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1
Haidenthaller, Ylva. "Collecting Coins and Medals in 18th-Century Sweden." Artium Quaestiones, no. 34 (December 27, 2023): 111–37. http://dx.doi.org/10.14746/aq.2023.34.4.
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During the 18th century, collections of coins and medals were familiar sights. The collectors ranged from scholars to amateurs, men and women and the collectables tempted collectors for various reasons: they signified wealth and knowledge, they rendered historical events or current politics in material form, or they were miniature artworks and financial investments. Also, the visual and material culture that involved collecting coins and medals consisted of cabinets and numismatic publications. But how were numismatic collections amassed, and how were they used? What did it mean to own a coin and medal collection? This article discusses the practices of collecting numismatics in 18th-century Sweden through various case studies concerning private and public collections, such as the Uppsala University coin cabinet or the possessions of politician Carl Didric Ehrenpreus, numismatist Elias Brenner, medal artist Arvid Karlsteen, and merchant-wife Anna Johanna Grill. These cases illuminate the diverse motivations behind collecting, from intellectual curiosity to social status. These case studies include immaterial facets such as witty discussions and international networks and material aspects such as coins, medals, cabinets, letters, and publications. Based on contemporary written sources, this article sheds light on how numismatic objects were bought, sold and circulated, highlighting the market dynamics of collecting. Furthermore, the examples examine how numismatic publications were used next to the objects, contributing to hermeneutic study and the collecting process. The written records provide insight into the scholarly discourse surrounding these collections, offering a glimpse into the intellectual context of the time. Finally, the article will add to the understanding of values and ideas attached to the practices of collecting coins and medals in early modern Europe. It elucidates the role of numismatics as a collecting practice, as well as how it shaped cultural perceptions, underscoring the intricate interplay between material and visual culture, society, and the production of knowledge during this period.
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Penttinen, Saara. "Mikrokosmoksen matkaajat. Matkamuistot ja omakohtainen kokemus 1600-luvun englantilaisissa kuriositeettikokoelmissa." Matkailututkimus 17, no. 2 (2022): 22–38. http://dx.doi.org/10.33351/mt.114550.
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Royal gardeners and collectors of curiosities, father and son John Tradescant, were praised as world-travellers, who created a miniature world for their contemporaries to enjoy. But whose world was it based on – and whose world did it convey? In this article, I examine the objects and plants in seventeenth-century English cabinets of curiosities as both personal and culturally collective souvenirs, through which I reveal contemporary ideas about mobility, travel, and the concept of first-hand experience in Early modern England. As an example, I use the collection known as the Tradescant Ark with the help of diary entries, letters, and the 1656 catalogue. I especially analyse the catalogue as a form of reconstructing historical travel. The Tradescants, as was common at the time, were associated with God as creators of their private microcosm. Their subjective experiences of the world were also represented in the geographical as well as the social networks through which the objects had apparently travelled. However, the world of the collection was not only subjective; Collective, for example English and European, aspirations and geographical imaginations were also detectable in its contents. Moreover, a visitor to the collection carried their own personal worldviews that became influenced by the microcosm of the collection. Eventually, there is no such thing as a pure experience of the world, but always an endless combination of one’s own and others’ experiences, past and present, personal and collective – a collection such as The Ark being a perfect representation of such a mixture.
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Davy, Jack. "Lars Hætta’s miniature world: Sámi prison op-art autoethnography." Journal of Material Culture 23, no. 3 (2017): 280–94. http://dx.doi.org/10.1177/1359183517745716.
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This article examines a collection of miniature objects, now held in museum collections, which were originally made by a Sámi political prisoner in Norway during the mid-19th century as part of an educational programme. The author draws on recent developments in the theory of miniaturization to consider these miniatures as examples of prison op-art autoethnography: communicative devices which seek to address broad and complex social issues through the process of the creation and distribution of semiophorically functionless mimetic objects of reduced scale and complexity, and which reflect the restrictions of incarcerated artistic expression and the questions this raises regarding authenticity and hybridity.
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Laugrand, Frédéric B., and Jarich G. Oosten. "De la conservation à la restitution." Anthropologie et Sociétés 38, no. 3 (2015): 113–36. http://dx.doi.org/10.7202/1029021ar.
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Cet article traite de l’itinéraire d’un qalugiujaq, un couteau miniature ayant appartenu au célèbre chamane Qimuksiraaq. L’objet a été trouvé dans un fonds d’archives des Soeurs grises de Nicolet, et récemment restitué à un descendant de ce chamane. Les auteurs soulignent l’agencéité de ces objets miniatures capables de créer des connexions dans le temps ou dans l’espace. Ici, le pouvoir transformationnel de la miniature à l’étude demeure visiblement intact en dépit de plusieurs décennies de christianisation. Au-delà de mesures dites d’indigénisation, ce constat devrait conduire les musées à plus d’ouverture et de prudence dans la gestion de leurs collections d’objets miniatures.
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MacDonald, Carolyn. "Take-Away Art: Ekphrasis and Appropriation in Martial's Apophoreta 170–82." Classical Antiquity 36, no. 2 (2017): 288–316. http://dx.doi.org/10.1525/ca.2017.36.2.288.
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This paper examines the cultural antagonisms of Martial's Apophoreta 170–82, a unique series of epigrammatic gift-tags for artworks to be given away during the Saturnalia. In these poems, I argue, Martial thematizes and enacts Rome's transformative appropriation of cultural capital from Greece and elsewhere. First, he adopts the Hellenistic trope of the ekphrastic gallery tour in order to evoke the “museum spaces” of the Flavian city, where artworks became testaments to the power and culture of Rome (Section 1). While evoking these masterpiece collections, however, the epigrams in fact describe miniatures changing hands at a banquet. Martial thus tropes a second Roman practice of appropriation, namely the widespread consumption of transmedial miniature copies (Section 2). Third and finally, the epigrams dramatize the vulnerability of plundered objects by reevaluating their significance within the Roman frameworks of Latin literature and the Saturnalia (Section 3). In this miniature ekphrastic series, then, Martial's apophoretic poetics converge with Roman forms of appropriation both imperial and domestic, concrete and conceptual.
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Gusarova, Ekaterina. "Ethiopian Manuscripts in the State and Private Collections of St Petersburg: An Overview." Aethiopica 18 (July 7, 2016): 109–27. http://dx.doi.org/10.15460/aethiopica.18.1.926.
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For more than two centuries St Petersburg, the capital of the former Russian Empire, has been famous for its collections of Ethiopian manuscripts, objects of art and documents concerning Ethiopian history. They are concentrated in three state institutions and in several private collections of African art. This article provides a short history of formation of Ethiopian manuscript collections of Russia and describes the process of their description and study. Some interesting and unpublished items were generally describedand their miniatures published.
