A Collector S Fortune

Masterpieces from the world-renowned Keir collection of Islamic art are comprehensively shown, for the first time, in this publication. A selection of 112 exquisite objects instills an appreciation for the wealth and magnificence of oriental art, with a focus on filling gaps between more widely represented styles and periods with particularly rare and unusal finds. Assembled over a period of fifty years, the collection - internationally known as the Keir collection - of Hungarian Edmund de Unger, encompasses almost all the periods and artistic landscapes of Islamic core-countries, the Mediterranean and central Asia. In its stylistic breadth and archaeological value, the collection measures up to those of all major museums of Islamic art. De Unger has made it his objective to systematically select objects which are rarely represented and styles which still cause controversy among researchers. With a discerning eye, he has tracked them down at markets and, above all, in famous old collections. Among the treasures shown in the volume are calligaphies, books and manuscripts, dating back up to six centuries, along with ceramics, metal art, silk and velvet brocades and awe-inspiring rock crystal objects made during he reign of the Fatimids in Egypt (969-1171). With its illuminating texts and vibrant images, the book makes for a fascinating and inspiring read.

The Private Collector’s Museum connects the rising popularity of private museums with evolving models of collecting and philanthropy, and new inter-relationships between private and public space. It examines how contemporary collectors construct museums to frame themselves as cultural arbiters of global distinction. By exploring a range of in-depth contemporary case studies, the book aims for a more complex understanding of the private collector’s museum, assessing how it is realised, funded and understood in a broader cultural context. It examines the ways in which this particular museum model has evolved within a historical Western tradition of collecting and museum-building, and considers how private museums will endure alongside their public counterparts. It also sheds light on the shifting patterns of collecting, such as the transition of personal art collections into the public sphere. The developments are situated within the wider context of private–public engagement in general. Providing a new analysis of philanthropy, public access and the museum, The Private Collector’s Museum is essential reading for scholars and students interested in the private museum, and key reading for those interested in related issues.

A man wearing his wifeÕs fur coat and a woolly balaclava is chained to a kennel in the backyard whilst another man delivers a side of bacon to The Devil. Fish trained to walk, devils in the stove, cats carrying coffins, ogres with a taste for fat little boys and beetles that do the housework Ð and then thereÕs the small matter of teaching a calf to talk. Thirty-eight folk and wonder tales from Denmark from Svend Grundtvig and his collectors.

Fourteen-year-old Bing is upset with his father for forcing him to help him dig up the bones of Chinese men and women in order to send them back to China. After they discover a skeleton without a skull, Ba is haunted by the powerful ghost. Later Bing gets a job as houseboy for a wealthy family, where he finds another ghost haunting the family. Bing is finally able to find out what both ghosts want from the living and rescues his father from impending death.

This book presents the first comprehensive study of the collecting, consumption and display of Chinese porcelain in Britain from the 16th to the 20th century, as well as the impact of this activity on British culture. Beginning with the early porcelains acquired as objects of exotica and vessels for the consumption of tea and coffee, followed by porcelains for display in the country house interior, the first part of this book reveals the role of porcelain in Britain's developing economic relations with China and the impact of this material on both daily life and interior design. The subsequent diplomatic and political conflicts of the 18th and 19th centuries provide a framework for an examination of British consumption of Chinese porcelain as both spoils of war and iconic representations of China, material which helped to shape and influence British perceptions of China. The final section demonstrates how these perceptions of China and its porcelain began to change significantly in the 20th century with porcelains acquired as works of art and displayed publicly in museums. Collectors in Britain began to specialise in this area and actively invented a 'field' of Chinese ceramics that was promulgated by learned societies and culminated in the founding of a museum of Chinese ceramics in London by one of the foremost British collectors, Sir Percival David, who donated his world class collection to the University of London in 1950.

Collectors, Scholars, and Forgers in the Ancient World focuses on the fascination which works of art, texts, and antiquarian objects inspired in Greeks and Romans in antiquity and draws parallels with other cultures and eras to offer contexts for understanding that fascination. Statues, bronze weapons, books, and bones might have been prized for various reasons: because they had religious value, were the work of highly regarded artists and writers, had been possessed by famous mythological figures, or were relics of a long disappeared past. However, attitudes towards these objects also changed over time: sculpture which was originally created for a religious purpose became valuable as art and could be removed from its original setting, while historians discovered value in inscriptions and other texts for supporting historical arguments and literary scholars sought early manuscripts to establish what authors really wrote. As early as the Hellenistic era, some Greeks and Romans began to collect objects and might even display them in palaces, villas, or gardens; as these objects acquired value, a demand was created for more of them, and so copyists and forgers created additional pieces - while copyists imitated existing pieces of art, sometimes adapting to their new settings, forgers created new pieces to complete a collection, fill a gap in historical knowledge, make some money, or to indulge in literary play with knowledgeable readers. The study of forged relics is able to reveal not only what artefacts the Greeks and Romans placed value on, but also what they believed they understood about their past and how they interpreted the evidence for it. Drawing on the latest scholarship on forgery and fakes, as well as a range of examples, this book combines stories about frauds with an analysis of their significance, and illuminates and explores the link between collectors, scholars, and forgers in order to offer us a way to better understand the power that objects held over the ancient Greeks and Romans.

This astonishing story links first-contact encounters in New Guinea with laboratory experiments in Bethesda, Maryland; sorcery with science; cannibalism with compassion; and slow viruses with infectious proteins, reshaping our understanding of what it means to do science.

This anthology reflects a larger impulse to recover women's involvement in the creation of an aesthetic culture from the late medieval through the early modern periods. By asking how the perspectives and experiences of female patrons contributed to the invention of particular styles or iconographies, or how they shaped taste, or how they influenced demand, these twelve original essays introduce significant new information about specific women patrons while raising theoretical issues for patronage studies more generally. While most of the projects discussed are consistent with the period's male-sanctioned concept of female patronage as an expression of conjugal devotion or dynastic promotion, at the same time the women involved devised strategies that circumvented these rules, allowing them to explore the potential or art as a means of proclaiming their own identity and taste.