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Detailed biographies describe the lives of twelve collectors of tribal art in Britain, active between 1770 and 1990. These men were rarely field collectors and only occasional travellers, but they were vigorous hunters, for whom the pursuit, handling and possession of such objects was what mattered.The climax of the period of collecting from around 1880 to 1960 coincided with the maximum extent of Empire, when legions of explorers, missionaries, administrators, traders and military personnel brought back to Britain an inexhaustible quantity of exotic material. The sources for the collections included most of Africa, the Americas and the Pacific, as well as tribal societies in Asia.The collectors described here - a interesting mix of highly individualistic, eccentric and sometimes avaricious men - could, and did, quite reasonably claim that they were saving ethnographic material for the future. This was partly based on the widely held notion that tribal cultures were disappearing and the idea that some museums were negligent and uninterested in ethnography. Several of the collectors eventually created museums themselves, most notably Pitt Rivers.

Professionally restored and in excellent condition. Unfortunately the case has totally fallen apart beyond repair, however instrument still in beau...

Provenance Bjorn Meyer - LP 602557681222

The seeds for this publication were sown when Swiss tycoon and prominent Tribal art collector, Jean Paul Barbier, asked author Hermione Waterfield for the background to some names that kept appearing in the sale catalogues of Christie's and Sotheby's--names such as Harry Beasley, General Pitt Rivers and John Hewett. Slowly, what was meant to be no more than an informal collection of notes turned into a in-depth and ambitious essay aiming to introduce a dozen influential dealers and collectors of ethnography active between 1770 and 1990 in Britain. The accounts here concern those collectors who left documentary records and created and developed a taste for ethnographica in others. These men were rarely field collectors, and only occasional travellers. While they worked from home they were not armchair collectors: instead they were very vigorous hunters, devoted to the constant, even obsessive, search for ethnographic objects.

SHORTLISTED FOR THE HUGO AWARD FOR BEST NOVEL 2018 SHORTLISTED FOR THE LOCUS AWARDS 2018 SHORTLISTED FOR THE BSFA AWARDS 2018 'Excellent' Book Smugglers 'A fitting addition to the Ancillary world' NPR 'Gripping . . . richly detailed and rewarding' SciFiNow 'Thrilling, out-of-this world stuff' Stylist Following her record-breaking debut trilogy, Ann Leckie, winner of the Hugo, Nebula, Arthur C. Clarke and Locus Awards, returns with a thrilling new story of power, theft, privilege and birthright. A power-driven young woman has just one chance to secure the status she craves and regain priceless lost artefacts prized by her people. She must free their thief from a prison planet from which no one has ever returned. Ingray and her charge will return to their home world to find their planet in political turmoil, at the heart of an escalating interstellar conflict. Together, they must make a new plan to salvage Ingray's future, her family, and her world, before they are lost to her for good. The Imperial Radch trilogy begins with Ancillary Justice, continues in Ancillary Sword and concludes with Ancillary Mercy. Also available now: Provenance is a stunning standalone adventure set in the same world as Ancillary Justice. NPR calls it 'A fitting addition to the Ancillary world'.

First Edition. Stated. Shelf and edge wear. Creasing and small tears to DJ.Foxing to page edges. Pages are clean and binding is tight. Solid Bok.

Since this handbook was first published in 1994, interest in the book as a material object, and in the ways in which books have been owned, read and used, has burgeoned. Now established as a standard reference work, this book has been revised and expanded with a new set of over 200 colour illustrations, updated bibliographies and extended international coverage of libraries and online resources. It covers the history and understanding of inscriptions, bookplates, ink and binding stamps, mottoes and heraldry, and describes how to identify owners and track down books from particular collections via library and sale catalogues. Each section features an evaluated bibliography listing further sources, both online and in print. Illustrated examples of the many kinds of ownership evidence which can be found in books are also shown throughout. Relevant to anyone seeking to identify previous owners of books, or trace private libraries, this title will also support the work of all book historians interested in the history of reading or the use of books and in the book as a material object. An essential handbook for anyone working in provenance research.

The true story of one of the twentieth century's most audacious art frauds Filled with extraordinary characters and told at breakneck speed, Provenance reads like a well-plotted thriller. But this is most certainly not fiction. It is the astonishing narrative of one of the most far-reaching and elaborate cons in the history of art forgery. Stretching from London to Paris to New York, investigative reporters Laney Salisbury and Aly Sujo recount the tale of infamous con man and unforgettable villain John Drewe and his accomplice, the affable artist John Myatt. Together they exploited the archives of British art institutions to irrevocably legitimize the hundreds of pieces they forged, many of which are still considered genuine and hang in prominent museums and private collections today.

425 pages. 8.25x5.50x1.50 inches. In Stock.

