Academic literature on the topic 'Art Collectors and collecting Australia History'
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Journal articles on the topic "Art Collectors and collecting Australia History"
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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.
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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.
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O’Reilly, Chiara. "Collecting French art in the late 1800s at the Art Gallery of New South Wales." Journal of the History of Collections 32, no. 2 (March 18, 2019): 313–25. http://dx.doi.org/10.1093/jhc/fhz006.
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Abstract From the nineteenth century, Sydney’s Art Gallery of New South Wales has been a marker of cultural ambition in Australia. This paper critically considers five large French paintings purchased at the end of the nineteenth century at significant expense by the gallery. Feted by contemporaries as examples of the French academic style, they formed part of plans to develop a representative collection to further understanding of art in the colony and, over time, they have taken on a rich role in the collective cultural memory. Through close examination of these paintings, their historical reception, criticism, reproduction and traces in the gallery’s archives this article reveals a history of taste, class and the formation of the cultural value of art. Using an object-based approach, it positions these works as evidence of changing cultural ideas within the context of a state collection to offer new insight into their status, the gallery itself, and the multiple roles of public art collections.
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Andrew, Brook. "Trading Lines." ARTMargins 5, no. 1 (February 2016): 80–95. http://dx.doi.org/10.1162/artm_a_00132.
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Trading Lines is a photo essay that tracks nearly twenty years of research within international museums as well as collecting and sharing photographs and objects. This research began in 1996 at the Royal Albert Memorial Museum, Exeter, where I encountered an Aboriginal skull from N.S.W. Australia —that was part of the active international Aboriginal human remains trade activated from the early 18th century. This photo essay shares correspondence between myself and private and public collection managers and collectors. Some images are from actual installations where I have combined objects with artworks, as a whole, it is an attempt to draw lines between pure collection activities and legitimate anguish many people feel for not only their cultural heritage but also those of the human remains trade. Even though repatriation of human remains to Aboriginal communities in Australia has been an active endeavor over the last 10 or more years, many human remains, photos and other important documents are still being uncovered, repatriated and traded. The comparable texts and images explore the margins of both museum practice and community involvement and understanding of these actions and communications. I intend to present this photo essay as an archive that engages people within their own curiosity of access to a complex world of negotiations. Further documents, human remains and other materials are gradually and continually unearthed in museums and sold through private collections and markets. Reflecting on this, who owns their own culture and history, and how does a culture remember when they are not in receipt of their cultural materials. I hope to stimulate important considerations about the power of a public archive, noting the complex protocol tensions that can arise and how these lines or margins are negotiated, crossed, hidden or shared.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Ivanova, Elena A. "Past, Present and Future of Libraries in the Mirror of Rumyantsev Readings — 2019." Bibliotekovedenie [Library and Information Science (Russia)] 68, no. 4 (August 27, 2019): 435–47. http://dx.doi.org/10.25281/0869-608x-2019-68-4-435-447.
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International scientific and practical conference “Rumyantsev readings — 2019” was held on April 23—24 in the Russian State Library. The conference covered a wide range of issues: “Libraries and museums in the context of history”; “History of the Russian State Library”; “Disclosure of universal and specialized collections of libraries: forms and methods”; “Future of libraries: evaluations, studies, forecasts”; “Libraries as centres of information-bibliographic activities”; “Library collections and library-information services in the age of electronic communications”; “Professional development of library staff: demands of time. Library as educational centre”; “International cooperation of libraries. Library as a platform for intercultural dialogue”. The conference was attended by specialists from libraries, museums, archives, universities and research institutes, representatives of professional associations and organizations from various regions of Russia and from Australia, Belarus, Kazakhstan, Latvia, the United States of America, Tajikistan and Ukraine. Among the sections and round tables of “Rumyantsev readings” were both traditional, held within the framework of the conference on annual basis, and timed to the memorable dates and visits of foreign colleagues of the year. In 2019, the following sections were held: “Art editions in the collections of libraries: issues of study, preservation and promotion”, “Library classification systems”, “Rare and valuable books, book monuments and collections”, “Manuscript sources in the collections of libraries”, “Specialized collections in libraries”, “Collectors, researchers, keepers. Libraries in the context of history”, “Continuing education as a competence resource of library staff”, “Theory and practice of librarianship development at the present stage”, “Library digitalization: trends, problems, prospects”, “Effective library management: problems and solutions. (Pre-session meeting of the 32nd Section of the Russian Library Association on library management and marketing)”. Seminar from the series “Role of science in the development of libraries (theoretical and practical aspects)” “N.M. Sikorsky: scientist, organizer of book science and librarianship. To the 100th birth anniversary” took place. There were organized Round tables: “The new National standard for bibliographic description GOST R 7.0.100—2018 in the modern information environment”, “Library terminology in the context of digital space”, “Cooperation of libraries of the CIS countries: strategic directions”, “Flagship projects that shape the future of libraries”. The growing number of participants, the breadth of topics, the steady interest of specialists in traditional sections and the annual organization of new events in the form and content of the “Rumyantsev readings” allow the conference to stay among the largest scientific and practical events of library research in the country. The search for new topics and the introduction of topical issues on the agenda contribute to both activation of historical research and the search for ways of innovative development and intercultural interaction.
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Boaden, Sue. "Education for art librarianship in Australia." Art Libraries Journal 19, no. 2 (1994): 5–6. http://dx.doi.org/10.1017/s0307472200008725.
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The growth of art history and art practice courses in Australia has been remarkable over the last 20 years. Unfortunately training for art librarianship has not matched this growth. There are eleven universities in Australia offering graduate degrees and post-graduate diplomas in librarianship but none offer specific courses leading towards a specialisation in art librarianship. ARLIS/ANZ provides opportunities for training and education. Advances in scholarly art research and publishing in Australia, the development of Australian-related electronic art databases, the growth of specialist collections in State and public libraries, and the increased demand by the general community for art-related information, confirm the need for well-developed skills in the management and dissemination of art information.
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Bauer, Belinda. "Lions and Chickens: A specimen biography approach to unprovenanced natural history objects." Biodiversity Information Science and Standards 2 (May 22, 2018): e25661. http://dx.doi.org/10.3897/biss.2.25661.
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Taxidermy made for display is often considered less significant in museum research collections. This is because historical taxidermy material often becomes disassociated with key data and through the rigours of public display, end up in poor physical condition. However by tracing a specimen's biography as a living animal and following its transition into a museum afterlife, much can be revealed about the development of natural history collections and changing attitudes towards animals. This presentation will investigate several pieces of taxidermy in the zoology collection of the Tasmanian Museum and Art Gallery (TMAG) (http://www.tmag.tas.gov.au/collections_and_research/zoology/collections), where research has uncovered surprising stories and helped reassess the significance and cultural value of this material. An unregistered lion head, identified as animal celebrity John Burns, tells the story of the golden age of Australian and New Zealand circuses, changing attitudes around animal ethics in the circus and the negotiations between scientific institutions in acquiring exotics species in the late nineteenth century. A collection of taxidermied domestic chickens from the 1940s is found to mark the modernisation of the TMAG public displays in communicating current research and the development of a dedicated museum education unit. The colourful afterlife of these specimens in the museum collection highlights struggles with storage issues, changes in collecting priorities and evolution of public display and education at TMAG.
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Wolff, Helen A., Terence J. Healy, and Thomas H. Spurling. "Corrigendum to: An introduction to the CSIRO Oral History Collection." Historical Records of Australian Science 30, no. 2 (2019): 198. http://dx.doi.org/10.1071/hr18026_co.
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This paper describes a project to record specialised oral histories of key individuals involved with Australia's principal scientific research organisation, the Commonwealth Scientific and Industrial Research Organisation (CSIRO). The oral histories are intended to complement official governance documents in a larger project to write a history of CSIRO. Oral histories typically include perspectives on family backgrounds and childhood, professional training and career histories. Of particular interest in these interviews is the involvement of interviewees in the management of CSIRO and their reflections on the place of CSIRO in the Australian and international scientific environments. The interviews were conducted mainly by two of the authors (Spurling and Healy), both of whom were well known to the interviewees because they were themselves senior managers in CSIRO and familiar with the topics discussed. These histories are intended to illuminate important personal factors that have influenced decision-making in CSIRO. Also covered are plans to use other collections of interview materials in the CSIRO History Project (CHP), including those conducted by CSIRO historian Boris Schedvin, the Australian Academy of Science and the National Library of Australia. Details are provided of preparations for interviews, recording and transcription and preparation of materials for public access through CSIROpedia.
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Shaw, Margaret. "Following the textile trail: acquisition of South and Southeast Asian art books from an Australian perspective." Art Libraries Journal 18, no. 2 (1993): 15–19. http://dx.doi.org/10.1017/s0307472200008294.
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Australia has traditionally adopted a Eurocentric outlook which has begun to be modified in the last decade by reappraisal of the country’s location in the Asia-Pacific region. The Australian National Gallery has only recently developed its collections of the textiles of South and Southeastern Asia and of related research materials, yet it already accommodates the world’s leading public collection of Indian textiles exported to Southeast Asia. Acquisition of both contemporary and antiquarian library materials has been complicated by the range of languages and cultures involved, the history of the textile trade, colonial publishing, and the problems encountered in dealing with a varying degree of organisation in local publishing and distribution. Nonetheless, with patience, as a result of travelling, by means of networking, and with the help of distributors, it has proved possible to build a worthwhile collection without depending too exclusively on Western publications.
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May, Tom W., and Thomas A. Darragh. "The significance of mycological contributions by Lothar Becker." Historical Records of Australian Science 30, no. 2 (2019): 130. http://dx.doi.org/10.1071/hr19005.
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Warning Readers of this article are warned that it may contain terms, descriptions and opinions that are culturally sensitive and/or offensive to Aboriginal and Torres Strait Islanders. Silesian-born Lothar Becker spent two periods in Australia, during which he made observations on a range of natural history topics, including fungi—a group of organisms rarely noticed by contemporary naturalists. Becker compiled notes, sketches and collections of Australian fungi that he sent to Elias Fries in Sweden for identification. Unfortunately, this material has not survived, but Becker’s accounts of his time in Australia, especially that published in Das Ausland in 1873, contain remarkable first-hand observations, including some on exotic fungi. Becker’s article is one of the earliest stand-alone analyses of the affinities of the Australian mycota. Remarks on the use of fungi by Aboriginal peoples of south-eastern Australia are particularly significant, due to inclusion of a word presumed to be from Aboriginal language and the suggestion of gendered roles in the collection of edible fungi.
Dissertations / Theses on the topic "Art Collectors and collecting Australia History"
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Marquez, Jessica. "A natural history /." Online version of thesis, 2008. http://hdl.handle.net/1850/6249.
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Terjesen, Lori Ann Martin. "Collecting the Brücke: Their Prints in Three American Museums, A Case Study." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1291164225.
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Barnett, Teresa. "The nineteenth-century relic a pre-history of the historical artifact /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1562129951&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Harvie, Ron. "The spectre of Buckingham : art patronage and collecting in early Stuart England." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35895.
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This thesis examines the relationship of George Villiers, First Duke of Buckingham (1592--1628) to the art and aesthetic ideas of his era. As the intimate and all-powerful favourite of two successive kings, James I and Charles 1, Buckingham profoundly influenced the course of English politics, both at home and abroad, and it is as a political force that he is generally viewed. But, as a major patron of many artists and the builder of one of the largest art collections of the time, his influence in the cultural sphere must have been equally significant. Yet no modern study of this aspect of Buckingham's persona exists.After a review of the general historiographical material on Buckingham as well as his evaluation by art historians over the years, Chapter I presents an analysis of the concept and role of Favourite in social and cultural terms. It goes on to detail Buckingham's personal position within early Stuart court culture, and argues that while this culture formed and defined him, he simultaneously re-formed and redefined it through his choices and actions.
Chapter II examines the dynamics of art patronage and Buckingham's activity as a patron, beginning with his early dealings with the native English painter, William Larkin. The relationship of Buckingham and the young Anthony Van Dyck is discussed, with parlicular attention to the artist's brief visit to England in 1620--21, and it is suggested that Buckingham was instrumental in bringing about this event. The Duke's dealings with the controversial polymath, Balthazar Gerbier, are explored, as are his many-layered connections with the premier painter of the day, Peter Paul Rubens.
In Chapter III the traditions of art collecting, especially in England are discussed, as is Buckingham's reputation as a collector compared to some of his rivals in the field. The extant documentation of his collection is examined, along with the chronology and methodology of its formation. Particular attention is given to gifts of art to Buckingham by King Charles, the Earl of Arundel and others; the art-buying by Buckingham's agents like Balthazar Gerbier; and the incorporation by the Duke into his own inventory of parts of other collections such as that of the Duke of Hamilton and, more importantly, that of Rubens.
