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European, British, and American Musical Instrument Collectors, 18501940 [Hardback]

Edited by (Yale University, USA)
  • Formāts: Hardback, 346 pages, height x width: 246x174 mm, 4 Line drawings, black and white; 46 Halftones, black and white; 50 Illustrations, black and white
  • Sērija : The Histories of Material Culture and Collecting, 1700-1950
  • Izdošanas datums: 10-Sep-2025
  • Izdevniecība: Routledge
  • ISBN-10: 1032105097
  • ISBN-13: 9781032105093
Citas grāmatas par šo tēmu:
European, British, and American Musical Instrument Collectors, 18501940Palielināt
  • Formāts: Hardback, 346 pages, height x width: 246x174 mm, 4 Line drawings, black and white; 46 Halftones, black and white; 50 Illustrations, black and white
  • Sērija : The Histories of Material Culture and Collecting, 1700-1950
  • Izdošanas datums: 10-Sep-2025
  • Izdevniecība: Routledge
  • ISBN-10: 1032105097
  • ISBN-13: 9781032105093
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781032105093.html
Keywords:
"The contributors to this volume examine musical instrument collectors and their reasons and means for collecting: Who were they professionally and personally? Why did they collect musical instruments? How did they acquire their objects? What were their collecting criteria and aesthetics? Following a critical introduction, two chapters on historically overlooked yet essential themes - provenance, and collecting in the context of colonialism - lay the foundation for nineteen chapters, each on an individual collector, telling personal and individual stories of collecting and collections. These narratives illuminate a rich contextual history, including the factors that shaped each collector's acquisition and use of objects. