Academic literature on the topic 'Miniature objects – Collectors and collecting'
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Journal articles on the topic "Miniature objects – Collectors and collecting"
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Haidenthaller, Ylva. "Collecting Coins and Medals in 18th-Century Sweden." Artium Quaestiones, no. 34 (December 27, 2023): 111–37. http://dx.doi.org/10.14746/aq.2023.34.4.
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During the 18th century, collections of coins and medals were familiar sights. The collectors ranged from scholars to amateurs, men and women and the collectables tempted collectors for various reasons: they signified wealth and knowledge, they rendered historical events or current politics in material form, or they were miniature artworks and financial investments. Also, the visual and material culture that involved collecting coins and medals consisted of cabinets and numismatic publications. But how were numismatic collections amassed, and how were they used? What did it mean to own a coin and medal collection? This article discusses the practices of collecting numismatics in 18th-century Sweden through various case studies concerning private and public collections, such as the Uppsala University coin cabinet or the possessions of politician Carl Didric Ehrenpreus, numismatist Elias Brenner, medal artist Arvid Karlsteen, and merchant-wife Anna Johanna Grill. These cases illuminate the diverse motivations behind collecting, from intellectual curiosity to social status. These case studies include immaterial facets such as witty discussions and international networks and material aspects such as coins, medals, cabinets, letters, and publications. Based on contemporary written sources, this article sheds light on how numismatic objects were bought, sold and circulated, highlighting the market dynamics of collecting. Furthermore, the examples examine how numismatic publications were used next to the objects, contributing to hermeneutic study and the collecting process. The written records provide insight into the scholarly discourse surrounding these collections, offering a glimpse into the intellectual context of the time. Finally, the article will add to the understanding of values and ideas attached to the practices of collecting coins and medals in early modern Europe. It elucidates the role of numismatics as a collecting practice, as well as how it shaped cultural perceptions, underscoring the intricate interplay between material and visual culture, society, and the production of knowledge during this period.
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Penttinen, Saara. "Mikrokosmoksen matkaajat. Matkamuistot ja omakohtainen kokemus 1600-luvun englantilaisissa kuriositeettikokoelmissa." Matkailututkimus 17, no. 2 (2022): 22–38. http://dx.doi.org/10.33351/mt.114550.
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Royal gardeners and collectors of curiosities, father and son John Tradescant, were praised as world-travellers, who created a miniature world for their contemporaries to enjoy. But whose world was it based on – and whose world did it convey? In this article, I examine the objects and plants in seventeenth-century English cabinets of curiosities as both personal and culturally collective souvenirs, through which I reveal contemporary ideas about mobility, travel, and the concept of first-hand experience in Early modern England. As an example, I use the collection known as the Tradescant Ark with the help of diary entries, letters, and the 1656 catalogue. I especially analyse the catalogue as a form of reconstructing historical travel. The Tradescants, as was common at the time, were associated with God as creators of their private microcosm. Their subjective experiences of the world were also represented in the geographical as well as the social networks through which the objects had apparently travelled. However, the world of the collection was not only subjective; Collective, for example English and European, aspirations and geographical imaginations were also detectable in its contents. Moreover, a visitor to the collection carried their own personal worldviews that became influenced by the microcosm of the collection. Eventually, there is no such thing as a pure experience of the world, but always an endless combination of one’s own and others’ experiences, past and present, personal and collective – a collection such as The Ark being a perfect representation of such a mixture.
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Davy, Jack. "Lars Hætta’s miniature world: Sámi prison op-art autoethnography." Journal of Material Culture 23, no. 3 (2017): 280–94. http://dx.doi.org/10.1177/1359183517745716.
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This article examines a collection of miniature objects, now held in museum collections, which were originally made by a Sámi political prisoner in Norway during the mid-19th century as part of an educational programme. The author draws on recent developments in the theory of miniaturization to consider these miniatures as examples of prison op-art autoethnography: communicative devices which seek to address broad and complex social issues through the process of the creation and distribution of semiophorically functionless mimetic objects of reduced scale and complexity, and which reflect the restrictions of incarcerated artistic expression and the questions this raises regarding authenticity and hybridity.