Both in the realm of court culture and in the world of art patronage and art collecting, it was Buckingham more than anyone else who supplied the energy and set the fashion. And he continued to do so even after his premature death: the Duke's image remained bright in the memory of King Charles, whose subsequent expanded relationships with Rubens and Van Dyck owe much of their intensity to both artists' previous connections with Buckingham.
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Mikasa, Princess Akiko of. "Collecting and displaying 'Japan' in Victorian Britain : the case of the British Museum." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669978.
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Tan, Ceyda Basak. "Educational Function Of Art Museums: Two Case Studies From Turkey." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608742/index.pdf.
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This thesis analyzes the educational function of art museums, how education in art museums evolved and how an art museum can conduct an educational mission. The concept of the material collections as the educative origin of art museums will be discussed alongside the history of collections in Europe. In addition to the concept of collection, the importance of educational programmes of art museums will be highlighted. Having derived a general notion of the educational function of art museums, the thesis will seek to answer questions such as how museology evolved in Turkey and whether the turkish museology has an educational concern. In accordance with these questions two turkish contemporary art museums will be investigated as case studies.
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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.
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Escutia, Sánchez Erika. "Poseer e inventar: los objetos y la interpretación de las prácticas estéticas americanas en las casas reales europeas (1493-1565)." Doctoral thesis, Universitat Pompeu Fabra, 2021. http://hdl.handle.net/10803/673458.
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El presente estudio indaga en las interpretaciones y usos que las familias reinantes de Europa dieron a los artefactos americanos incorporados a sus posesiones entre 1493 y 1565. A través del análisis de documentos, imágenes y objetos, la tesis explora tres dinámicas: a) los procesos de descontextualización y recontextualización de los artefactos; b) las relaciones materiales, afectivas e intelectuales entre los objetos y sus poseedores; y c) las especulaciones europeas sobre los grupos humanos de América a partir de sus producciones estéticas. La tesis demuestra que los objetos americanos fungieron como dispositivos simbólico-epistémicos que monarcas y pontífices utilizaron a partir de sus propias peculiaridades geopolíticas, religiosas, culturales y de género. Asimismo, se presenta un rico y complejo panorama sobre las prácticas de intercambio, obsequio, atesoramiento, ostentación, exhibición y coleccionismo de americana en Europa antes de la proliferación de las cámaras de maravillas a finales del siglo XVI.This study investigates the interpretations and uses that the ruling families of Europe gave to American artifacts incorporated into their possessions between 1493 and 1565. Through the analysis of documents, images, and objects, the thesis explores three dynamics: a) the processes of decontextualization and recontextualization of the artifacts, b) the material, affective, and intellectual relationships between objects and their owners; and c) the European speculations about human groups of America based on their aesthetic productions. The thesis shows that American objects acted as symbolic-epistemic devices that monarchs and popes used based on their own geopolitical, religious, cultural, and gender peculiarities. It also presents a rich and complex panorama of the practices of exchange, gift, treasuring, display, and collecting of Americana in Europe before the proliferation of the Cabinets of curiosities at the end of the 16th century.
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Paree, Daphné. "Du rêve du collectionneur aux réalités du musée: l'histoire du musée de Mariemont, 1917-1960." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209296.
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Situé au cœur du Hainaut, le musée de Mariemont doit son existence à la volonté de Raoul Warocqué, riche industriel, homme politique et philanthrope qui lègue en 1917 son château et les collections qu’il renferme à l’État belge. Formé ainsi d’un contenant et d’un contenu, le musée de Mariemont incarne bien, du moins jusqu’à l’incendie du château en 1960, ce qu’Anne-Doris Meyer a appelé les « musées de collectionneurs », dont bon nombre d’exemples voient le jour à la charnière des 19e et 20e siècles, en Belgique comme à l’étranger.De l’histoire du musée de Mariemont, on ne retient généralement que le geste qui lui a donné naissance. Aucune étude ne s’était penchée jusqu’ici sur ce qui se passe après le décès de Raoul Warocqué. En comblant cette lacune, cette thèse offre l’opportunité d’examiner comment une collection privée se mue en musée public, comment les pouvoirs publics veillent à concilier le souhait du bienfaiteur et les missions du musée, quelles difficultés ils ont rencontrées dans la gestion de ce patrimoine d’origine privée et quelles solutions ils y ont apportées.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
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Rawson, Helen C. "Treasures of the University : an examination of the identification, presentation and responses to artefacts of significance at the University of St Andrews, from 1410 to the mid-19th century, with an additional consideration of the development of the portrait collection to the early 21st century." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/990.
