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Journal articles on the topic 'Collectors and collectings'
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1
Kelloff, Carol L., Vicki A. Funk, and Sara N. Alexander. "Smithsonian Plant Collections, Guiana Shield." Smithsonian Contributions to Botany, no. 110 (May 24, 2019): vi—360. http://dx.doi.org/10.5479/si.1938-2812.110.
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Part I provides the collector’s notes on trips in alphabetical order by collector (with maps). Part II lists collection localities with collection number ranges, habitat descriptions, geographic coordinates, and assisting collectors. Part III lists collections in numerical order with identification and authors. Part IV lists collections ordered by determined name.
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Turner, Keaghan. "Collectors of Collections: Sherlock Holmes and Collecting Culture." Victorians Institute Journal 44, no. 1 (December 1, 2016): 7–28. http://dx.doi.org/10.5325/victinstj.44.1.0007.
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Grimberg, Phillip. "Introduction to Special Issue on “Collecting, Collections, and Collectors”." Ming Qing Yanjiu 24, no. 1 (May 15, 2020): 1–10. http://dx.doi.org/10.1163/24684791-12340040.
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Valentino, Rahmat Alifin, Agus Rusmana, and Ninis Agustini Damayani. "Konstruksi Realitas Kolektor Vinyl Musik." Journal of Music Science, Technology, and Industry 4, no. 1 (April 19, 2021): 121–33. http://dx.doi.org/10.31091/jomsti.v4i1.1384.
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Purpose: This study aims to determine the meanings, motives and experiences of the collectors in collecting Vinyl. Research methods: This study uses a qualitative method with a phenomenological approach. Data collection technique was done by interviewing. Informants in this study are three Vinyl collectors who have been collecting Vinyl for over 5 years and owning hundreds of Vinyl pieces. Results and discussion: The results in this study are (1) the meaning of collecting Vinyl is a representation of the collector’s love for music, Vinyl is a part of life, collecting Vinyl creates an addiction, Vinyl is a basic need, Vinyl is a daily routine, and Vinyl is a transaction tool. (2) The collector’s motive in collecting Vinyl is to appreciate musical works, want to contribute to the preservation of musical works, Vinyl a source of economy, physical factors and sound quality produced by higher quality Vinyl, Vinyl artwork that has aesthetic valued, history value, and the rarity of Vinyl. (3) Collectors’ experience in collecting Vinyl, namely consistency from the past until now collecting Vinyl, continuing to add to the Vinyl collection which numbered in the hundreds to thousands, making sacrifices in terms of finance, other basic needs, and social life in order to buy Vinyl, doing special and intensive care so that the sound and physical quality of Vinyl is maintained, providing a special room for Vinyl collections, and buying and selling and bartering transactions between Vinyl collectors. Implication: The development of technology made the world community switch to listening to music from Vinyl to digital platforms. However, there are still some people who are still loyal to use Vinyl as a medium for listening to music and collecting it.
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Hrynevich, Yanina. "The History of the Formation of Folklore Collections in Belarus." Folklore: Electronic Journal of Folklore 91 (December 2023): 71–94. http://dx.doi.org/10.7592/fejf2023.91.hrynevich.
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The article focuses on the knowledge of the formation circumstances and development of folklore collections in Belarus in historical perspective. The history of collecting Belarusian folklore is explored, concentrating on the main ideas and the most influential collectors and groups of collectors. The research questions concern the main collection centers, gathering strategies, and their changes in accordance with the dominant state ideology and cultural policy. The study reveals that the growing interest in collecting folklore was closely connected with the process of national revival and the creation of the Belarusian state. Initiated by the passion of individual amateur collectors and local historians, the collection of folklore gradually became an important national task and was concentrated in the main scientific centers. Besides state ideology, the greatest influence on the formation of folklore collections, their form and content, is exerted by the goals and approaches of individuals. The personality, the level of education and age of the collector have a direct impact on the collection processes and, respectively, on the data obtained as a result.
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Prochaska, Alice. "National Collections, Global Collecting: The Responsibilities of Librarians as Collectors." Libraries & the Cultural Record 37, no. 1 (2002): 72–76. http://dx.doi.org/10.1353/lac.2002.0013.
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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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Grimberg, Phillip. "Introduction to Special Issue on “Collecting, Collections, and Collectors”, Part 2." Ming Qing Yanjiu 24, no. 2 (October 13, 2020): 159–60. http://dx.doi.org/10.1163/24684791-12340046.
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GILBERT, PAUL. "Collectives and Collections." Journal of Applied Philosophy 7, no. 2 (October 1990): 229–30. http://dx.doi.org/10.1111/j.1468-5930.1990.tb00272.x.
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Elsner, Jaś. "The Nature of Classical Collecting. Collectors and Collections, 100 BCE–100 CE." Journal of the History of Collections 18, no. 1 (January 5, 2006): 86–87. http://dx.doi.org/10.1093/jhc/fhi040.
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Shpytkovska, Natalia. "Development of Art Collecting in Ukraine: Historical, Cultural, and Social Background During Late 17th–18th Centuries." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 182–91. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235258.
