French archival documents into English. I have received invaluable assistance from the University of Melbourne through a number of funding opportunities and awards. I am also the grateful recipient of the 2020 Paul Mellon Centre Postdoctoral Fellowship from the Paul Mellon Centre for Studies in British Art. Finally, I would like to acknowledge my family, and in particular my wife, Paula, who not only tangibly assisted my research but also provided an endless supply of support and encouragement.