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Fiorillo, Flavia, Lucia Burgio, Christine Slottved Kimbriel, and Paola Ricciardi. "Non-Invasive Technical Investigation of English Portrait Miniatures Attributed to Nicholas Hilliard and Isaac Oliver." Heritage 4, no. 3 (2021): 1165–81. http://dx.doi.org/10.3390/heritage4030064.
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This study presents the results of the technical investigation carried out on several English portrait miniatures painted in the 16th and 17th century by Nicholas Hilliard and Isaac Oliver, two of the most famous limners working at the Tudor and Stuart courts. The 23 objects chosen for the analysis, spanning almost the entire career of the two artists, belong to the collections of the Victoria and Albert Museum (London) and the Fitzwilliam Museum (Cambridge). A non-invasive scientific methodology, comprising of stereo and optical microscopies, Raman microscopy, and X-ray fluorescence spectroscopy, was required for the investigation of these small-scale and fragile objects. The palettes and working techniques of the two artists were characterised, focusing in particular on the examination of flesh tones, mouths, and eyes. These findings were also compared to the information written in the treatises on miniature painting circulating during the artists’ lifetime. By identifying the materials and techniques most widely employed by the two artists, this study provides information about similarities and differences in their working methods, which can help to understand their artistic practice as well as contribute to matters of attribution.
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Williams, Emily Rebecca. "Red Collections in Contemporary China." British Journal of Chinese Studies 11 (June 29, 2021): 71–90. http://dx.doi.org/10.51661/bjocs.v11i0.73.
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“Red Collecting” is a widespread phenomenon in contemporary China. It refers to the collecting of objects from the Chinese Communist Party’s history. Red Collecting has received only minimal treatment in English-language scholarly literature, much of which focuses on individual object categories (primarily propaganda posters and Chairman Mao badges) and overemphasises the importance of Cultural Revolution objects within the field. Because of this limited focus, the collectors’ motivations have been similarly circumscribed, described primarily in terms of either neo-Maoist nostalgia or the pursuit of profit. This article will seek to enhance this existing literature and, in doing so, offer a series of new directions for research. It makes two main arguments. First, that the breadth of objects incorporated within the field of Red Collecting is far broader than current literature has acknowledged. In particular, the importance of revolutionary-era (pre-1949) collections, as well as regional and rural collections is highlighted. Second, it argues that collectors are driven by a much broader range of motivations, including a variety of both individual and social motivations. Significantly, it is argued that collectors’ intentions and their understandings of the past do not always align; rather, very different understandings of China’s recent past find expression through Red Collecting. As such, it is suggested that Red Collecting constitutes an important part of contemporary China’s “red legacies,” one which highlights the diversity of memories and narratives of both the Mao era and the revolutionary period. 
 Image © Hou Feng
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Burgio, Lucia. "Bismuth White (Bismuth Oxychloride) and Its Use in Portrait Miniatures Painted by George Engleheart." Minerals 14, no. 7 (2024): 723. http://dx.doi.org/10.3390/min14070723.
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This article documents the discovery of ‘bismuth white’ on three late eighteenth-century portrait miniatures in the Victoria and Albert Museum collections, painted by renowned English artist George Engleheart. Metallic bismuth and bismuth-containing minerals have been known for centuries and were used on various types of artistic production, from German Wismutmalerei to medieval manuscripts and Renaissance paintings. However, until now they had never been documented on portrait miniatures, despite documentary evidence that suggests their use. The Raman analysis of the three miniatures shows that bismuth oxychloride (BiOCl, corresponding to the mineral bismoclite) is present, and XRF data prove that this material was used as a white pigment in its own right. This work is a pilot study: it represents the first step in the rediscovery of bismuth white as an artist’s pigment, and hopes to provide encouragement to other institutions to look deeper in their collections and map out the use of a relatively rare white material which until now had not been detected or documented in fine art objects.
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S., Grushin. "MINIATURE COLUMNS OF BMAC IN EUROPEAN ONLINE AUCTIONS: OPPORTUNITIES FOR USE IN SCIENTIFIC RESEARCH." Preservation and study of the cultural heritage of the Altai Territory 27 (2021): 175–81. http://dx.doi.org/10.14258/2411-1503.2021.27.27.
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The paper is devoted to the consideration of the possibilities of using artifacts from private collections that are sold at European online auctions in scientific research. As an example, the data from the website of the world’s largest auction house Sotheby’s are analyzed. The description of 18 artifacts (miniature columns from Bactria) is given. Such artifacts are cylindrical or biconical shaped stone products with gutters on the bases and sides. The main difficulties when referring to this type of sources in scientific research are such aspects as lack of certification, the problem of authenticity and verification of information, the region of origin, incomplete information. Nevertheless, the analyzed objects fit into the cultural stereotypes of the BMAC and find complete analogies in the well-documented and stratified sits of this cultural area, which is a certain basis for their authenticity. Therefore, despite the noted nuances, it is concluded that it is necessary to take into account such artifacts in scientific research. Keywords: artifacts, BMAC, miniature columns, private collections, online auctions
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Salerno, Virginia, Natalia Mazzia, María González, and Cecilia Pérez de Micou. "Archaeologists, Treasure Hunters and Collectors: Heritage in the Spotlight." Heritage 2, no. 1 (2019): 135–48. http://dx.doi.org/10.3390/heritage2010010.
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This paper inquiries into different aspects involved in gathering archaeological materials practices in the contemporary world. Archaeological objects comprise an intricate network of interests such as social, academic, scientific, touristic, historical, territorial, and economic, among others. It is based on those interests that the objects are appropriated and re-signified depending on specific contexts. We introduce two Argentinean cases in order to look into the relations between people and collected objects, and how those relations intertwine with social and political issues. Founded on these cases, we assess the need to create a broad-encompassing framework to study the collecting practices and the great diversity of actors involved.
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Muskett, Georgina. "VOTIVE OFFERINGS FROM THE SANCTUARY OF ARTEMIS ORTHIA, SPARTA, IN LIVERPOOL COLLECTIONS." Annual of the British School at Athens 109 (September 23, 2014): 159–73. http://dx.doi.org/10.1017/s0068245414000057.
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Two museums in the city of Liverpool have material from the Sanctuary of Artemis Orthia, Sparta: the Garstang Museum of Archaeology in the Department of Archaeology, Classics and Egyptology at the University of Liverpool, and World Museum, part of National Museums Liverpool.The artefacts from the Artemis Orthia sanctuary which are now in the collections in Liverpool represent all periods of the use of the sanctuary, between the eighth century bc and the third century ad. They comprise lead figurines and miniature vessels, both characteristic of Laconian sites, as well as other types of pottery and terracotta figurines. Large and more extravagant offerings, such as items made from ivory or bronze, are not represented. However, the range of artefacts, particularly lead figurines, is impressive, and complements the material from the sanctuary which has already been published, primarily in the volume edited by Dawkins and published in 1929. In addition, the collections include a few objects of exceptional interest, mentioned in the article with further details in the Appendix. A full listing of votive offerings from the Sanctuary of Artemis Orthia in Liverpool collections complements the article.
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Burrows, Toby. "Collecting Medieval and Renaissance Manuscripts in Twentieth-Century Great Britain and North America." Museum Worlds 7, no. 1 (2019): 45–57. http://dx.doi.org/10.3167/armw.2019.070104.
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Medieval and Renaissance manuscripts were a significant commodity in the antiquarian sales market throughout the twentieth century, sought out by very wealthy collectors and small-scale buyers. The history of this manuscript market has not been analyzed systematically. This article is a first attempt to identify themes and trends across the century, beginning with the dominance of the great American Gilded Age collectors like Henry Huntington and the Morgans and their need to memorialize themselves. It argues that future research needs to assemble comprehensive data on prices and buyers in order to make possible more systematic analyses of trends and activities, and a more sophisticated understanding of the different reasons for which collectors collected and of the changing nature of manuscripts as objects with their own biographical trajectories and their own agency.
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Vaganov, Andrey. "A scientist is almost always a collectioner." Science Management: Theory And Practice 3, no. 1 (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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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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Reist, Inge. "The Impact of Travel on American Collectors during the Long Nineteenth Century." Nineteenth Century Studies 33, no. 1 (2021): 200–216. http://dx.doi.org/10.5325/ninecentstud.33.0200.
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Abstract This essay focuses on the ways in which travel broadened and deepened later nineteenth-century American collectors’ interests in cultures different from their own. Like many Gilded Age traveler-collectors, the figures profiled here—Isabella Stewart Gardner (1840–1924), Charles Lang Freer (1854–1919), Louisine Havemeyer (1855–1929), Henry (1849–1919) and Helen Clay Frick (1888–1984), and Phoebe Hearst (1842–1919)—were affluent and curious. Quotations from diaries, letters, and memoirs underscore the role travel played in educating them. Gardner’s constant travels to Italy solidified the direction her collecting would take, while Freer’s unwavering interest in the arts of many cultures of Asia prompted repeated visits to that continent. Havemeyer’s recollections of Spain spurred her desire to collect the art of El Greco (1541–1614) well before other Americans developed an appreciation of that artist, and letters and travel diaries illuminate Phoebe Hearst’s and Helen Clay Frick’s self-education through museum visits, in Hearst’s case affecting as well the later collecting obsessions of her son, William Randolph Hearst (1863–1951). While these collectors were often drawn to objects because they saw them as exotic, museums today seek to understand the objects they acquired within the context of their creators’ cultures.
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Dias, Nélia. "From French Indochina to Paris and back again: The Circulation of Objects, People, and Information, 1900-1932." Museum and Society 13, no. 1 (2015): 7–21. http://dx.doi.org/10.29311/mas.v13i1.314.
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This article examines the ways in which the processes of collecting, ordering and governing were imbricated both in the metropole and in the colony. Focused on the ethnographic missions carried out by the Musée d’Ethnographie du Trocadéro(MET) and by the École Française d’Extrême Orient from 1900 to the 1930s, the paper explores the network of local collectors, the methodological protocols and standards, the collecting practices, and how objects were gathered in the field for displays at the MET in Paris and at the forthcoming ethnological museum at Dalat in French Indochina (what is now Vietnam). The article argues that the circulation of objects, and the information related to those objects, conceives both the metropole and the colony as sites for the production of ethnological knowledge. It also seeks to demonstrate that collecting practices entailed distinct government effects both in metropolitan France and in colonial Indochina.
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Merryman, JH. "Cultural property ethics." International Journal of Cultural Property 7, no. 1 (1998): 21–31. http://dx.doi.org/10.1017/s0940739198770043.
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After briefly discussing ethics in general, stating the public interest in cultural property, and positing that collecting and dealing in cultural objects are not inherently unethical activities, the writer contrasts ethical attitudes toward legal controls over the international movement of people and of cultural objects. He then discusses the ethical bases of cultural property export controls and ethical questions raised by dealing in and collecting cultural objects, and identifies particular applications of export controls that are ethically unproblematic or ethically clouded. He discusses the difficult area of antiquities and questions whether anyone involved in it - from source nations, archaeologists, and ethnographers to museums, collectors, and the art trade - has clean hands. Finally, he states a hypothetical case of invited theft and asks readers to decide what the ethical response would be.
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Sá, Luiz Fernando Ferreira. "Collections in Atonement, Oranges Are Not the Only Fruit, Bring up the bodies, and Cloud Atlas: A prelude." Scripta 24, no. 52 (2020): 502–27. http://dx.doi.org/10.5752/p.2358-3428.2020v24n52p502-527.
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I will read the fascination with collectors and collecting in Ian McEwan’s Atonement (2001), Jeanette Winterson’s Oranges Are Not the Only Fruit (1985), Hilary Mantel’s Bring up the Bodies (2012), and David Mitchell’s Cloud Atlas (2004) regarding at least two theoretical questions. Can collected things and objects ever assist in the imagination of more satisfying social roles and identities? Can collecting material traces lead to an accurate or truthful depiction of the past-present-future life writing? Those novels represent one of the most popular and critically acclaimed examples of the widespread interest in collecting apparent in contemporary British fiction.
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Shi, Yuanxie. "A China Carved and Collected: Ningbo Whitewood Figurines in the Long Twentieth Century." Journal of Chinese History 3, no. 2 (2019): 381–407. http://dx.doi.org/10.1017/jch.2019.9.
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AbstractHow is the craft history of ordinary woodcarvers different from the political and economic history of elites and literati? This article tells a transnational history of Ningbo miniature whitewood figurines that were first collected by Western travelers as souvenirs from the 1870s to 1940s and then shipped to the West as export craft from the 1950s to 1980s. The examination of the makers, buyers, and collectors of these figurines reveals a dialectic process between carving and collecting. Focusing on both the making and circulation of these figurines, the article uncovers a new layer in modern Chinese history: with the political regime changing from the imperial state to socialist state, the carving and business practices of local artisans continued at its own rhythm. Less than three and a half inches tall, Ningbo whitewood figurines represent a miniature China carved and consumed on a global scale during the long twentieth century.
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Bruzzese, Stefano. "Un’amicizia (poco) disinteressata: il rapporto tra Vittorio Cini e Bernard Berenson." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 325–49. http://dx.doi.org/10.48294/s2020.017.
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Vittorio Cini (1885-1977) was one of the most voracious collectors of the Italian twentieth century. When he died, his collection, divided mainly between the rooms of the Monselice castle and the Venetian house in Campo San Vio, had passed through thousands of different objects from different periods. Weapons and ivories, miniatures, books, sculptures, but above all old paintings, only partially still preserved under the label of the Cini collection. Paintings almost always of the highest level, chosen with the guidance of the expert eye of connoisseurs – from Nino Barbantini to Federico Zeri – with whom the Count of Ferrara has maintained constant relations. Among these, to Bernard Berenson is always recognized a primary role, given the long years of acquaintance and friendship. But they never investigated properly the start dates and the dynamics of a relationship, first of all staff, which had the necessary and predictable effects on the orientation of the tastes of the collector and its buying and selling opportunities. This study offers an opening in this regard. The comparison between the materials preserved in the archive of Cini heirs, the Giorgio Cini Foundation and the Library of I Tatti, allowed to carry out an initial picture of the true extent and duration of a friendship never too disinterested and suspicious traits, but sincere, which linked Berenson to the entire Vittorio Cini family, and to illustrate with some concrete examples when and how the scholar could intervene with his always sought-after judgment on the purchases made for the collection.