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The article studies the origins and features of the art collecting at the territory of modern Ukraine. Socio-cultural, geo-political and historical backsground of the 17th–18th centuries became subject for consideration while making conclusions regarding the reasons and period when art collecting became widespread among the ruling elites and noble families of the region. The history of such collections is examined, their main characteristics and components at the time when Ukraine was divided into Left-bank and Right-bank Ukraine were observed.The research identifies main types of artistic practices widespread at that time in Ukraine, which served as the source of collectibles for private and primary institutional collections. The article considers differences of art collecting phenomenon caused by geographical context (Right-bank, Left-bank Ukraine) and by the changes in political and religious factors that all had impacted behavior and preferences of collectors. The research covers main well-known art collectors and demonstrates examples of collections, which laid the foundation for the transformation of collecting from the individual accumulation and preservation of cultural values to the formation of museum-level collections of national and worldwide importance.
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Martin, Jay. "A Collector of Collections." Iowa Review 36, no. 3 (December 2006): 189–93. http://dx.doi.org/10.17077/0021-065x.6249.
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Collin, Richard H., Thomas Lawton, Linda Merrill, Alice Cooney Frelinghuysen, Gary Tinterow, Susan Alyson Stein, Gretchen Wold, Julia Meech, and Louisine W. Havemeyer. "Public Collections and Private Collectors." American Quarterly 46, no. 3 (September 1994): 448. http://dx.doi.org/10.2307/2713274.
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Marini, Miguel Ângelo, Marcelo Assis, Nadinni Oliveira de Matos Sousa, Leonardo Esteves Lopes, and Neander Marcel Heming. "Oological collections and egg collectors of Brazilian birds: an overview." Arquivos de Zoologia 54, no. 1 (June 12, 2023): 1–14. http://dx.doi.org/10.11606/2176-7793/2023.54.01.
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Egg collections have been poorly studied and cataloged both in Brazil and overseas. In Brazil, there is a lack of both historical and current tradition of establishing and curating egg collections. This paper provides information about the size of collections, collecting dates, major collectors, geographic locations, and institutions holding egg sets of Brazilian birds. Through this effort, we recovered part of the history of Brazilian ornithology and provide general directions for those interested in studying egg sets deposited in scientific collections. We retrieved information from 5,888 egg sets collected in Brazil between 1818-2022, currently deposited at 45 institutions/museums. The four largest egg collections in Brazil are at MZUSP, MN, COMB and MPEG. However, around half of the egg sets are deposited in institutions from Europe (mainly at MLUH and ZMB in Germany, NMW in Austria, NHM in the UK, and CRRM in Romania) and the USA (mainly at the WFVZ). Most egg sets were collected between the 1890s and 1930s, and after 2010. In Brazil, 70% of the egg sets were collected in five Brazilian states (MG, SP, SC, PA, and RS). Overall, egg collecting was uneven in space and time. We traced ~330 egg collectors, but most egg sets were collected by José Caetano Guimarães Sobrinho, while Caio Guimarães Chagas was probably the greatest collection owner in Brazil. A recent increase in egg collecting shows a renewed interest in assembling this type of bird vouchers. A scientifically sustained, planned and ethical collection of eggs should continue in Brazil since the breeding biology of many species is still poorly known, and since egg sets are important to provide data for new studies on the ecology, evolution, and conservation of Brazilian birds.
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Hegmon, Michelle, James R. McGrath, and Marit K. Munson. "The Potential and Pitfalls of Large Multi-Source Collections." Advances in Archaeological Practice 5, no. 2 (March 27, 2017): 138–46. http://dx.doi.org/10.1017/aap.2017.2.
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ABSTRACTArchaeologists’ newfound ability to access vast digital collections creates opportunities but also presents challenges when those collections are from varied sources, including public institutions and private collectors. We illustrate these challenges by comparing two analyses of gender in Mimbres pottery images. Both analyses used the same procedures, but one included material in private collections, while the second drew on a smaller but more controlled sample. Gender distinctions and division of labor were revealed by the first analysis, but the results were not duplicated in the reanalysis using the controlled sample. We consider reasons for the difference, addressing how collectors’ interests may skew collections and suggesting that some particularly desirable Mimbres pottery designs were created using modern paint. The article concludes with recommendations for how archaeologists can best use mixed collections. These include considering how collections might be skewed and designing analyses to counterbalance likely issues, more chemical analyses with representative samples to gauge the extent of modern manipulation of Mimbres vessels, collecting data on the provenance (i.e., collection history) of material in order to try to trace the likelihood of post-excavation modifications, and studying the process of collecting as a means of understanding the authenticity of artifacts.
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FIGUEIREDO, ESTRELA, GIDEON F. SMITH, and RICARDO F. DE LIMA. "Exploring Pico de São Tomé (São Tomé and Príncipe), a hotspot for collecting plant specimens during the colonial period: collectors and itineraries." Phytotaxa 658, no. 2 (July 3, 2024): 178–90. http://dx.doi.org/10.11646/phytotaxa.658.2.5.
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The peak Pico de São Tomé on the island of São Tomé (São Tomé and Príncipe, Gulf of Guinea) is a locality where many specimens that became types of vascular plant names were collected during colonial times. Determining the routes the collectors took to ascend the peak will help determine some collecting localities. Gustav Mann was the first collector to explore the region; his itinerary is analysed and mapped based on his correspondence. The itineraries of ten further expeditions that ascended the peak are analysed. Collections that became types of vascular plant species names are recorded.
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Kana'an, R. "Review: Discovering Islamic Art: Scholars, Collectors and Collections: Discovering Islamic Art: Scholars, Collectors and Collections." Journal of Islamic Studies 13, no. 2 (May 1, 2002): 196–99. http://dx.doi.org/10.1093/jis/13.2.196.
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FIGUEIREDO, ESTRELA, and GIDEON F. SMITH. "Plant collecting in Mozambique from 1900 to 1929: collectors, collections, herbaria, and why this period was considered to have been unproductive." Phytotaxa 601, no. 1 (July 5, 2023): 1–41. http://dx.doi.org/10.11646/phytotaxa.601.1.1.
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The collecting of botanical specimens in Mozambique for depositing in herbaria during the period from 1900 to 1929, i.e., up to the appointment of institutional collectors, such as António de Figueiredo Gomes e Sousa, is investigated. A comprehensive catalogue of collectors who were active in the country in the first ca. 30 years of the 20th century is provided. In addition, biographical information about the collectors and information regarding their activities, employment, collections, and herbaria where their collections are kept are catalogued. The analysis is presented in an historical context and we reflect on the reasons why this period has been referred to as having been “somewhat unproductive”.
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Hudson. "Challenging Collections and Collecting Challenges." Pharmacy in History 61, no. 3-4 (2019): 124. http://dx.doi.org/10.26506/pharmhist.61.3-4.0124.
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Hudson, Briony. "Challenging Collections and Collecting Challenges." History of Pharmacy and Pharmaceuticals 61, no. 3-4 (2019): 124–27. http://dx.doi.org/10.3368/hopp.61.3-4.124.
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Nugrahawati, Eni Nuraeni, and Destianty Arista. "Profil Kepribadian Big Five dan Collecting Behaviour Kolektor Piringan Hitam." Psympathic : Jurnal Ilmiah Psikologi 3, no. 1 (December 27, 2016): 69–76. http://dx.doi.org/10.15575/psy.v3i1.743.
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A collector has peculiarities in their behavior, they have an emotional bond with his collection, persistent in hunting collection and preserved in caring, worried about the loss and damage of his/her collections. This study focused on how the collector’s personality profile and behavior on collecting records by using the theory of the Big Five Personality Profile from McIntosh & Schmeichel. The subjects of research were collector of records aged 30 to 39 years old with the level of social status was medium. By factors analysis through International Item Pool Representation (IPIP-NEO) questionnaire from Goldberg, this research found that type personality mostly were the openess to experience was high, Counscientiousness was high, Extraversion was high, Agreeableness was high, and Neuroticsm was low (O↑C↑E↑A↑N↓). Additionally the Collecting Behaviour type were the Passionate was high, the Inquisitive was low, the Hobby was high and the Expressive was high (P↑I↓H↑E↑).
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Henery, Martin, Tom North, Lydia Guja, and Caroline Chong. "Collections management - documenting conservation collections using a genotype collecting method." Australasian Plant Conservation: journal of the Australian Network for Plant Conservation 28, no. 1 (August 2019): 3–6. http://dx.doi.org/10.5962/p.373788.
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Skorupa, Ewa. "Literary Narratives on Collections." Tematy i Konteksty specjalny 1(2020) (2020): 166–79. http://dx.doi.org/10.15584/tik.spec.eng.2020.9.
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The article deals with collections and collecting as a literary theme. Research on this issue should be undertaken by literary scholars, as collections support the features of literary characters and give protagonists their identity. The work analysed from this angle is “Money” by Andrzej Strug from 1914. It interprets and describes three different collections and three different collectors: the eccentric Lyttons and their museum of stones, Lucy Slazenger’s precious jewellery collection and the art collection of Osias Murway, an enthusiast of antiquities.
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Vaganov, Andrey. "A scientist is almost always a collectioner." Science Management: Theory And Practice 3, no. 1 (March 25, 2021): 169–88. http://dx.doi.org/10.19181/smtp.2021.3.1.9.
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Collecting as a social, psychological and even physiological phenomenon has not been devoted to much serious research. Those that exist focus on the phenomenology of collections. The phenomenon of collecting and collecting remains largely unexplored. The topic of “collectors-scientists” is, in general, a blank spot in the study of science and the social history of science. Nevertheless, there is quite legitimately a special concept - “research collection”. For example, the collection of collections for Goethe was one of the ways of his scientific work. As a result of this work, Goethe became an expert in the field of knowledge, the objects of which he collected. This kind of rapprochement between science and collecting seems to be an interdependent process. Not only collecting in the highest phase of its development is being melted into a scientific occupation, but also an occupation in science has all the features inherent in project collecting. The article makes an attempt to establish some ontological patterns inherent in this process, to outline the paths to the natural science study of the phenomenon of scientists-collectors.
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Braun, Jolie. "Forging the Future of Special Collections, edited by Arnold Hirshon, Robert H. Jackson, and Melissa Hubbard." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 18, no. 1 (May 19, 2017): 62. http://dx.doi.org/10.5860/rbm.18.1.62.
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Forging the Future is a new collection of essays by some of the most prominent special collections librarians, curators, rare book dealers, and collectors currently working in the field. Originating from presentations given at the National Colloquium on Special Collections, the book explores the current and future concerns of special collections. The 2014 conference was organized by the Kelvin Smith Library at Case Western Reserve University, and the editors of this volume include Associate Provost and University Librarian Arnold Hirshon, 2013–2014 Distinguished Visiting Scholar Robert H. Jackson (also a rare book collector and coeditor of the 2007 Book Talk, a clear predecessor of Forging the Future), and Team Leader of Scholarly Resources and Special Collections Melissa Hubbard.