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Laugrand, Frédéric B., and Jarich G. Oosten. "De la conservation à la restitution." Anthropologie et Sociétés 38, no. 3 (2015): 113–36. http://dx.doi.org/10.7202/1029021ar.
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Cet article traite de l’itinéraire d’un qalugiujaq, un couteau miniature ayant appartenu au célèbre chamane Qimuksiraaq. L’objet a été trouvé dans un fonds d’archives des Soeurs grises de Nicolet, et récemment restitué à un descendant de ce chamane. Les auteurs soulignent l’agencéité de ces objets miniatures capables de créer des connexions dans le temps ou dans l’espace. Ici, le pouvoir transformationnel de la miniature à l’étude demeure visiblement intact en dépit de plusieurs décennies de christianisation. Au-delà de mesures dites d’indigénisation, ce constat devrait conduire les musées à plus d’ouverture et de prudence dans la gestion de leurs collections d’objets miniatures.
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MacDonald, Carolyn. "Take-Away Art: Ekphrasis and Appropriation in Martial's Apophoreta 170–82." Classical Antiquity 36, no. 2 (2017): 288–316. http://dx.doi.org/10.1525/ca.2017.36.2.288.
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This paper examines the cultural antagonisms of Martial's Apophoreta 170–82, a unique series of epigrammatic gift-tags for artworks to be given away during the Saturnalia. In these poems, I argue, Martial thematizes and enacts Rome's transformative appropriation of cultural capital from Greece and elsewhere. First, he adopts the Hellenistic trope of the ekphrastic gallery tour in order to evoke the “museum spaces” of the Flavian city, where artworks became testaments to the power and culture of Rome (Section 1). While evoking these masterpiece collections, however, the epigrams in fact describe miniatures changing hands at a banquet. Martial thus tropes a second Roman practice of appropriation, namely the widespread consumption of transmedial miniature copies (Section 2). Third and finally, the epigrams dramatize the vulnerability of plundered objects by reevaluating their significance within the Roman frameworks of Latin literature and the Saturnalia (Section 3). In this miniature ekphrastic series, then, Martial's apophoretic poetics converge with Roman forms of appropriation both imperial and domestic, concrete and conceptual.
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Gusarova, Ekaterina. "Ethiopian Manuscripts in the State and Private Collections of St Petersburg: An Overview." Aethiopica 18 (July 7, 2016): 109–27. http://dx.doi.org/10.15460/aethiopica.18.1.926.
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For more than two centuries St Petersburg, the capital of the former Russian Empire, has been famous for its collections of Ethiopian manuscripts, objects of art and documents concerning Ethiopian history. They are concentrated in three state institutions and in several private collections of African art. This article provides a short history of formation of Ethiopian manuscript collections of Russia and describes the process of their description and study. Some interesting and unpublished items were generally describedand their miniatures published.
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Fiorillo, Flavia, Lucia Burgio, Christine Slottved Kimbriel, and Paola Ricciardi. "Non-Invasive Technical Investigation of English Portrait Miniatures Attributed to Nicholas Hilliard and Isaac Oliver." Heritage 4, no. 3 (2021): 1165–81. http://dx.doi.org/10.3390/heritage4030064.
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This study presents the results of the technical investigation carried out on several English portrait miniatures painted in the 16th and 17th century by Nicholas Hilliard and Isaac Oliver, two of the most famous limners working at the Tudor and Stuart courts. The 23 objects chosen for the analysis, spanning almost the entire career of the two artists, belong to the collections of the Victoria and Albert Museum (London) and the Fitzwilliam Museum (Cambridge). A non-invasive scientific methodology, comprising of stereo and optical microscopies, Raman microscopy, and X-ray fluorescence spectroscopy, was required for the investigation of these small-scale and fragile objects. The palettes and working techniques of the two artists were characterised, focusing in particular on the examination of flesh tones, mouths, and eyes. These findings were also compared to the information written in the treatises on miniature painting circulating during the artists’ lifetime. By identifying the materials and techniques most widely employed by the two artists, this study provides information about similarities and differences in their working methods, which can help to understand their artistic practice as well as contribute to matters of attribution.
