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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.

Provenance Bjorn Meyer - LP 602557681222

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

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.

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.

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).

Provenance Research in Book History: A Handbook (British Library Studies in the History of the Book) This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. .

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

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.

Book is in Used-VeryGood 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 very limited notes and highlighting. 1.6

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.

From two-time RITA Award-winning author Carla Laureano comes a story of romance, transformation, and the beauty of belonging.Los Angeles interior designer and former foster kid Kendall Green is in high demand, both for her impeccable eye and for her uncanny ability to uncover the provenance of any piece. But for all her success, skyrocketing costs have put her California home and her business in jeopardy. Then an unexpected inheritance provides a timely solution: a grandmother she never knew has left her a group of historic properties in a tiny Colorado town on the edge of ruin.To young, untried mayor Gabriel Brandt, Jasper Lake is more than another small town-it? the place that saved his life. Now, seeing the town slowly wither and die, he? desperate to restore it to its former glory. Unfortunately, his vision is at odds with a local developer who wants to see the town razed and rebuilt as a summer resort. He? sure that he can enlist the granddaughter of one of its most prominent former citizens to his cause-until he meets Kendall and realizes that not only does she know nothing of her own history, she has no interest in reviving a place that once abandoned her.In order to save his beloved town, Gabe must first help Kendall unravel the truth of her own provenance-and Kendall must learn that in order to embrace the future, sometimes you have to start with the past.

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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

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.

During the Egyptian Old Kingdom (2650-2135 BC), the most impressive of all monuments were built in the form of the pyramids and their associated temples. The provision of enormous quantities of stone from suitable quarries was the most important requirement for their construction. This volume comprises short archaeological descriptions of the pyramids and their enclosures and determines the exact origin of the building material (above all limestone) from a total of 26 pyramids through a petrographic and geochemical comparison with samples from other quarries.

Unread book in perfect condition.

Whisky, properly savored and not grossly gulped, is essentially a pensive and a philosophic liquor. It is the natural companion of reasonable conversation. While it warms on a cold day, it can assuage the fatigues of a hot one...we can take it in our maturity as a purge of lassitude and as food for thought (Ivor Brown Summer in Scotland).