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FIGUEIREDO, ESTRELA, GIDEON F. SMITH, and RICARDO F. DE LIMA. "Plant collecting in São Tomé and Príncipe—collectors and their itineraries during the colonial period." Phytotaxa 640, no. 2 (March 11, 2024): 90–124. http://dx.doi.org/10.11646/phytotaxa.640.2.2.
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The history of vascular plant collecting on the islands of São Tomé and Príncipe, from the earliest times up to the independence of the country in 1975 is provided, along with biographical information on all the collectors that could be traced, with notes on their itineraries, collecting localities, and collections. Aspects of the social environment prevalent in São Tomé and Príncipe at the time that historical collections were made are highlighted and contextualised to enable an improved understanding of connections between scientific-botanical endeavour, colonialism, and slavery on São Tomé and Príncipe.
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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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Knell, S. J. "Collecting and Excavation in Palaeontology." Geological Curator 6, no. 2 (October 1994): 49–56. http://dx.doi.org/10.55468/gc486.
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Many existing collections no longer fulfil past functions due to the more sophisticated collecting requirements of contemporary science. The reassessment of collecting rigour has also been driven by conservation concerns. Yet museum collecting policy and practice often continue to reflect interests which are external to the requirements of science. In addition the nomenclature applied to the process of collecting is redefined according to collector objectives rather than social level; the role of the collector is divided into field collector and collection assembler; and palaeontological excavation is given extractive and systematic categories.
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Stone, Denise L. "Children’s Collections and the Art Museum." Visual Arts Research 34, no. 1 (July 1, 2008): 75–86. http://dx.doi.org/10.2307/20715463.
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Abstract Young collectors imitate the activities of sophisticated art collectors by acquiring, exchanging, safekeeping, and showing their items. The present study employed both quantitative and qualitative inquiry processes to both acquire information about school age-students’ collections and to find out more about how well students could relate their collections and collecting activities to those of art museums. This research was descriptive and employed a mixed-method design incorporating the results of two instruments, a questionnaire and face-to-face interviews. A total of 63 public school 4th, 5th, and 6th graders participated in the study; of these 35 were boys and 30 girls. Findings suggested that a museum visit was beneficial to students when comparing and contrasting their collections that of museums. These results have implications for teaching about museums. Students’ personal collections may be a concrete way for initiating discussions about the nature and functions of museums, the value placed on special objects by individuals and institutions, and what makes some objects special.
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Philp, Jude. "The more beautiful and gorgeous birds of British New Guinea." Memoirs of the Queensland Museum - Culture 13 (2022): 75–108. http://dx.doi.org/10.17082/j.2205-3239.13.1.2022.2022-03.
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This chapter describes the ways that collections were made in British New Guinea during Sir William MacGregor’s tenure (1888–1898) through a focus on the people employed in field collecting for bird specimens. It makes explicit the involvement of local peoples and other specialist collectors living in the region at the time. The creation of the collections was thus through two knowledge systems: that of western science and those of British New Guinean peoples. The influence of locals and other people is evident in the shape of the collection and the kinds of birds acquired. I argue that the curation of the bird specimens at Queensland Museum divorced specimens from the human contexts which contributed to reinforcing the hierarchical colonial structure. Despite this, examination of the collection’s composition shows the focus on ‘beautiful and gorgeous’ species which emphasises the knowledge of British New Guinea’s people and reveals the larger and more complex sphere of social relations that were a feature of MacGregor’s tenure.
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Kusniawan, Jovindi Fernando. "Use of Debt Collector Services by Banking Parties Based on the Fiduciary Guarantee Law." AURELIA: Jurnal Penelitian dan Pengabdian Masyarakat Indonesia 3, no. 1 (January 1, 2024): 419–23. http://dx.doi.org/10.57235/aurelia.v3i1.1618.
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This research aims to analyze the role and impact of the use of debt collectors in the context of collecting collections by banking institutions that take credit based on fiduciary guarantees. This research is also to teach debt collector practices with applicable legal provisions and the impact on the rights and obligations of the parties involved. There are many cases of motor vehicle withdrawals that have credit problems but do not follow existing laws. In distributing funds by providing credit to the public using fiduciary guarantees, Law no. 42 of 1999 requires transaction registration at the Fiduciary Registration Office. This process produces a fiduciary guarantee certificate which has executorial power equivalent to a judge's decision which has permanent legal force. However, in reality, there is a phenomenon where the fiduciary recipient takes the collateral if the fiduciary does not fulfill his obligations. In executing fiduciary guarantees, it is still common to use the services of debt collectors.
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Yailenko, Evgeny V. "Titian and Lorenzo Lotto: From the History of Art Dialogue by the Example of the “Collector’s Portrait”." Observatory of Culture 16, no. 6 (December 30, 2019): 618–27. http://dx.doi.org/10.25281/2072-3156-2019-16-6-618-627.