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Since its foundation between 1410 and 1414 the University of St Andrews has acquired what can be considered to be ‘artefacts of significance’. This somewhat nebulous phrase is used to denote items that have, for a variety of reasons, been deemed to have some special import by the University, and have been displayed or otherwise presented in a context in which this status has been made apparent. The types of artefacts in which particular meaning has been vested during the centuries under consideration include items of silver and gold (including the maces, sacramental vessels of the Collegiate Church of St Salvator, collegiate plate and relics of the Silver Arrow archery competition); church and college furnishings; artworks (particularly portraits); sculpture; and ethnographic specimens and other items described in University records as ‘curiosities’ held in the University Library from c. 1700-1838. The identification of particular artefacts as significant for certain reasons in certain periods, and their presentation and display, may to some extent reflect the University's values, preoccupations and aspirations in these periods, and, to some degree, its identity. Consciously or subconsciously, the objects can be employed or operate as signifiers of meaning, representing or reflecting matters such as the status, authority and history of the University, its breadth of learning and its interest and influence in spheres from science, art and world cultures to national affairs. This thesis provides a comprehensive examination of the growth and development of the University's holdings of 'artefacts of significance' from its foundation to the mid-19th century, and in some cases (especially portraits) beyond this date. It also offers insights into how the University viewed and presented these items and what this reveals about the University of St Andrews, its identity, which changed and developed as the living institution evolved, and the impressions that it wished to project.
Books on the topic "Art Collectors and collecting Australia History"
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The Australian art world: Aesthetics in a global market. Crows Nest, N.S.W: Allen & Unwin, 2005.
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Ruth, Hessey, ed. The dealer is the devil: An insider's history of the Aboriginal art trade. Blackheath, NSW, Australia: Brandl & Schlesinger, 2014.
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Berlin, Ethnologisches Museum, ed. Gefunden und verloren: Arthur Speyer, die dreissiger Jahre und die Verluste der Sammlung Südsee des Ethnologischen Museums Berlin. Bönen: Kettler, 2012.
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McConnell, Kevin. Collecting art deco. West Chester, Pa: Schiffer Pub., 1990.
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Collecting original cartoon art. Lombard, Ill: Wallace-Homestead, 1987.
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Corresponding with history: The art & benefits of collecting autographs. Palm Springs, Calif: ETC Publications, 1997.
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Private collectors in Mantua 1500-1630. Roma: Edizioni di storia e letteratura, 2002.
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Rebecchini, Guido. Private collectors in Mantua: 1500-1630. Roma: Edizioni di storia e letteratura, 2002.
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1972-, Rujivacharakul Vimalin, ed. Collecting China: The world, China, and a short history of collecting. Newark [Del.]: University of Delaware Press, 2010.
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Goldberg, Edward L. AfterVasari: History, art, and patronage in late Medici Florence. Princeton, N.J: Princeton University Press, 1988.
Find full textBook chapters on the topic "Art Collectors and collecting Australia History"
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"Collectors and Collecting." In A History of the Western Art Market, 75–78. University of California Press, 2017. http://dx.doi.org/10.1525/9780520340770-020.
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Kubala, Agata. "From Greece to Wrocław: Eduard Schaubert’s Collection of Antiquities." In Collecting Antiquities from the Middle Ages to the End of the Nineteenth Century: Proceedings of the International Conference Held on March 25-26, 2021 at the Wrocław University Institute of Art History, 217–36. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381385862.10.