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Williams, Emily Rebecca. "Red Collections in Contemporary China." British Journal of Chinese Studies 11 (June 29, 2021): 71–90. http://dx.doi.org/10.51661/bjocs.v11i0.73.
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“Red Collecting” is a widespread phenomenon in contemporary China. It refers to the collecting of objects from the Chinese Communist Party’s history. Red Collecting has received only minimal treatment in English-language scholarly literature, much of which focuses on individual object categories (primarily propaganda posters and Chairman Mao badges) and overemphasises the importance of Cultural Revolution objects within the field. Because of this limited focus, the collectors’ motivations have been similarly circumscribed, described primarily in terms of either neo-Maoist nostalgia or the pursuit of profit. This article will seek to enhance this existing literature and, in doing so, offer a series of new directions for research. It makes two main arguments. First, that the breadth of objects incorporated within the field of Red Collecting is far broader than current literature has acknowledged. In particular, the importance of revolutionary-era (pre-1949) collections, as well as regional and rural collections is highlighted. Second, it argues that collectors are driven by a much broader range of motivations, including a variety of both individual and social motivations. Significantly, it is argued that collectors’ intentions and their understandings of the past do not always align; rather, very different understandings of China’s recent past find expression through Red Collecting. As such, it is suggested that Red Collecting constitutes an important part of contemporary China’s “red legacies,” one which highlights the diversity of memories and narratives of both the Mao era and the revolutionary period. 
 Image © Hou Feng
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Burgio, Lucia. "Bismuth White (Bismuth Oxychloride) and Its Use in Portrait Miniatures Painted by George Engleheart." Minerals 14, no. 7 (2024): 723. http://dx.doi.org/10.3390/min14070723.
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This article documents the discovery of ‘bismuth white’ on three late eighteenth-century portrait miniatures in the Victoria and Albert Museum collections, painted by renowned English artist George Engleheart. Metallic bismuth and bismuth-containing minerals have been known for centuries and were used on various types of artistic production, from German Wismutmalerei to medieval manuscripts and Renaissance paintings. However, until now they had never been documented on portrait miniatures, despite documentary evidence that suggests their use. The Raman analysis of the three miniatures shows that bismuth oxychloride (BiOCl, corresponding to the mineral bismoclite) is present, and XRF data prove that this material was used as a white pigment in its own right. This work is a pilot study: it represents the first step in the rediscovery of bismuth white as an artist’s pigment, and hopes to provide encouragement to other institutions to look deeper in their collections and map out the use of a relatively rare white material which until now had not been detected or documented in fine art objects.
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S., Grushin. "MINIATURE COLUMNS OF BMAC IN EUROPEAN ONLINE AUCTIONS: OPPORTUNITIES FOR USE IN SCIENTIFIC RESEARCH." Preservation and study of the cultural heritage of the Altai Territory 27 (2021): 175–81. http://dx.doi.org/10.14258/2411-1503.2021.27.27.
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The paper is devoted to the consideration of the possibilities of using artifacts from private collections that are sold at European online auctions in scientific research. As an example, the data from the website of the world’s largest auction house Sotheby’s are analyzed. The description of 18 artifacts (miniature columns from Bactria) is given. Such artifacts are cylindrical or biconical shaped stone products with gutters on the bases and sides. The main difficulties when referring to this type of sources in scientific research are such aspects as lack of certification, the problem of authenticity and verification of information, the region of origin, incomplete information. Nevertheless, the analyzed objects fit into the cultural stereotypes of the BMAC and find complete analogies in the well-documented and stratified sits of this cultural area, which is a certain basis for their authenticity. Therefore, despite the noted nuances, it is concluded that it is necessary to take into account such artifacts in scientific research. Keywords: artifacts, BMAC, miniature columns, private collections, online auctions
Dissertations / Theses on the topic "Miniature objects – Collectors and collecting"
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Allsop, Jessica Lauren. "Curious objects and Victorian collectors : men, markets, museums." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14976.