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The article explores various aspects of the practice of collecting works of classical art in Renaissance Venice, as well as its influence on the content program formation of the so-called “Collector’s Portrait”, a typological kind of portraiture common in the art of the 16th century. The most interesting examples of it are the “Portrait of Andrea Odoni” by Lorenzo Lotto and the “Portrait of Jacopo Strada” by Titian, considered in this article. The study is relevant because of its connection with the research attention, outlined in recent decades, to the history of collecting, antique trade and the role of socio-economic factors in the development of art history. The article aims to investigate, on the basis of written sources, the matter of how the content of such paintings reflects the moral and ethical ideas about the meaning of antique collecting, as well as to identify its characteristic features on the Venetian grounds. One of the features was that a significant proportion of the artistic material in private collections was composed of works of Greek-Hellenistic art. The interest in collecting these works speaks about the special aesthetic predilections of collectors, their sensitivity to the actual artistic merits of antiques, and not only about their desire to possess antiquities. In addition, the practice of collecting was intended to express the moral virtues of the collector, the greatness of their spirit and the nobility of their thoughts. On the other hand, it served as an important way of social self-assertion for those who were not part of the exclusive elite of Venetian society (patricians), but sought to approach it in their social ambitions. First of all, the article is of interest to historians, art historians, culturologists, museum specialists and antique trade specialists.
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Pitblado, Bonnie L. "How Archaeologists and Artifact Collectors Can—and Should—Collaborate to Comply with Legal and Ethical Antiquities Codes." Advances in Archaeological Practice 2, no. 4 (November 2014): 338–52. http://dx.doi.org/10.7183/2326-3768.2.4.338.
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AbstractIn a recent American Antiquity forum (Pitblado 2014), I argued that not only is it possible for archaeologists to engage in ethical collaborations with members of the artifact-collecting public, but that the Society for American Archaeology’s “Principles of Archaeological Ethics” stipulates that we should do so. This is not a message, however, that has fully permeated the archaeological community, which has led to a schism between populations who are often natural allies. This paper starts with that premise: that archaeologists should actively pursue collaborations with the artifact-collecting community with the goal of advancing research agendas, public education, and long-term care of collections in private hands. The paper offers guidelines for establishing and nurturing professional-collector relationships in a way that furthers the directives of legal and ethical archaeological codes. I begin with an overview of the changing nature of professional-collector relationships during the twentieth century, exploring reasons for the divisiveness that has characterized recent decades. I next suggest five steps for establishing appropriate relationships with artifact collectors—and avoiding inappropriate ones. Finally, I describe how I followed those steps to establish a network of collector-collaborators to build the foundation for a Paleoamerican research program in southeastern Idaho and northern Utah.
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Rowe, Matthew J., E. Charles Adams, Dan Clark, Ricky Cundiff, Kassi Sue Bailey, and Danielle R. Soza. "Perspectives on Collector Collaboration." Advances in Archaeological Practice 10, no. 1 (February 2022): 73–82. http://dx.doi.org/10.1017/aap.2021.44.
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AbstractIn 2019, we launched the Northern Arizona Paleoindian Project to expand on findings from the Rock Art Ranch (RAR) Research Experiences for Undergraduates (REU; NSF#1262184). The REU recovered 24 Paleoindian artifacts in association with drainages. Expansion of the research required mitigation of the patchwork landownership in the area, which encouraged a collector-collaboration model following Pitblado (2014) and Douglass et alia (2017). We held public events in collaboration with a network of agencies, avocational groups, collectors, and landowners to assess potential for Paleoindian archaeology in the area. In March 2020, however, the COVID-19 pandemic halted our efforts, allowing us to evaluate our project and practice. We find that tapping into existing local networks of responsible resource stewards (RRS) can greatly accelerate project development. We also find that private collections are endangered, and preserving this portion of the archaeological record requires documentation and long-term curation. Most importantly, we find that archaeologists working with collectors are uniquely positioned to build bridges between Indigenous communities, RRS, and professional archaeologists to help stabilize legacy collections and that this focus should drive collector-collaboration research design. Ultimately, the project must move toward a community-based participatory research design to seek equitable and culturally appropriate curation plans for local legacy collections.
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Bogdanov, Maxim S. "Private Collecting in the USSR and the New Soviet Elite." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 3 (219) (September 25, 2023): 54–60. http://dx.doi.org/10.18522/2687-0770-2023-3-54-60.
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The article is devoted to the phenomenon of private collecting in Soviet Russia. The author proceeds from the fact that the formation of the Soviet system, which led to certain changes in the social structure of society, led to the emergence of a new Soviet elite, not alien to collecting. Restrictions of a political and ideological nature imposed on any form of commercial activity and the almost closed art market predeter-mined the uniqueness of private Soviet collecting: ways of folding collections, the possibility of their preser-vation, exchange, fate, etc. The proposed typology of collectors of the Soviet period depends on the financial possibilities, the goals of collecting art objects, the aesthetic and cultural level, as well as the socio-cultural environment where collecting was carried out. In total, six conditional types of Soviet collectors were identified, among them the scientific and creative intelligentsia, Red Army officers, veterans of the Soviet special services, the state party elite, the “former” - the remaining representatives of the nobility in the country. The historical facts testifying to the complex relationship between private collectors and the Soviet state based on the command and administrative economic system are given. Many archival materials and documents have not revealed yet, which makes it difficult to study some aspects of private collecting of the Soviet era. The study of private collections and methods of collecting is the most important material source for studying the history of the country.
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Ames, Sarah, and Stuart Lewis. "Disrupting the library: Digital scholarship and Big Data at the National Library of Scotland." Big Data & Society 7, no. 2 (July 2020): 205395172097057. http://dx.doi.org/10.1177/2053951720970576.