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Among the collections of artefacts owned by German collectors and transferred to Polish museums after the Second World War, the set of objects created by Wrocław-based architect and antiquities collector Eduard Schaubert (1804– 1860) clearly stands out. The collection was created over the period of twenty years that he spent in Greece and was brought to Wrocław by Schaubert in 1850. After his death, in 1861, the objects, along with a collection of drawings and handwritten accounts documenting them, were partly sold and partly donated by his heirs to the Royal Museum of Art and Antiquity at the University of Wrocław (then the University of Breslau). The collection, which at the time it was handed over to the Wrocław museum numbered more than 300 objects, fits into the collecting culture of the era in which it was created, and Schaubert himself is a representative of the international community of philhellenic collectors dominating the landscape of European collecting in the first half of the 19th century. The vast majority of objects that were once in Schaubert’s collection have not survived to this day due to the Second World War and the post-war turmoil. These preserved are scattered in two museums today. The preliminary reading of the published inventory lists of the antiquities’ collection owned by Schaubert, prepared by August Rossbach who recorded the original state of the collected set, and a brief analysis of the preserved objects reveal the collection’s heterogeneity. Diversity was probably part of the original idea, from the moment Schaubert started his collection. It is also significant that the artefacts included in the collection were usually mass produced in series and either purchased or discovered privately, that is, acquired without precise archeological data. These are the main features that distinguish a typical philhellenic collection of antiquities, that is, a collection created from the philhellenes’ need to contact the ancient original as “touching the past” and to preserve the material remains of the glorified “cradle of art and knowledge” – ancient Greece.
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Nowakowski, Wojciech. "Die ostpreußischen Sammlungen der »vaterländischen Alterthümer« im 18 Jh." In Collecting Antiquities from the Middle Ages to the End of the Nineteenth Century: Proceedings of the International Conference Held on March 25-26, 2021 at the Wrocław University Institute of Art History, 163–78. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381385862.07.
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COLLECTIONS OF ‘HOMELANDS ANTIQUITIES’ FROM EAST PRUSSIA IN 18TH CENTURY In the 18th century the interest in archaeology in East Prussia had grown incredibly. Thus, there was a great development of archaeological collections, even if the collecting was not understood as assembly of “national antiquities”, but rather as gathering the curiosities, testifying an attractiveness of a particular parish or communes. A special role played the clergymen who had the frequent contacts with peasants finding archeological relics accidentally, during the field works. One of the most outstanding collectors was Georg Andreas Helwing, a longtime parish priest in Węgobork (Angerburg). After his death his huge collection was mostly dispersed, although it can be assumed that some of the items were inherited by Ludwig Jakob Pisanski, his grandson and successors in the parish at once. This collection had an exceptional scientific value – later sold in Berlin, became a core of archaeological museum created in the 1830s. Even if other contemporary collections were not so spectacular, they are still a valuable witness of archaeological discoveries at that time.
Conference papers on the topic "Art Collectors and collecting Australia History"
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Grant, Angus, and Peter Raisbeck. "A Selective Digital History: Limitations within Digitisation Practices and their Implications." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4013phyct.
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The Greg Burgess Archive (GBA) is perhaps the most complete, and arguably the most valuable architectural practice archive in Australia. However, its physical size presents a problem to both visibility, and longevity, and plans are in place to digitise the collection. While in storage at Avington, Victoria, an archival team – including Burgess himself – have begun repairing the 447 models, scanning the hundreds of tubes of drawings, and extracting data from countless obsolete media. Yet how reasonable is it to assume the efficacy of a program of digitisation? What are the implications for an objective architectural historiography if the process fails? Precipitated by difficulties in accurately digitising Burgess’ intricate physical models, this piece explores both questions. Firstly, the digitisation process for the GBA acts as a case study. Then, the technical limitations encountered are placed within a wider context of archival concerns in today’s diverse, digital age. These archival concerns are recognised in the eliding of ephemeral archival material – bodies, experiences, spoken histories – all of which may elude Western archival frameworks. What is illustrated here is that the same underrepresentation may extend into digitised collections, and that what is omitted is precisely the contents of the GBA – intricate, tectonic objects which do not conform to the idiosyncrasies of the technology at hand. The subsequent discussion then proceeds to advance, and explicate, the notion of the third object. Curation, then, is surrendered to the archival process itself, and the agency to reify our material history is at risk of being left to the machines, and their preference for certain types of ethnocultural artifact. Considering this, alternative strategies are presented for both the GBA and institutions at large, yet archivists and historians must be conscious of these limitations, or risk the failings of traditional, institutional archival systems spreading throughout a growing digital landscape.