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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 (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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Stone, Denise L. "Children’s Collections and the Art Museum." Visual Arts Research 34, no. 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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Pfotenhauer, Bettina. "Luxuswaren und Wissensobjekte." Internationales Archiv für Sozialgeschichte der deutschen Literatur 46, no. 1 (2021): 157–69. http://dx.doi.org/10.1515/iasl-2021-0009.
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Abstract The Venetian incunabula and post-incunabula traced in the library of the Nuremberg humanist Willibald Pirckheimer express the significant influence of the two cities’ relationship on shaping early modern culture in North-alpine Europe: The books, traded by Franconian merchants as luxury goods and, due to the miniatures added by Albrecht Dürer, examples of the influence of Italian Renaissance art north of the Alpes, also shaped the development of Greek humanism in the north and played an important role in constituting learned networks. The ambivalent and always shifting relation of their status as luxury goods or as objects of intellectual knowledge continued after Pirckheimer’s death as they became part of important English book collections and in the 1920 s precious pieces of the stocks of the famous Munich antiquarians Jacques and Erwin Rosenthal, the latter studying as an art historian the artistic importance of Dürer’s miniatures in Pirckheimer’s Venetian books.
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Thomasson, Fredrik. "Justifying and Criticizing the Removals of Antiquities in Ottoman Lands: Tracking the Sigeion Inscription." International Journal of Cultural Property 17, no. 3 (2010): 493–517. http://dx.doi.org/10.1017/s0940739110000238.
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AbstractThis article attempts to widen the debate on the removal of antiquities from the Ottoman Empire around 1800. The removals are often seen in an Anglo-French perspective with the result that other voices are erased, both those of the local populations and of other foreign observers. I show that objects that now neglected were once highly valued by both local inhabitants and collectors, and that their removals were repeatedly resisted. I suggest that a more subtle interaction occurred between collectors and the local populations than hitherto has been recognized. While the local populations were accused of various “superstitious” practices—often conveniently related to objects coveted by European collectors—I propose that the removers were not uninfluenced by these practices. By introducing testimonies from Swedish observers that were critical of the removals before such critiques became frequent, I also question the stereotype of a common European attitude toward the Ottoman Empire. I discuss how such critique was related to their status as third-party observers from a nation without power or museums. By investigating the arguments of both collectors and critics, I propose that many positions in the debate today were already present at the time of the removals. Following the history of a less famous object serves to highlight aspects of early European collecting and expansion in the Eastern Mediterranean that are often overlooked in the debate on ownership and restitution claims.
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Van der Grijp, Paul. "The Sacred Gift: Donations from Private Collectors to Public Museums." Museum Anthropology Review 8, no. 1 (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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Murcia Nicolás, Fuensanta. "Living Images and Marian Devotion: Words, Gestures, and Gazes." Religions 14, no. 5 (2023): 623. http://dx.doi.org/10.3390/rel14050623.
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This article examines the living images of the Virgin through the illustration of one of the most important collections of miracles of the 13th century, Les Miracles de Nostre Dame by Gautier de Coinci. In this case, I will focus my attention on manuscript 551 of Besançon (Besançon, BM, MS 551), which, although it has many flaws in its manufacture, offers an interesting presentation of living images. The study of these miniatures reflects the importance of devotion, the set of gestures, words, and gazes, in the medieval spectator’s experience of Marian images. At a time when these images’ legitimacy as sacred objects was still being debated, the artists in this manuscript show their power without censorship, presenting them as if they were the Virgin herself.
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Yamazaki, Tetsuro, Tomoki Nakamaru, Ryota Shioya, Tomoharu Ugawa, and Shigeru Chiba. "Collecting Cyclic Garbage across Foreign Function Interfaces: Who Takes the Last Piece of Cake?" Proceedings of the ACM on Programming Languages 7, PLDI (2023): 591–614. http://dx.doi.org/10.1145/3591244.
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A growing number of libraries written in managed languages, such as Python and JavaScript, are bringing about new demand for a foreign language interface (FFI) between two managed languages. Such an FFI allows a host-language program to seamlessly call a library function written in a foreign language and exchange objects. It is often implemented by a user-level library but such implementation cannot reclaim cyclic garbage, or a group of objects with circular references, across the language boundary. This paper proposes Refgraph GC , which enables FFI implementation that can reclaim cyclic garbage. Refgraph GC coordinates the garbage collectors of two languages and it needs to modify the managed runtime of one language only. It does not modify that of the other language. This paper discusses the soundness and completeness of the proposed algorithm and also shows the results of the experiments with our implementation of FFI with Refgraph GC. This FFI allows a Ruby program to access a JavaScript library.
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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 (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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Shaherov, V. P. "From Simple Collecting to the First Museums (from the History of the Formation of Museum Business in Pre-Reform Siberia)." Bulletin of Irkutsk State University. Series History 43 (2023): 26–40. http://dx.doi.org/10.26516/2222-9124.2023.43.26.
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The article is devoted to the issues of local history study of Siberia and the preservation of samples of its natural and historical and cultural heritage in the process of collecting mineralogical, natural science, ethnographic and archaeological collections. A significant role in the compilation of the first large collections belonged to the participants of academic expeditions, mining engineers and craftsmen, as well as individual enthusiasts from among the representatives of the local administration and merchants who are interested in the natural resources of Siberia, ancient monuments and unusual cultural objects of neighboring countries. From a simple collection of rarities and art objects, the most active of Siberian collectors have worked their way up to real researchers, contributing to the creation of local museums, libraries and art galleries. The most culturally saturated environment has developed in Irkutsk, where real merchant cultural salons have been formed on the basis of the collected home museums. The passion for collecting expanded the scientific and social horizons of Siberians, contributed to the knowledge of the region and awareness of their identity.
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Tonini, Lucia. "Russia in Rome." Experiment 25, no. 1 (2019): 258–75. http://dx.doi.org/10.1163/2211730x-12341342.
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Abstract The presence of thirty-three Russian head-dresses, as well as other historical objects, in the collection of the American diplomat, George Wurts, and his wife, Henrietta Tower, is an uncommon example of collecting Russian folk objects abroad, and testifies to a universality of taste in international collecting during the late nineteenth century. The head-dress collection is part of a larger collection of around 4,000 pieces dating from antiquity to the early twentieth century, which was assembled at the Palazzo Antici Mattei and the Villa Sciarra in Rome between the end of the nineteenth and the beginning of the twentieth century. Wurts and Tower had a particular interest in arts and crafts, which was enabled by Wurts’s career as a diplomat and secretary at the American mission in St. Petersburg for a period of ten years (1882-93). This article describes the key characteristics of the Wurts-Tower collection of folk objects, the circumstances of its formation, and its relation to the tendencies of taste during that time. It also testifies to the transformation of the kokoshnik in the eyes of collectors and viewers from a popular costume to a fashion accessory that was linked to a past world.
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Kolundžija, Jovana. "Others in heritology: The example of the 'Banat house'." Kultura, no. 168 (2020): 205–17. http://dx.doi.org/10.5937/kultura2068205k.
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The museum is a permanent, non-profit institution in the service of society and its development, open to the public. It collects, preserves, researches, communicates and exhibits material testimonies of man and his environment, for the purpose of study, education and entertainment. In recent times, museums are primarily communication centres that retain and develop all other functions of a traditional museum. The main form of communication is an exhibition, although any transmission of information is considered as communication. However, the museum is not the only institution where objects of this purpose can be found. Namely, there are many alternative types of collecting and storing things from the past, although not enough attention has been paid to them or real significance attributed. A true collector is a special type of collector, their purpose being to put together a collection of related items as complete, unique and as representative as possible. A collector is a person who is passionate about collecting specific items for his own pleasure. There are a large number of people like this, because in fact it is very difficult to think of any object that nobody would collect. Some of the typical examples vary from the collectors of works of art and precious vases, to the collectors of the most ordinary, trivial, useless, discarded items that are searched for in attics and basements, sometimes even in the landfills... In search of at least one such unusual collector, I came across a small heritage museum created based on geographical affiliation: the objects collected in this collection are all representative of the past of Banat.
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Oriekhova, S. "HISTORICAL AND CULTURAL HERITAGE OF UKRAINE IN TERMS OF THE STUDY OF STAMPS." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 20 (2020): 58–67. http://dx.doi.org/10.34079/2226-2830-2020-10-20-58-67.
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The article presents the definition of the study of stamps as a separate area of research of historical and cultural heritage of Ukraine. Views on the postage stamp as a historical pictorial source, through which the historical, national and cultural memory of people is fixed, are revealed. A review of the prerequisites for the scientific study of postage stamps in the field of humanities shows them as unique representatives of the national historical and cultural environment. The significance of addressing the issue of scientific study of postage stamps (philately) as a carrier of cultural and historical heritage is observed in the context of historical, philosophical, cultural and art studies. The practical value of the research is concentrated in the circles of collectors, profile museums of the post office, in archival funds, which keep general, documentary collections of postage stamps. In the process of the research, new research-interdisciplinary direct connections have emerged, which reveal aspects of philately from the point of view of psychology and philosophy. Taking into account all the achievements of interdisciplinary research, we consider historical explorations of preservation and translation of the historical and cultural heritage of Ukraine on postage stamps important and promising in the context of scientific and theoretical as well as empirical and applied Heritage Studies. All the above leads us to determine the purpose of the study, which can be described as identifying the conceptual foundations of the postage stamp not only as an independent object of cultural heritage, but also understanding the process of coding Ukraine’s sovereignty at different stages of statehood developing the postage stamp as a carrier of the historical and cultural heritage of the nation and the state. Scientific prospects for further elaboration of this topic in general and in its systemforming elements in particular are seen in the need to increase the importance of further scientific study of cultural heritage of Ukraine through the prism of postal miniature, where the object of study focuses on revealing the concepts and the practice of philately in stamp publishing cultural environment.
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Guseva, Anna V. "Chinese Paintings from Western Museum Collections at the International Exhibition of Chinese Art in London, 1935: On the History of Collecting and Attributing Chinese Paintings." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 287–302. http://dx.doi.org/10.15826/izv2.2022.24.2.040.
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The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.
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Kedzierski, M., D. Wierzbickia, A. Fryskowska, and B. Chlebowska. "ANALYSIS OF THE POSSIBILITIES OF USING LOW-COST SCANNING SYSTEM IN 3D MODELING." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B3 (June 9, 2016): 261–67. http://dx.doi.org/10.5194/isprs-archives-xli-b3-261-2016.
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The laser scanning technique is still a very popular and fast growing method of obtaining information on modeling 3D objects. The use of low-cost miniature scanners creates new opportunities for small objects of 3D modeling based on point clouds acquired from the scan. The same, the development of accuracy and methods of automatic processing of this data type is noticeable. The article presents methods of collecting raw datasets in the form of a point-cloud using a low-cost ground-based laser scanner FabScan. As part of the research work 3D scanner from an open source FabLab project was constructed. In addition, the results for the analysis of the geometry of the point clouds obtained by using a low-cost laser scanner were presented. Also, some analysis of collecting data of different structures (made of various materials such as: glass, wood, paper, gum, plastic, plaster, ceramics, stoneware clay etc. and of different shapes: oval and similar to oval and prism shaped) have been done. The article presents two methods used for analysis: the first one - visual (general comparison between the 3D model and the real object) and the second one - comparative method (comparison between measurements on models and scanned objects using the mean error of a single sample of observations). The analysis showed, that the low-budget ground-based laser scanner FabScan has difficulties with collecting data of non-oval objects. Items built of glass painted black also caused problems for the scanner. In addition, the more details scanned object contains, the lower the accuracy of the collected point-cloud is. Nevertheless, the accuracy of collected data (using oval-straight shaped objects) is satisfactory. The accuracy, in this case, fluctuates between ± 0,4 mm and ± 1,0 mm whereas when using more detailed objects or a rectangular shaped prism the accuracy is much more lower, between 2,9 mm and ± 9,0 mm. Finally, the publication presents the possibility (for the future expansion of research) of modernization FabScan by the implementation of a larger amount of camera-laser units. This will enable spots the registration , that are less visible.
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Kedzierski, M., D. Wierzbickia, A. Fryskowska, and B. Chlebowska. "ANALYSIS OF THE POSSIBILITIES OF USING LOW-COST SCANNING SYSTEM IN 3D MODELING." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B3 (June 9, 2016): 261–67. http://dx.doi.org/10.5194/isprsarchives-xli-b3-261-2016.