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This thesis examines the portrayal of gentleman collectors in late-nineteenth and early-twentieth-century literature, arguing that they often find themselves challenged and destabilised by their collections. The collecting depicted contrasts revealingly with the Enlightenment practices of classification, taxonomy, and commodification, associated with the growth of both the public museum and the market economy. The dominance of such practices was bound up with the way they promoted subject-object relations that defined and empowered masculine identity. In the Dialectic of Enlightenment Theodor W. Adorno and Max Horkheimer note that “[i]n the most general sense of progressive thought, the Enlightenment has always aimed at liberating men from fear and establishing their sovereignty” (3). That being so, this study explores how the drive to classify and commodify the material world found oppositional, fictional form in gothicly inflected texts depicting a fascinating but frightening world of unknowable, alien objects and abject, emasculated subjects. The study draws upon Fred Botting’s contention that gothic extremes are a reaction to the “framework” of “reductive and normalising limits of bourgeois morality and modes of production” (89). Examining novels and short stories by Richard Marsh, M.R. James, Arthur Machen, Vernon Lee, George Gissing, Wilkie Collins, Bram Stoker, Mary Cholmondeley, and Mary Ward, the thesis shows how gothicised instances of unproductive-masochism, pathological collecting, thwarted professionals, and emasculated heirs broke down the “framework” within which men and material culture were understood to interact productively and safely. Individual chapters dealing respectively with acquisition, possession, dissemination and inheritance, respond to the recent “material turn” in the humanities, bringing together literary criticism and historically grounded scholarship to reveal the collector and the collection as the locus 3 for concerns with masculinity and materiality that preoccupied a turn-of-the-century mindset.
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Wills, David. "Cultural Mulch : an investigation into collectors who create collections of mass produced objects and of the potential significance of those objects in relation to consumer culture." Phd thesis, Canberra, ACT : The Australian National University, 2009. http://hdl.handle.net/1885/8036.
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Collecting is an activity that stems from humankinds roots as hunters and gathers, when necessity rather than want, was key. This dissertation considers the strategies and motivations behind collecting in the 21st Century and what the significance is of collected objects. It considers the many guises, aims and reasons for collections being made, from the attainment of wealth and status, to the filling of personal voids, or the simple pleasures of belonging to a like-minded group of people. The dissertation charts contemporary influences in collecting behaviour, from an increased interest in celebrity, the push by corporations to market mass-produced collectibles, alternative consumer trends, and what effect the internet has had on the availability of a vast array of objects globally and locally. Back grounded by a diminishing of the earth’s resources and the production of objects at a peak, it considers the notion of futility.
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Wear, Eric Otto, and 華立強. "Patterns in the collecting and connoisseurship of Chinese art in Hong Kong and Taiwan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894392.
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Hewitt, Peter. "The material culture of Shakespeare's England : a study of the early modern objects in the museum collection of the Shakespeare Birthplace Trust." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5870/.
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This thesis investigates the material culture of early modern England as reflected in the object collections of the Shakespeare Birthplace Trust in Stratford-upon-Avon. The collection consists of nearly 300 objects and six buildings dating from the period 1500-1650 representing 'the life, work and times of William Shakespeare', with a particular emphasis on domestic and community life in Shakespeare's Stratford. Using approaches from museum studies and material culture studies together with historical research, this thesis demonstrates how objects add depth and complexity to historical and museological narratives, and presents a range of unique and never before examined material sources for the study of the social and cultural history of the period. For different reasons, collectors, scholars and museum practitioners have all tended to place the Trust's objects within existing historical narratives whilst neglecting the physical evidence of the objects themselves. By closely examining the object as well as the cultural context of its manufacture and use, this study seeks to rejuvenate the way this and similar collections are seen and used in studies of the early modem period.
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Wingfield, Chris. "The moving objects of the London Missionary Society : an experiment in symmetrical anthropology." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3437/.