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Raisbeck, Peter. "Reworlding the Archive: Robin Boyd, Gregory Burgess and Indigenous Knowledge in the Architectural Archive.” between Architecture and Engineering." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3985p56dc.
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In her book Decolonising Solidarity: Dilemmas and Directions for Supporters of Indigenous Struggles, Clare Land suggest how non-Indigenous people might develop new frameworks supporting Indigenous struggles. Land argues research is deeply implicated with processes of colonisation and the appropriation of indigenous knowledge. Given that architectural archives are central to the research of architectural history, how might these archives be decolonised? This paper employs two disparate archives to develop a framework of how architectural archivists might begin to decolonise these archives. Firstly, these archives are the Grounds Romberg and Boyd Archive (GRB) at the State Library of Victoria (SLV). Secondly, the Greg Burgess Archive is now located at Avington, Sidonia in Victoria. The materials from each of these archives will be discussed in relation to two frameworks. These are the Tandanya-Adelaide Declaration endorsed by The Australian Society of Archivists (ASA) and the Indigenous Cultural and Intellectual Property (ICIP) framework developed by Janke (2019). These archival frameworks suggest how interconnected architectural histories and historiographies might be read, reframed and restored. Decolonising architectural archives will require a continuous process of reflection and political engagement with collections and archives. In pursuing these actions, archivists and architectural historians can begin to participate in the indigenous Reworlding of the archive.
Reports on the topic "Art Collectors and collecting Australia History"
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Corriveau, L., J. F. Montreuil, O. Blein, E. Potter, M. Ansari, J. Craven, R. Enkin, et al. Metasomatic iron and alkali calcic (MIAC) system frameworks: a TGI-6 task force to help de-risk exploration for IOCG, IOA and affiliated primary critical metal deposits. Natural Resources Canada/CMSS/Information Management, 2021. http://dx.doi.org/10.4095/329093.
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Australia's and China's resources (e.g. Olympic Dam Cu-U-Au-Ag and Bayan Obo REE deposits) highlight how discovery and mining of iron oxide copper-gold (IOCG), iron oxide±apatite (IOA) and affiliated primary critical metal deposits in metasomatic iron and alkali-calcic (MIAC) mineral systems can secure a long-term supply of critical metals for Canada and its partners. In Canada, MIAC systems comprise a wide range of undeveloped primary critical metal deposits (e.g. NWT NICO Au-Co-Bi-Cu and Québec HREE-rich Josette deposits). Underexplored settings are parts of metallogenic belts that extend into Australia and the USA. Some settings, such as the Camsell River district explored by the Dene First Nations in the NWT, have infrastructures and 100s of km of historic drill cores. Yet vocabularies for mapping MIAC systems are scanty. Ability to identify metasomatic vectors to ore is fledging. Deposit models based on host rock types, structural controls or metal associations underpin the identification of MIAC-affinities, assessment of systems' full mineral potential and development of robust mineral exploration strategies. This workshop presentation reviews public geoscience research and tools developed by the Targeted Geoscience Initiative to establish the MIAC frameworks of prospective Canadian settings and global mining districts and help de-risk exploration for IOCG, IOA and affiliated primary critical metal deposits. The knowledge also supports fundamental research, environmental baseline assessment and societal decisions. It fulfills objectives of the Canadian Mineral and Metal Plan and the Critical Mineral Mapping Initiative among others. The GSC-led MIAC research team comprises members of the academic, private and public sectors from Canada, Australia, Europe, USA, China and Dene First Nations. The team's novel alteration mapping protocols, geological, mineralogical, geochemical and geophysical framework tools, and holistic mineral systems and petrophysics models mitigate and solve some of the exploration and geosciences challenges posed by the intricacies of MIAC systems. The group pioneers the use of discriminant alteration diagrams and barcodes, the assembly of a vocab for mapping and core logging, and the provision of field short courses, atlas, photo collections and system-scale field, geochemical, rock physical properties and geophysical datasets are in progress to synthesize shared signatures of Canadian settings and global MIAC mining districts. Research on a metamorphosed MIAC system and metamorphic phase equilibria modelling of alteration facies will provide a foundation for framework mapping and exploration of high-grade metamorphic terranes where surface and near surface resources are still to be discovered and mined as are those of non-metamorphosed MIAC systems.