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The laser scanning technique is still a very popular and fast growing method of obtaining information on modeling 3D objects. The use of low-cost miniature scanners creates new opportunities for small objects of 3D modeling based on point clouds acquired from the scan. The same, the development of accuracy and methods of automatic processing of this data type is noticeable. The article presents methods of collecting raw datasets in the form of a point-cloud using a low-cost ground-based laser scanner FabScan. As part of the research work 3D scanner from an open source FabLab project was constructed. In addition, the results for the analysis of the geometry of the point clouds obtained by using a low-cost laser scanner were presented. Also, some analysis of collecting data of different structures (made of various materials such as: glass, wood, paper, gum, plastic, plaster, ceramics, stoneware clay etc. and of different shapes: oval and similar to oval and prism shaped) have been done. The article presents two methods used for analysis: the first one - visual (general comparison between the 3D model and the real object) and the second one - comparative method (comparison between measurements on models and scanned objects using the mean error of a single sample of observations). The analysis showed, that the low-budget ground-based laser scanner FabScan has difficulties with collecting data of non-oval objects. Items built of glass painted black also caused problems for the scanner. In addition, the more details scanned object contains, the lower the accuracy of the collected point-cloud is. Nevertheless, the accuracy of collected data (using oval-straight shaped objects) is satisfactory. The accuracy, in this case, fluctuates between ± 0,4 mm and ± 1,0 mm whereas when using more detailed objects or a rectangular shaped prism the accuracy is much more lower, between 2,9 mm and ± 9,0 mm. Finally, the publication presents the possibility (for the future expansion of research) of modernization FabScan by the implementation of a larger amount of camera-laser units. This will enable spots the registration , that are less visible.
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Asnis, A. Ya, G. G. Bocharov, A. A. Selivanov, and S. N. Khaziev. "Forensic Research of Phaleristic Items for Their Estimation." Theory and Practice of Forensic Science 15, no. 3 (2020): 50–59. http://dx.doi.org/10.30764/1819-2785-2020-3-50-59.
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Collecting phaleristics is quite a common hobby in all countries. The cost of awards, medals, and other items of phaleristics is determined by their rarity, condition, manufacturing complexity, presence of precious metals and stones.Forensic research of phaleristics for estimation differs from their appraisal by collectors themselves, appraisers of antique trade organizations, pawnshops, and auctioneers in the legal significance of the costing for interested parties. It is conducted according to the methodology of forensic commodity research to determine the market value of objects of various product groups; besides, there is a need to establish authenticity for certain types of products.The article presents an algorithm for forensic appraisal of phaleristic objects. It is shown that state awards of the USSR, RSFSR, and the Russian Federation do not have market cost according to the current Russian legislation as they are removed from the civil circulation. For these items, only the cost of the precious metals used in their production can be established. This cost is determined according to the methodology approved by the Russian Ministry of Finance.
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Jełowicki, Arkadiusz. "THE ETHNICISING OF OBJECTS AND ITS RESULTS. ON THE ROLE OF UKRAINIAN ETHNOGRAPHIC COLLECTIONS IN POLAND." Muzealnictwo 58, no. 1 (2017): 0. http://dx.doi.org/10.5604/01.3001.0010.2239.
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Categorising and contextualising objects in collections is a natural feature of museum professionals and collectors, which they do both with their own collections and others. Assigning given features to objects is connected with their description (e.g. academic) as well as with inventory and storage requirements. Another reason for such practices may also be mentioned here – the need to classify the world of objects and ideas. One of the categories most frequently used in such operations is the ethnic and cultural (or identity and cultural) category, particularly favoured by ethnologists and ethnographers – hence the non-European, non-Polish, Slavonic, Lithuanian, Ukrainian or even Lemko, Boyko etc. collections in museums (and not only there). Specific comparison of ethnic collections (in this case, Ukrainian) allows at least a few significant questions to be posed regarding the way they function. Firstly, concerning the history of mutual inter-ethnic relations; secondly, concerning their role in Polish ethnographic collecting; thirdly, concerning their impact on the identity of ethnic groups; and concerning the point of ethnicising objects; and finally concerning the impact on the self-reflection of ethnology. The author replies to the questions raised on the basis of his research in 2010–2012 in over ten Polish museums and collections. While presenting the results of his queries, he tries simultaneously to indicate the multidimensional and multi-context way such collections function in Polish culture.
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LLOYD, SARAH. "THE RELIGIOUS AND SOCIAL SIGNIFICANCE OF METHODIST TICKETS, AND ASSOCIATED PRACTICES OF COLLECTING AND RECOLLECTING, 1741–2017." Historical Journal 63, no. 2 (2019): 361–88. http://dx.doi.org/10.1017/s0018246x19000244.
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ABSTRACTAmong all the paper ephemera surviving from eighteenth- and early nineteenth-century Britain, the humble Methodist ticket has attracted little attention from scholars and collectors. Issued quarterly to members as a testimonial to religious conduct, many still exist, reflecting the sheer quantity produced by 1850, and the significance of keeping practices, where Methodist habits were distinctive. This article explores first the origin and spread of tickets primarily within British Methodism, but also noting its trans-oceanic contexts. Apparently inconsequential objects, they shaped experience and knowledge, illuminating eighteenth-century religious life, female participation, and plebeian agency. Discussion then turns to patterns of saving and memorialization that from the 1740s preserved Methodists’ tickets. Such practices extended the lifecycle of the individual ticket and created the accidents of its survival, giving it new uses as an institutional resource. In recovering the dead, it acquired nostalgic value, but other capacities were lost and forgotten. The ticket's origins, uses, and preservation intersect with major historical and historiographical currents to complicate established narratives of print, urban association, and commerce, and to present alternative understandings of collecting.
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Maire, Gonzalo. "ASIAN COLLECTING IN CHILE: THE CONDITION OF ITS OBJECT OF STUDY AND ITS RELATIONSHIP WITH THE MUSEUM." International Journal of Asia Pacific Studies 18, no. 2 (2022): 285–314. http://dx.doi.org/10.21315/ijaps2022.18.2.12.
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This article focuses on the study of the terms “collecting” or “collection”— particularly of the Asian type—in Chile, through the lens of the following working thesis: the term “collecting”, which involves both an acquisition practice and a particular relationship with its elements, has been fundamentally studied as an extension of, or in dependence to, the domain of the museum. This cardinal tenet involves, on the one hand, the decidability adopted by the phenomenon of collecting that is determined by its power to be registered or interpreted based on the enunciative dynamics of the museum field; on the other hand, I shall argue that this stems from its failure to constitute itself as an object which can exist outside the museum’s jurisdiction. Regarding this dependence or analogy of Asian Collecting on the area of influence of the museum, this investigation will describe the rules of formation which inform said dependence. By rules of formation, I shall refer to the possibility of a “language”, or special enunciation, dominion of the Museum over its objects, articulations, and its reproducible and verifiable scope areas. Specifically, two laws of museality will be developed in the present article, the museum’s heterotopia and the taxonomy of what is real. The Museum’s domain shall constitute, or rather, express, the positivity which is englobed in the concept of museality in reference to Michel Foucault’s definition. As such, this article focuses on the description of norms and rules which make up museality, and the manner in which Asian Collecting is subsumed to and made visible by the concept. For this article, catalogues of Asian collections—once belonging to private Chilean collectors—available in Chile will be used.
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Mattia, Eleonora. "Three Italian Illuminated Cuttings in the Royal Library of Copenhagen: the Master B. F., Attavante and the Master of Montepulciano Gradual I." Fund og Forskning i Det Kongelige Biblioteks Samlinger 56 (March 3, 2017): 9. http://dx.doi.org/10.7146/fof.v56i0.118927.