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With a mass digitisation programme underway and the addition of non-print legal deposit and web archive collections, the National Library of Scotland is now both producing and collecting data at an unprecedented rate, with over 5PB of storage in the Library’s data centres. As well as the opportunities to support large scale analysis of the collections, this also presents new challenges around data management, storage, rights, formats, skills and access. Furthermore, by assuming the role of both creators and collectors, libraries face broader questions about the concepts of ‘collections' and ‘heritage', and the ethical implications of collecting practices. While the ‘collections as data’ movement has encouraged cultural heritage organisations to present collections in machine-readable formats, new services, processes and tools also need to be established to enable these emerging forms of research, and new modes of working need to be established to take into account an increasing need for transparency around the creation and presentation of digital collections. This commentary explores the National Library of Scotland's new digital scholarship service, the implications of this new activity and the obstacles that libraries encounter when navigating a world of Big Data.
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Van der Grijp, Paul. "The Sacred Gift: Donations from Private Collectors to Public Museums." Museum Anthropology Review 8, no. 1 (July 15, 2014): 22–44. http://dx.doi.org/10.14434/mar.v8i1.3099.
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The phenomenon of gifting from private collectors to museums has not yet been studied in depth. Prestigious art collections usually attract more attention than modest collections, which can also include other objects than artworks. The present analysis is concerned with both elite and popular collections and is illustrated with examples from various areas of the world, including Asia and the Pacific. Constituent parts of collections are seen as “semiophors” or carriers of meaning with a sacred dimension. They are set apart from ordinary objects. Moreover, through collecting, collectors can demonstrate their excellence in a competitive way. They not only rival one another, but sometimes compete with museums, and in such cases they may choose not to donate. On the other hand, museum directors and curators are not always keen to receive entire collections but may prefer to choose the best pieces and, in doing so, may injure the pride of generous donors. Donations to museums differ from bequests in wills to family members or close friends, in that they are given to the imagined community as a whole, which provides a sacred dimension to this kind of gift.
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Pitblado, Bonnie L. "An Argument for Ethical, Proactive, Archaeologist-Artifact Collector Collaboration." American Antiquity 79, no. 3 (July 2014): 385–400. http://dx.doi.org/10.7183/0002-7316.79.3.385.
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This essay addresses the contentious issue of collaboration between archaeologists and artifact collectors. I argue that in many instances, alienating members of the collecting public is not just bad practice; such alienation itself also violates the Society for American Archaeology's (SAA's) Principles of Archaeological Ethics. I make my case by first exploring the SAA's ethical code. I focus initially on “stewardship” and “commercialization,” which many cite as reasons for rejecting relationships with artifact collectors. I then discuss other SAA principles that support the perspective that archaeologists should actively reach out to citizens with private collections whenever possible. Second, I present a case study exploring what the Clovis archaeological record might look like had archaeologists rejected the overtures of a century of collectors who brought Pleistocene finds to the attention of professionals. Had practitioners accepted only those Clovis sites free of collector involvement, our understanding of Clovis lifeways would be quite different from what it is today. This essay has two messages. First, collectors can advance, and have advanced, archaeology by reaching out to archaeologists willing to reach back. Second, our own code of ethics suggests that responsibly engaging artifact collectors is not just “okay,” it is its own ethical imperative.
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HAMM, E. P. "Unpacking Goethe's collections: the public and the private in natural-historical collecting." British Journal for the History of Science 34, no. 3 (September 2001): 275–300. http://dx.doi.org/10.1017/s0007087401004423.
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This paper argues that Goethe's collections, in particular his mineralogical collections, had both public and private purposes. The public purposes were closely tied to the tradition of mineralogizing exemplified by the Freiberg Mining Academy. Abraham Gottlob Werner provided technologies for standardizing mineralogical terminology and identification, and Goethe hoped that these technologies would allow for a vast network of collectors and observers who would collate their observations and develop a model of the Earth's structure. His own cabinet, in particular his collection of rocks (Gebirgsarten), was to be a representative sample of rock formations in particular locations that could reveal features of the Earth's structure and history. Goethe was also responsible for the scientific collections of Jena University. He argued that if such collections were to be useful for teaching and research, a goal he strongly supported, they could no longer be treated as the private property of professors. He recognized that social relations within the University would have to be reordered if museums were to fulfil their epistemic functions. In this respect Goethe was on the side of the modern museum and opposed to the world of the private collection and all its idiosyncrasies. However, his own collections had very private and personal purposes. Using some of the ideas of Walter Benjamin as a foil, this paper tries to uncover some of the private passions that fuelled Goethe's almost insatiable collecting. Though these passions were peculiar to Goethe, I argue that historians of science should attend more to the passions and their place in the sciences.
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Krypczyk-De Barra, Aleksandra. "Jewish Art Collectors in Poland and the Works of Maksymilian Gierymski before World War II." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (January 1, 2020): 51–67. http://dx.doi.org/10.3828/aj.2020.16.5.
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From the end of the nineteenth century and up to the beginning of World War II, many of Maksymilian Gierymski’s (1846-1874) works were part of the collections of respected Jewish collectors, including Maksymilian Adam Oderfeld, Edward Rejcher, Stanisław Rotwand, Adolf Peretz, and Abe Gutnajer. They combined buying Polish art with providing financial support for many Polish cultural institutions. Thanks to these collectors the Polish public had better knowledge of Gierymski’s art. They bought his works at a time when the best examples of his oeuvre were abroad. 1939 was a tragic turning point for their activity. Collections were destroyed or stolen, including Gierymski’s work, and most of these items were not catalogued. Nevertheless, the collectors’ knowledge, passion, and expertise raised the bar for standards in Polish art collecting generally. The forgotten activity of Poland’s Jewish collectors is an essential part of the history of nineteenth-century Polish art.