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An experimental attempt to consider the history of the London Missionary Society (LMS) from the lens of the artefacts that accumulated at its London headquarters, which included a museum from 1814 until 1910. The movement of these things through space and over time offers a rich perspective for considering the impacts on Britain of its history of overseas missionary activity. Building on anthropological debates about exchange, material culture, and the agency of things, the biographies of particular objects are explored in relation to the processes involved in the assemblage, circulation and dispersal of the LMS collection. Methodologically, the research is an attempt to develop what Latour has called a symmetrical anthropology, with archaeological approaches to the material products of historical processes as an important dimension of this. Drawing on attempts to study ‘along the grain’ in historical anthropology, and to move beyond iconoclasm as a critical stance, it is argued that museums should be understood as ‘other places’ in which objects are made by techniques of inscription and confinement which have a significant ceremonial dimension. At the same time, certain charismatic objects are shown to have transcended these contexts of confinement, affecting those they encounter, and shaping history around themselves.
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Taylor, Emily Joan. "Women's dresses from eighteenth-century Scotland : fashion objects and identities." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4772/.
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Identity and its different constructions - national, social and personal, for example - are increasingly recognised as fundamental to understanding current and historic cultures. The reflexive relationship of identity issues with sartorial expression is a key concept within dress, fashion and textile studies. This thesis contributes to that growing body of knowledge by developing an understanding of how specific eighteenth century Scotswomen and their families related to their garments, thus bringing together contemporary study methods and understandings of identity with historic manifestations. This study of identity is embedded within an object-study methodology, following investigative practice and cataloguing methods currently used within the international museums community. This assists the secondary purpose of the thesis, which is to highlight a breadth of largely unpublished main garment objects within Scottish public and private collections. The intimate study of these objects has revealed stories of how daily life interacted with personal taste and style, purchase methods, garment use and international markets for individuals connected to Scotland. This has contributed material understanding to wider academic research areas, most importantly the everyday lives of eighteenth century Scotswomen, issues of identity within Scotland, and how European fashion trends were adopted or adapted by individuals outside of the major fashion centres of London and Paris. Study of the garments has involved stylistic analysis of their textiles and of their construction, connecting them to other extant and depicted garments from British and international collections. Thus providing material evidence of international styles in the eighteenth century, and matching two items in a rare example of extant main garments evidencing duplication in the eighteenth century handmade clothing industry.
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Hsu, Yuan-Fei, and 徐苑斐. "Miniature world: Collecting, play and self-identity of collectors of diorama." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/vwez85.
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Kremer, Roberta A. "Meaningful materialism : collectors relationship to their objects." Thesis, 1992. http://hdl.handle.net/2429/1828.
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The shared language, attitudes, practices and patterns of those who participate in “collecting" in the lower mainland area of British Columbia are described. Recurring themes and patterns emerge in the analysis of data obtained through interviews with thirty collector-informants. The generalizability of collecting as a phenomenon which exists outside of what is being collected is established. Collectors' roles as curators and the serious and consuming aspects of collecting, including the cycles of collecting, affection and sentiment held toward collected objects, and the strategies and approaches to the process of collecting are discussed. Propositions set out by previous researchers Belk, Danet and Katriel are examined in light of the data. Implications for museum studies and museum education specifically, are considered.
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Sjovoll, Therese. "Queen Christina of Sweden´s Musaeum: Collecting and Display in the Palazzo Riario." Thesis, 2015. https://doi.org/10.7916/D8NG4PFC.
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Queen Christina of Sweden (1626-1689)--one of the most celebrated, if controversial, converts of all times--settled in the papal city after her abdication in 1654. Her palace--the Palazzo Riario (today Corsini)--became one of Rome's leading cultural institutions: a site where learned, artistic, and elite culture converged. This study examines Christina's practice of collecting, and argues that her ambition was to create a center for learning and the arts in the Palazzo Riario modeled on the ancient Musaeum of Alexandria. While Christina's importance as a patron of art and learning has long been recognized, this dissertation offers the first comprehensive discussion of Christina's practice of collecting, and the architecture and ambience of her Roman palace. Based on both published and unpublished architectural drawings, inventories, household accounts, and contemporary travel descriptions, this dissertation establishes the contents and the display of Christina's collection, and the architectural plan of the Palazzo Riario. This study examines the intersection between objects and their display, issues of etiquette and decorum, and the social use of architecture in seventeenth-century Rome. It aims to contribute to the history of collecting and early museums, and to the broader field of seventeenth-century culture.