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Eleonora Mattia: Three Italian illuminated Cuttings in the Royal Library of Copenhagen
 Some observations on the history of collecting illuminated cuttings serve to introduce three unpublished Italian fragments that are part of a collection of illuminated fragments conserved in the Royal Danish Library. The miniatures are described from the point of view of their liturgical and art-historical content and are presented in the form of entries in a catalogue raisonné. The Master B. F., who grew up under the shadow of Leonardo de Vinci, was among those miniaturists most sought-after by collectors in the late nineteenth and early twentieth century because of his evident stylistic debts to the great painter. The beautiful miniature in Copenhagen can now be added to the other known works of this Master and is critical not only to the reconstruction of his corpus, but also for the history of collecting, as it comes from the prestigious Holford Collection. It was already correctly attributed when it entered the collection of the Royal Library; it is here inserted into the activity of the artist, a dating is proposed, and a provenance is suggested from the series of choir books in the monastery of Santi Angelo e Nicolò a Villanova Sillaro in Lombardy, which were broken up around 1799. The Danish cutting here attributed to Attavante has a specific iconography that demonstrates an originality and an independence from models followed by contemporary Florentine painting, qualities not always acknowledged to the well known miniaturist whose extensive figurative production has sometimes been considered repetitive. A third fragment is here attributed to the Pisan Master of Montepulciano Gradual I. This anonymous miniaturist is at the centre of the most recent and innovative studies of fourteenth-century Tuscan painting: his activity belongs to the diversified texture of artistic production between Florence and its nearby cities, with expressive modalities independent of the tradition of the more strictly Giottesque masters. The miniature attributed to him here is to be added to the catalogue of his works, dispersed as they are in many European and American collections.
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Herren, Madeleine. "“Very old Chinese bells, a large number of which were melted down”." Global Europe – Basel Papers on Europe in a Global Perspective, no. 120 (August 3, 2021): 37–54. http://dx.doi.org/10.24437/globaleurope.i120.455.
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In the second half of the 19th century, Buddhist bells from Japan began to arrive in Switzerland. The fact that these were objects listed in the so-called ethnographic collections is not surprising and the history of collecting has been a subject of postcolonial research. However, remarkably, the travel route of these bells, some of which weighed over a ton, could not be documented. Until now, the way how the bells were imported into Switzerland as unknown, and the problem of their provenance unsolved. This article argues that a global history approach provides new insights in two respects: The consideration of materiality allows a new nderstanding of the objects, while the activities of local collectors, seen from a micro-global point of view, reveal the local imprints of the global. Within this rationale, a history of individual bells in the possession of individual art lovers and museums translates into a history of scrap metal trade, allows to consider the disposal of disliked objects at their place of origin, and opens up a global framing of local history. Using global history as a concept, the historicity of the global gains visibility as we look at the intersection of materiality and the local involvement of global networks. Ultimately, as we follow the journey of the bells, reinterpreting scrap metal into art has formed a striking way in which local history assimilates the global.
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Sá, Luiz Fernando Ferreira. "Vita brevis, ars longa." Revista da Anpoll 54, no. 1 (2023): e1860. http://dx.doi.org/10.18309/ranpoll.v54i1.1860.
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The article deals with collecting in Utz (1989), by Bruce Chatwin. I read the fascination with collectors and collecting in the novel from and across two theoretical questions: (1) can objects enfold both a material status and an intangible effect as well as create an alternate narrative that would draw us away from commodification, objectification, and pathology? and (2) can the object confront us more with remnants of human life, with fragments of the representation of desire, and less with the residue of human labor? Kaspar Utz is a great collector of Meissen porcelain who the adverse events of history lead to living in Prague with his fragile treasures, under the malevolent eyes of a police state. Utz knows that a collector is almost an occult “theologian”, and his relationship with the Harlequins and the Colombines of Meissen has something idolatrous. Utz wages a silent war against the enemies that surround him, against the background noise of history, which would like to swallow forever these object-figures made of a substance refined by time. Utz’s lonely and manic life will become a game against the enemies, whose stake is the collection itself, an army of beings that must be removed from the brutal fingertips of tyrannical authority.
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Kusukawa, Sachiko. "The Early Royal Society and Visual Culture." Perspectives on Science 27, no. 3 (2019): 350–94. http://dx.doi.org/10.1162/posc_a_00311.
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Recent studies have fruitfully examined the intersection between early modern science and visual culture by elucidating the functions of images in shaping and disseminating scientific knowledge. Given its rich archival sources, it is possible to extend this line of research in the case of the Royal Society to an examination of attitudes towards images as artifacts—manufactured objects worth commissioning, collecting, and studying. Drawing on existing scholarship and material from the Royal Society Archives, I discuss Fellows’ interests in prints, drawings, varnishes, colorants, images made out of unusual materials, and methods of identifying the painter from a painting. Knowledge of production processes of images was important to members of the Royal Society, not only as connoisseurs and collectors, but also as those interested in a Baconian mastery of material processes, including a “history of trades.” Their antiquarian interests led to discussion of painters’ styles, and they gradually developed a visual memorial to an institution through portraits and other visual records.
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Almajed, Rasha, Abedallah Z. Abualkishik, Amer Ibrahim, and Nahia Mourad. "Forecasting NFT Prices on Web3 Blockchain Using Machine Learning to Provide SAAS NFT Collectors." Fusion: Practice and Applications 10, no. 2 (2023): 55–68. http://dx.doi.org/10.54216/fpa.100205.
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Non-Fungible Tokens (NFTs) are one-of-a-kind digital items with static or continuous visual and audio content. NFTs digitally represent any assets that may hold photos, gifs, audio, videos, or any other data-based storable material. These assets may come under a variety of asset groups, including art, in-game goods, and entertainment collecting units. What makes them appealing is their exclusivity, in the sense that each NFT is unique to itself, and ownership is determined by a digital certificate. In the first half of 2021, NFT sales totaled more than a billion. The NFT Software as a service (SAAS) based system is a one-of-a-kind offering and concept for thinking outside the box and presenting intellectuals and creative treasures and exhibiting these objects to ensure the security and integrity of digital assets. The existence of core decentralized networks allows for unrestricted access to this material as well as further analysis. Based on the Web3 Blockchain technology, these assets may be traded and represent next-generation ownership. In this paper, Adaptive Improved Convolutional Neural Networks (AICNN) are used to forecast NFT to provide a SAAS NFT collector. We also introduce Tree-seed Chaotic Atom Search Optimization (TSC-ASO) algorithm to optimize the forecasting process. The proposed method of NFT price forecasting is evaluated and compared with the existing forecasting methods. To produce an accurate report for NFT price forecasting, the proposed method will be effective.
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Ryzova, Lucie. "Mourning the Archive: Middle Eastern Photographic Heritage between Neoliberalism and Digital Reproduction." Comparative Studies in Society and History 56, no. 4 (2014): 1027–61. http://dx.doi.org/10.1017/s0010417514000486.