This book goes beyond the narrow definition of the term provenance, which addresses only the bare facts of ownership and transfer, to explore ideas about the origins and itineraries of objects, consider the historical uses of provenance research, and draw attention to the transformative power of ownership. The result is a volume of essays that makes a strong case for recuperating provenance—what contributing author Anne Higonnet calls “so many epic tales compressed into such dry lists”—for the history of art. Provenance attends to the social life of art, a work's biography subsequent to the moment of its origin. Provenance: An Alternate History of Art offers a broad perspective that ranges from ancient archaeology to conceptual art, that encompasses Europe, Asia, and the Americas, and considers a variety of media. The essays demonstrate in myriad ways how an owner’s relationship with a work of art or, in varying degrees, with the object’s previous owners, can change irrevocably the way the work will be perceived and understood by future generations. Limiting the scope of provenance to only the highly charged context of international legal custody battles or the painstakingly researched lists of names and dates in archives and catalogs is entirely insufficient to the richness of the subject. By considering provenance in its critical and theoretical dimensions, this volume endeavors to integrate this alternate narrative into art history.

Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. 1.54

Never read, no marks or highlighting in the book. Our copy is hardback, with a dust jacket, showing light shelf-wear.

This handbook surveys the different kinds of ownership evidence to be found in books and brings together a wide range of information and bibliographical references to provenance research. Features of this text include: a list of mottoes used by owners in the 16th and 17th centuries; details of donors' registers for historic libraries; a survey of published and unpublished provenance indexes for libraries in Britain and North America; a list of major bookplate collections; and notes on collections of booksellers' catalogues (particularly of the 18th and 19th centuries which have no existing bibliography).

Detailed biographies describe the lives of twelve collectors of tribal art in Britain, active between 1770 and 1990. These men were rarely field collectors and only occasional travellers, but they were vigorous hunters, for whom the pursuit, handling and possession of such objects was what mattered.The climax of the period of collecting from around 1880 to 1960 coincided with the maximum extent of Empire, when legions of explorers, missionaries, administrators, traders and military personnel brought back to Britain an inexhaustible quantity of exotic material. The sources for the collections included most of Africa, the Americas and the Pacific, as well as tribal societies in Asia.The collectors described here - a interesting mix of highly individualistic, eccentric and sometimes avaricious men - could, and did, quite reasonably claim that they were saving ethnographic material for the future. This was partly based on the widely held notion that tribal cultures were disappearing and the idea that some museums were negligent and uninterested in ethnography. Several of the collectors eventually created museums themselves, most notably Pitt Rivers.

Proceedings of the NATO Advanced Study Institute on Reading Provenance from Arenites, Cetraro, Cosenza, Italy, June 3-11, 1984

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Since this handbook was first published in 1994, interest in the book as a material object, and in the ways in which books have been owned, read and used, has burgeoned. Now established as a standard reference work, this book has been revised and expanded with a new set of over 200 colour illustrations, updated bibliographies and extended international coverage of libraries and online resources. It covers the history and understanding of inscriptions, bookplates, ink and binding stamps, mottoes and heraldry, and describes how to identify owners and track down books from particular collections via library and sale catalogues. Each section features an evaluated bibliography listing further sources, both online and in print. Illustrated examples of the many kinds of ownership evidence which can be found in books are also shown throughout. Relevant to anyone seeking to identify previous owners of books, or trace private libraries, this title will also support the work of all book historians interested in the history of reading or the use of books and in the book as a material object. An essential handbook for anyone working in provenance research.

This book goes beyond the narrow definition of the term provenance, which addresses only the bare facts of ownership and transfer, to explore ideas about the origins and itineraries of objects, consider the historical uses of provenance research, and draw attention to the transformative power of ownership. The result is a volume of essays that makes a strong case for recuperating provenance—what contributing author Anne Higonnet calls “so many epic tales compressed into such dry lists”—for the history of art. Provenance attends to the social life of art, a work's biography subsequent to the moment of its origin. Provenance: An Alternate History of Art offers a broad perspective that ranges from ancient archaeology to conceptual art, that encompasses Europe, Asia, and the Americas, and considers a variety of media. The essays demonstrate in myriad ways how an owner’s relationship with a work of art or, in varying degrees, with the object’s previous owners, can change irrevocably the way the work will be perceived and understood by future generations. Limiting the scope of provenance to only the highly charged context of international legal custody battles or the painstakingly researched lists of names and dates in archives and catalogs is entirely insufficient to the richness of the subject. By considering provenance in its critical and theoretical dimensions, this volume endeavors to integrate this alternate narrative into art history.

Proceedings of the NATO Advanced Study Institute on Reading Provenance from Arenites, Cetraro, Cosenza, Italy, June 3-11, 1984

Hardcover. The third installment in the Scrimshaw Artists series, "Scrimshaw and Provenance," contains more than 400 biographical sketches of the artists who made scrimshaw in the Age of Sail, ranging from common sailors and humble ship's carpenters to celebrity sea captains and even Peter the Great--meticulously researched and authoritatively and colorfully narrated by one of the world's leading authorities on the subject, based on the scrimshaw, primary documents, and archival records of museums, libraries, auction houses, and private collections worldwide. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.