Böcker i The Histories of Material Culture and Collecting, 1700-1950-serien

This collection of fourteen essays by distinguished art and cultural historians examine points of similarity and difference in British and American art collecting. Half the essays examine the trends that dominated the British art collecting scene of the nineteenth century. Others focus on American collectors.

Through both longer essays and shorter case studies, this book examines the relationship of European women from various countries and backgrounds to collecting.

This book explores the relationship between collecting Chinese ceramics, interior design and display in Britain through the eyes of collectors, designers and taste makers during the years leading to, during and following World War II.

Despite William Hunter''s stature as one of the most important collectors and men of science of the eighteenth century, and the fact that his collection is the foundation of Scotland''s oldest public museum, The Hunterian, until now there has been no comprehensive examination in a single volume of all his collections in their diversity. This volume restores Hunter to a rightful position of prominence among the medical men whose research and amassing of specimens transformed our understanding of the natural world and man''s position within it. This volume comprises essays by international specialists and are as diverse as Hunter''s collections themselves, dealing as they do with material that ranges from medical and scientific specimens, to painting, prints, books and manuscripts. The first sections focus upon Hunter''s own collection and his response to it, while the final section contextualises Hunter within the wider sphere. A special feature of the volume is the inclusion of references to the Hunterian''s web pages and on-line databases. These enable searches for items from Hunter''s collections, both from his museum and library. Locating Hunter''s collecting within the broader context of his age and environment, this book provides an original approach to a man and collection whose importance has yet to be comprehensively assessed.

With object study at the core, this book brings together a collection of essays that address the past and present of craft production, its use and meaning within a range of community settings from the Huron Wendat of colonial Quebec to the Girls' Friendly Society of twentieth-century England.

Through the example of Central Pacific Railroad executives, Manufacturing the Modern Patron redirects attention from the usual art historical protagonists - artistic producers - and rewrites narratives of American art from the unfamiliar vantage of patrons and collectors.

Through a close look at the history of the modernist hooked rug, this book raises important questions about the broader history of American modernism in the first half of the twentieth century. Although hooked rugs are not generally associated with the avant-garde.

Why did writers' private homes become so linked to their work that contemporaries began preserving them as museums? This title addresses this and other questions by providing an overview of social forces that brought writers' homes to the forefront of the French imagination at the end of the nineteenth century and the beginning of the twentieth.

Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris examines transnational relations and intercultural exchange between modern Europe and Asia. At the core of the study are three major collectors: Enrico (Henri) Cernuschi, Emile Guimet, and Edmond de Goncourt.

Art history has enriched the study of material culture as a scholarly field. This interdisciplinary volume enhances this literature through the contributors'' engagement with gender as the conceptual locus of analysis in terms of femininity, masculinity, and the spaces in between. Collectively, these essays by art historians and museum professionals argue for a more complex understanding of the relationship between objects and subjects in gendered terms. The objects under consideration range from the quotidian to the exotic, including beds, guns, fans, needle paintings, prints, drawings, mantillas, almanacs, reticules, silver punch bowls, and collage. These material goods may have been intended to enforce and affirm gendered norms, however as the essays demonstrate, their use by subjects frequently put normative formations of gender into question, revealing the impossibility of permanently fixing gender in relation to material goods, concepts, or bodies. This book will appeal to art historians, museum professionals, women''s and gender studies specialists, students, and all those interested in the history of objects in everyday life.

Through both longer essays and shorter case studies, this book examines the relationship of European women from various countries and backgrounds to collecting.

This comprehensive book brings to light the portraits, private collections, and public patronage of the princesse de Lamballe, a pivotal member of Marie-Antoinette's inner circle.

Filling a critical gap in Vienna 1900 studies, this book offers a new reading of fin-de-siecle culture in the Austro-Hungarian Monarchy by looking at the preoccupation with embroidery, fabrics, clothing, and fashion-both literally and metaphorically. The author resurrects lesser known critics, practitioners, and curators.