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AbstractThe past decade and a half have seen the founding of new archival initiatives in the Middle East devoted to collecting and preserving photographs. This article examines critically the constitution of photographic heritage in the region ethnographically and historically. I look first at how historical photographs are understood in Egypt by their custodians old and new. Publics and institutions overwhelmingly see photographs as “images of something,” and appreciate them for their visual content rather than as social and cultural objects. This facilitates their transfer from public collections into private hands in Egypt and abroad. I examine in detail key actors currently involved in shaping photographic heritage: the Library of Alexandria in Egypt, the Arab Image Foundation in Beirut, and private collectors in Egypt. I look at how these actors assign value to historical photographs in their custody and their strategies for collecting and curating them. They often define their actions negatively, “against others,” historically against a state that they believe has failed to care for national heritage. Yet these very actors, and their rivals, often perpetuate such narratives and associated fears. Two models of photographic heritage-making are currently emerging in the region: a “digital” model that destroys artifacts in order to produce data, and a model of private cultural institutions that provide unclear and selective access to their collections.
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Prescott, Christopher, and Josephine Munch Rasmussen. "Exploring the “Cozy Cabal of Academics, Dealers and Collectors” through the Schøyen Collection." Heritage 3, no. 1 (2020): 68–97. http://dx.doi.org/10.3390/heritage3010005.
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In the wake of the trade in ancient materials, several ethical and political issues arise that merit concern: the decimation of the cultural heritage of war-torn countries, proliferation of corruption, ideological connotations of orientalism, financial support of terrorism, and participation in networks involved in money laundering, weapon sales, human trafficking and drugs. Moreover, trafficking and trading also have a harmful effect on the fabric of academia itself. This study uses open sources to track the history of the private Schøyen Collection, and the researchers and public institutions that have worked with and supported the collector. Focussing on the public debates that evolved around the Buddhist manuscripts and other looted or illicitly obtained material from Afghanistan, Pakistan and Iraq, this article unravels strategies to whitewash Schøyen’s and his research groups’ activities. Numerous elements are familiar from the field of antiquities trafficking research and as such adds to the growing body of knowledge about illicit trade and collecting. A noteworthy element in the Schøyen case is Martin Schøyen and his partners’ appeal to digital dissemination to divorce collections from their problematic provenance and history and thus circumvent contemporary ethical standards. Like paper publications, digital presentations contribute to the marketing and price formation of illicit objects. The Norwegian state’s potential purchase of the entire Schøyen collection was promoted with the aid of digital dissemination of the collection hosted by public institutions. In the wake of the Schøyen case, it is evident that in spite of formal regulations to thwart antiquities trafficking, the continuation of the trade rests on the attitudes and practice of scholars and institutions.
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O'Grady, Patrick, David L. Minick, and Daniel O. Stueber. "Making Up for the Past." Advances in Archaeological Practice 10, no. 1 (2022): 101–13. http://dx.doi.org/10.1017/aap.2021.38.
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AbstractIn 2015, the Oregon Archaeological Society (OAS) presented statements to Oregon tribes and the Oregon Legislative Commission on Indian Services acknowledging the troubling history of OAS collecting activities and steps taken to transform the OAS, and sought guidance to address continuing tribal concerns. Tribes encouraged both the return of collections and increased public outreach efforts. Their guidance fueled increased effort by the Collection Recovery Committee (OASCRC), which has facilitated the return of five collections to tribal museums and university curation facilities and coordinated digital preservation of documents. The OAS may be the only avocational society in the United States actively engaged in such efforts, accomplished by a small group of volunteers. Case studies of collections, considerations involved in disposition, and the potential for repatriation and research are highlighted. The OAS seeks to halt dispersal and commodification of cultural objects and encourage academic research. Quick action can assure that the original collectors or descendants provide key site and location information. Educational opportunities can be rendered to the heritage community, and we are uniquely positioned to contribute to that service.
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Asiyat D., Atabieva. "Cyclization of small forms of Balkar prose." Kavkazologiya 2023, no. 1 (2023): 226–39. http://dx.doi.org/10.31143/2542-212x-2023-1-226-239.
Texto completoResumen
This article outlines a range of theoretical issues concerning the development of a promising artis-tic form of the narrative cycle by Balkarian writers. The object of research is small genres of prose (short stories, short stories, satirical miniatures), cyclically structured and forming an artis-tic integrity. The paper examines the historical prerequisites for the emergence of such structures, the regularity of their introduction into the work of regional prose writers. Using the possibilities of literary chronicles, national authors sought to capture the most significant moments of reality succinctly and concisely, to fix them in the reader’s mind through the techniques of detailing, in-cluding additional details, episodes, fragments. The corresponding niche occupied by the novelis-tic cycle in the Balkar literature is determined, the seriation and chronicity of texts, their concep-tual complementarity are noted. The study purposefully correlates a narrative cycle and a thematic collection of short stories, to distinguish such textual associations by distinctive features and ways of coupling parts within the established ideological and artistic integrity. During the analysis the relevant material, various types of prose cycles are revealed: author’s (originally written accord-ing to the writer’s plan), editorial (compiled to the publication of collections of works by an indi-vidual author, based on a single problem) and composite (multi-component texts, within which autonomous works are transformed into a cyclical unity, based on meaningful overlap, repeatabil-ity of plot lines and dominant images). The result of the study is the conclusion that the novelistic cycle has become a very effective form in national prose with its functionality and scope of appli-cation, allowing the most complete reflection of the dynamically changing reality.
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Godwin, Victoria L. "Customizations, collections and corporations: Mass production and self-expression." Journal of Fandom Studies 6, no. 3 (2018): 211–24. http://dx.doi.org/10.1386/jfs.6.3.211_1.
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Collecting and customizing highlight the interrelation of fan works and fan practices with corporate counterparts. Neither can be neatly isolated from the other. Corporations appropriate multiple aspects of material fan practices to encourage consumption, framing choice as customization and mass-produced merchandise as rare collectibles. Meanwhile, fans practice mini-mass-production, making multiple versions of fan works for sale or trade. Moving beyond an artificial value-laden binary opposition between fan customizations and collections or corporate versions, it would be more productive to focus on how both satisfy human urges for control and self-expression via one’s own creations and possessions. The personal investment of time and effort offers an expression and extension of self. Fans use toys, shoes, phone cases and other merchandise as raw materials for their creations. What varies is the amount of time, energy, skill or material resources individuals are able or willing to invest. Thus multiple supposedly distinct fan practices interconnect: customizers modifying or creating beloved fan objects; customers selecting from predetermined options to make their own variations on shoes, phone cases and other merchandise; shoppers seeking slight variations in seemingly identical items or collectors assembling work created by corporations or other customizers to display their own creations. Even if corporations monetize some forms of self-expression, collecting or customizing such items should be recognized as a form of fan activity instead of dismissed as mere consumerism.