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Fenn, Julia Geraldine. "Chance encounters: The construction of meaning through the process of assemblage in the boxes of Joseph Cornell and contemporary jewellery of Thomas Mann." Thesis, 2006. http://hdl.handle.net/10539/1532.
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Student Number : 9406610A -
MA(FA) dissertation -
School of Fine Art -
Faculty of Arts<br>This thesis is a study of the box constructions of New York artist Joseph Cornell from the
early 1930s to the late 1960s, and the influence of his work on that of contemporary
American jeweller Thomas Mann, as well as my own artistic production. The key areas
of focus are the process of assemblage and the implications of the box format, with the
following themes being explored: miniature space and time; preciousness; fetishism and
voyeurism. These are followed through into the section on my own work, where the
additional subjects of the history of collecting, automata and the stop-frame animation
of filmmaker Jan Švankmajer are discussed. The conclusion that I reach is about the
potential power residing in found objects, which form the basis of Cornell’s, Mann’s and
my own work.
Books on the topic "Miniature objects – Collectors and collecting"
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Vinokhodov, Vladimir. Olovi︠a︡nnomu soldatiku s li︠u︡bovʹi︠u︡. Izd-vo im. E.A. Bolkhovitinova, 2010.
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Punchard, Lorraine May. Playtime kitchen items and table accessories. L.M. Punchard, 1993.
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Russo, Vincent J. Composition figures of Belgium: The Durso Company. Elm Press, 1998.
Find full textBook chapters on the topic "Miniature objects – Collectors and collecting"
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"Introduction: objects, collectors and representations." In Narrating Objects, Collecting Stories. Routledge, 2012. http://dx.doi.org/10.4324/9780203120125-8.
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Gochberg, Reed. "Specimen Collectors." In Useful Objects. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197553480.003.0006.
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This chapter examines the early history of Harvard’s Museum of Comparative Zoology and broader conversations about the representation of the natural world as fixed and stable. While the museum’s founder, Louis Agassiz, emphasized the value of preserved specimens to research and teaching, many collectors and writers questioned such practices. After donating turtles to the museum, Henry David Thoreau contemplated the ethical and scientific implications of freezing nature for extended study. In children’s fiction, Louisa May Alcott emphasized the relationship between collecting specimens and moral order, while highlighting the growing gendered divide between scientific practice in the museum and the parlor. And in philosophical writings, William James drew on classification to consider more flexible possibilities to fixed theories. These accounts show how writers sought to promote a deeper understanding of flux and change both within the museum and beyond.
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Sogno, Cristiana. "The Letter Collection of Quintus Aurelius Symmachus." In Late Antique Letter Collections. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520281448.003.0013.
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The collection of Symmachus’s letters is one of the largest to survive from Antiquity, but the notorious brevity and apparent emptiness of the letters have been until recently the object of scholarly censure and dismissal. A careful and unbiased approach, however, suggests that the carefully wrought brevitas of Symmachus’s letters is a creative response to the challenges posed by the greater restrictions imposed on letter writing in his times. Ultimately, an interesting tension emerges between the autobiographical monumentality of the macrotext, represented by the letter collection as a whole, and the exemplary brevity of the letters, miniature works of art in their own right.
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Ballester, Benjamín, Serge Lemaitre, Marcela Sepúlveda, and Caroline Tilleux. "Three-Beam Models from the Coast of the Atacama Desert in Northern Chile." In Underwater and Coastal Archaeology in Latin America. University Press of Florida, 2023. http://dx.doi.org/10.5744/florida/9780813069821.003.0013.
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The chapter presents the first direct radiocarbon dating of the popular three-masted balsa miniatures used in the Central South Andean coast during pre-Columbian times, from materials from museum collections in Chile and Europe. The results allow us to define the precise chronology of these miniatures and to discuss whether the life-size models of these miniatures were in fact used to navigate these coasts. The conclusion proposes to understand these objects as miniatures, and as such, as representations that do not necessarily reflect past realities in a direct way.
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Stahn, Carsten. "Collecting Mania, Racial Science, and Cultural Conversion through Forcible Expeditions." In Confronting Colonial Objects. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192868121.003.0003.
