My dissertation focuses on the large-scale distribution of Flemish imagery across Europe and the Americas, particularly on the large number of paintings exported from the Southern Netherlands to Spain and New Spain during the seventeenth century. This profitable long-distance art trade and the artistic implications of the exchanges that took place through market mechanisms have yet to be addressed in a methodical manner and fully incorporated into the histories of seventeenth-century Flemish, Spanish and Latin American visual cultures. In order to shed light on this phenomenon, I systematically study the archival and visual sources left by one of the most successful seventeenth-century Antwerp international art dealers with Spain and the Americas, Guilliam Forchondt (1609-1678). He established a productive painting workshop and a successful commercial firm that concentrated on Spanish Habsburg territory, and dealt in the transatlantic trade between Europe and the New World. I examine his workshop practices, the type of paintings he directed to Spain and New Spain, and the mechanisms he established for artistic and information exchanges between Flemish, Spanish and colonial Spanish contemporaries. I also investigate the local conditions and responses in Spain and Mexico to the imported Flemish works. My aim is to evaluate the manner in which the imported artworks partook in the material and visual traditions of Spain and the Americas, and the way these same shipments impacted art production and workshop practices in Antwerp since many of these paintings were produced according to specifications originating in Spain and New Spain.