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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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ГАЗДАНОВА, А. В. "RECONSTRUCTION OF THE BIOGRAPHY OF THE MUSEUM CORRESPONDENT: THE EXPERIENCE OF CO-CREATION IN DIGITAL FORMAT." Kavkaz-forum, no. 16(23) (December 11, 2023): 91–104. http://dx.doi.org/10.46698/vnc.2023.23.16.006.
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В статье речь идет об истории исследования, целью которого стала реконструкция биографии корреспондента Этнографического отдела Русского музея императора Александра III в 1906-1907 гг. Захария Петровича Валаева. Он входил в число корреспондентов, работавших по заданию музея в своих регионах. Одновременно с этим он стал одним из немногих кавказских собирателей, которым удалось успешно выполнить поручение и собрать полноценные этнографические коллекции, отражающие культуру осетин, кабардинцев и балкарцев. Знакомство с коллекциями, собранными З.П. Валаевым, вызвало интерес и к личности самого собирателя. Настоящее исследование, посвященное изучению его жизни и деятельности, состояло из трех этапов: поиска сведений, сохранившихся о собирателе в архиве музея, выезда на его малую родину в Северную Осетию для опроса местных жителей и работы в библиотеках и архиве, а также сбора информации в цифровом поле. В ходе работы удалось установить основные факты биографии собирателя, восстановить судьбы членов его семьи, а также предположить, что подтолкнуло студента-инженера стать собирателем этнографических коллекций для молодого Петербургского музея. В статье сведения, касающиеся биографии собирателя, рассматриваются в контексте ведения исследования. Специальное внимание уделяется цифровой среде, а именно социальной сети «Geni.com» и группе «Станица Черноярская!» в социальной сети «Одноклассники», посредством которых удалось установить контакт с потомками З.П. Валаева и краеведом, для дальнейшего сбора информации о корреспонденте и членах его семьи, который продолжается и в настоящее время. The article deals with the history of the study, the purpose of which was to reconstruct the biography of the correspondent of the Ethnographic Department of the Russian Museum of Emperor Alexander III in 1906-1907. Zachary Petrovich Valaev. He was one of the correspondents who worked on behalf of the museum in their regions. At the same time, he became one of the few Caucasian collectors who managed to successfully fulfill the assignment and collect full-fledged ethnographic collections reflecting the culture of Ossetians, Kabardians and Balkars. Acquaintance with the collections collected by Z.P. Valaev aroused interest in the personality of the collector himself. The present study, devoted to the study of his life and work, consisted of three stages: searching for information preserved about the collector in the museum archive, traveling to his small homeland in North Ossetia to interview local residents and work in libraries and archives, as well as collecting information in the digital field. Thus, in the course of the work, it was possible to establish the main facts of the collector's biography, restore the fate of his family members, and also suggest what prompted the engineering student to become a collector of ethnographic collections for the young St. Petersburg Museum. In the article, information concerning the collector's biography is considered in the context of conducting research. Special attention is paid to the digital environment, namely the social network "Geni.com " and the group "Stanitsa Chernoyarskaya!" in the social network "Odnoklassniki", through which it was possible to establish contact with the descendants of Z. P. Valaev and a local historian, for further collection of information about the correspondent and his family members, which continues at the present time.
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Andres, Hanna, and Mariia Lutska. "Features of Private Art Collecting in Ukraine in 1990s–2000s." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 66–71. http://dx.doi.org/10.33838/naoma.29.2020.66-71.
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The article analyzes private art collecting in 1990s–2000s in Ukraine. It is important to mention that collecting works of art in Ukraine of the time indicated in the article does not have comprehensive coverage. The complexity of the study of this issue is also due to the closeness and limitation of access to private collections. The collapse of the USSR, the transition from a totalitarian regime to democracy and the establishment of a market economy in Ukraine contributed to the formation and creation of private collections of artistic works. At this time, three main branches of non-state collecting begin to form: private collections, corporate collections of institutions (banks, insurance companies) and foundations. In the early 1990s the practice of collecting works by banks came to Ukraine from the West. Ukrincombank, Southern Bank, Gradobank, etc. were involved in that work. The interest of private individuals in forming their own collections also begins with Ukraine’s acquisition of Independence, but gains momentum in the early 2000s. The art collections were represented by E. Dymshyts, L. Bereznitsky, A. Adamovsky, I. Voronov, V. Pinchuk and others. One of the most important collections began to be initiated by Boris and Tatiana Hrynyov family of in 1996. Their idea of the collection arose from the concept of Kharkiv artists. In the circle of their interests — the art of Soviet nonconformists and Ukrainian contemporary art. Foundations of art appeared in Ukraine after the proclamation of Independence in 1991. These are non-governmental and non-profit organizations, established by private or corporate enti- ties. Important foundations in Ukraine, that have their own collections of art, are Soviart, Alexander Feldman Foundation, Stedley Art Foundation etc. The collections of the 1990s and 2000s are very important for the history of Ukrainian art and collecting. The collectors of this period have played a key role in preserving the artistic heritage of Independent Ukraine.
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Wilkinson, Joanne E., Kristen D. Spring, T. L. Dunn, Gilbert J. Price, and J. Louys. "The vertebrate fossil collection record from the Chinchilla Sand, South–East Queensland, 1844-2021." Memoirs of the Queensland Museum - Nature 63 (2021): 11–25. http://dx.doi.org/10.17082/j.2204-1478.63.2021.2020-07.