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Abstract This chapter traces the link between evolutionary and racial science and the scramble for objects since the mid-nineteenth century, based on micro-histories of forcible expeditions, carried out by different colonial powers (France, the UK, Belgium, Germany). It argues that ‘scientific’ discourse contributed to central premises of the colonial project: the idea of racial superiority or the image of the ‘vanishing’ of other cultures. It shows that colonial takings were driven by conflicting narratives which centralized colonizers. It demonstrates that cultural takings challenged at the time some of the premises of colonial ideology. The artistic value of objects increased not only the scramble for objects, but forced colonial agents, collectors, and museums to rethink some their world views. The violence behind the takings has prompted calls for return long after the facts. In modern times, objects taken in punitive expeditions have become the forerunners of new engagement with the colonial past.
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Arthur, Leslie. "Bibliographers, Booksellers, and Collectors of the Hogarth Press." In Virginia Woolf and the World of Books. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954569.003.0015.
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This chapter considers the treasures of the Hogarth Press available to collectors, including rare, limited edition books hand-printed by the Woolfs. It explores the intellectual pleasures of collecting objects and touches on the lives of Hogarth Press collectors.
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Cuéllar, Gregory Lee. "The Collecting Impulse in Lamentations: Postcolonial Traumata Made Miniature in Word-Objects." In Postcolonial Commentary and the Old Testament. T&T Clark, 2018. http://dx.doi.org/10.5040/9780567680976.0023.
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Stahn, Carsten. "The Scramble for Cultural Colonial Objects: Other Types of Acquisition." In Confronting Colonial Objects. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192868121.003.0004.
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Abstract This chapter demonstrates how collectors, traders, or missionaries benefited from colonial contexts. It argues that market labels, such as purchase or the idea of a ‘gift’ do not necessarily reflect the context of colonial transactions. It also traces forms of resistance to colonial narratives and the social transformation of objects. It demonstrates entanglements through object histories from different colonial contexts (settler colonialism, extractive colonialism, and colonial occupation), namely: (1) the Māori ancestral house from Tūranga; (2) Moai Hoa Hakananai (1868); (3) the ‘Great Zimbabwe Birds’; (4) the Bangwa ‘Queen’ and the Ngonnso statue; (5) the grand canoe from Luf in German New Guinea; (6) missionary collecting of minkisi power figures in the Congo; (7) the gifting of King Nsangu’s throne; (8) the ‘sale’ and return of the Olokun head from Ife; (9) the removal of Nefertiti from British occupied Egypt; and (10) the Venus of Cyrene and the Axum Obkelisk.
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Jankowski, Lyce. "The Scientific Approach to Collecting." In Connoisseurship. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190923587.003.0003.
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Abstract The nineteenth century was an interesting period for numismatics in China: a hundred scholars actively collected coins at that time, major collectors engaged in research, and in consequence fifty books or essays were published on the subject. The numismatists of that time developed a scientific approach to a scholar’s hobby, coin collecting. Their work was greatly influenced by the kaozhengxue movement—a textual criticism approach developed in China in the second half of the seventeenth century. Ancient texts were no longer considered a source of truth: the authenticity of any text had to be checked by dating it and tracking any change or later addition. This search for evidence spread to philology, historiography, and epigraphy in the second half of eighteenth century. Objects became the real primary sources for understanding the past. This chapter explores the profound influence of Kaozhengxue on numismatic studies.
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Pfeifer, Annie. "Introduction." In To the Collector Belong the Spoils. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501767791.003.0001.
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This introductory chapter provides an overview of the practice of collecting. Collecting is a conflicted practice, torn between preservation and transformation; it preserves its objects by stripping them from their original context and importing them into a new framework. Thus, the practice of collecting helps in understanding what was “new” about modernism. The chapter explains that the book traces how three author-collectors—Henry James, Walter Benjamin, and Carl Einstein—engaged with collecting as a literary practice that simultaneously reflected their preoccupation with the material world. It establishes a genealogy of collecting in spoliation—the appropriation of the work or property of others. Because it straddles the margins between cultures and disciplines, spolia studies is a useful framework to examine the ways all three authors used collecting and appropriation as a mode of engagement with cultures other than their own.