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Since the mid-1840s a diverse fossil vertebrate assemblage, referred to as the Chinchilla Local Fauna, has been collected from the Pliocene deposits of the Chinchilla Sand on the western Darling Downs of South-East Queensland. In large part because of this long history and the numerous collectors who have worked fossil deposits in the area, much ambiguity regarding site and locality names and their specific coordinates exists. Here, we review the vertebrate fossil collection records in the Queensland Museum Fossil, Donor, Collector and Locality Registers, correspondence, and field notes in an effort to pinpoint the location of each named locality and site and develop a digital map which highlights the historical collecting sites at one significant locality in the Chinchilla area. To ensure that a systematic framework for all future collecting from the main collecting area (Chinchilla Rifle Range) is maintained, we recommend the use of consistent nomenclature for sites so that spatial information of the highest possible quality is captured into the future. We recommend future collections include detailed recordings of stratigraphic contexts as well as GPS coordinates.
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Ciută, Marius-Mihai. "Collectors and Collections an Unexpected Case (I)." Acta Terrae Septemcastrensis 18, no. 1 (December 1, 2019): 112–33. http://dx.doi.org/10.2478/actatr-2019-0004.
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Mariz, Vera, Rosário Salema de Carvalho, Fernando Cabral, Maria Neto, Clara Moura Soares, and Natália Jorge. "ORION—Art Collections and Collectors in Portugal." Heritage 2, no. 2 (April 2, 2019): 1045–59. http://dx.doi.org/10.3390/heritage2020068.
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ORION is a digital art history research-oriented project focused on the study of art collections and collectors in Portugal, supported on a relational database management system. Besides the obvious advantage of organizing and systematizing an enormous amount of information, promoting its analysis, this database was specifically designed to highlight the relationships between data. Its relational capacity is not only one of the most relevant features of ORION, but a differentiating quality, one step forward in comparison to other international databases and studies that use digital methodologies. This article discusses the methods and the advantages of using ORION in research related to the history of collecting, art markets and provenance of art objects in Portugal, where it is the very first time that an approach such as this is intended, looking for a systematization of data that paves the way to the emergence of new research questions. Furthermore, and because ORION aims to share the data and knowledge with other projects, institutions and researchers, the database uses different international standards, such as data structure (CIDOC-OIC and Getty-CDWA), controlled vocabulary (Iconclass, Art and Architecture Thesaurus (AAT), Thesaurus of Geographic Names (TGN), and Union List of Artist Names (ULAN)) and communication and exchange of information (CIDOC-CRM).
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MacGregor, A. "Collectors and Collections: Koninkhjke Bibliotheek 1798 1998." Journal of the History of Collections 11, no. 1 (January 1, 1999): 124. http://dx.doi.org/10.1093/jhc/11.1.124.
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Bertie, David M. "Collections & Collectors: 53. Geological collections at North East Fife District Museum Service." Geological Curator 4, no. 9 (November 1987): 567–70. http://dx.doi.org/10.55468/gc868.
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In May 1975 the newly-created North East Fife District Council inherited museum collections in the burghs of Cupar, Newburgh and St Andrews. All three museum collections had suffered years of neglect through lack of curatorial care. In late 1982 the district council appointed a curator whose priority tasks were the cataloguing and conservation of existing collections. The museum service moved into its present accommodation in Cupar (the old police station) in December 1984. Since then cataloguing and conservation work has been fully operational. In November 1984 a Manpower Services Commission team was appointed, including a part-time geologist. 1 joined the team in April 1985. Since only the Cupar and Newburgh collections contain geological material, this account will not consider the St Andrews collection further.
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Stern, Dieter. "Ruthenian Devotional Songs As Collectors’ Items?" East/West: Journal of Ukrainian Studies 8, no. 2 (October 18, 2021): 123–50. http://dx.doi.org/10.21226/ewjus516.
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At the turn of the sixteenth and the seventeenth centuries, syllabic devotional songs in Ruthenian (RDS) make their first appearance as occasional appendices or notes in the margins of manuscripts serving quite divergent functions (triodia, evangelia and the like). The first systematic collections of RDS were compiled abroad by Ruthenian monks having left Ukraine for monasteries around Moscow from the 1660s onwards. It required several more decades, till the beginning of the eighteenth century, before these songs were also being systematically collected in song manuscripts throughout the Ruthenian lands themselves. The article argues against established views to the effect that this documentary gap was due to a massive loss of seventeenth-century Ruthenian song manuscripts. It should rather be taken at face value as an indication that some perceptual change with respect to devotional songs is likely to have taken place among Ruthenian literate classes at the beginning of the eighteenth century. It is argued that the rise of Ruthenian song manuscripts marks the beginning of a collecting culture, which treats devotional songs as a cherished and coveted collectable, where heretofore no particular value seems to have been accorded to these songs. The article explores the social profiles of song collectors and the individual makeup of song collections to offer a hypothetical outline of this emerging collecting culture, addressing issues of modes of exchange, methods of collecting and compiling, the specific relationship between collector and collectable, with a view to arguing for a highly individualized and intimate culture between private devotion and incipient object-oriented consumerism.
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Braden, L. E. A. "Collectors and Collections: Critical Recognition of the World’s Top Art Collectors." Social Forces 94, no. 4 (December 24, 2015): 1483–507. http://dx.doi.org/10.1093/sf/sov116.
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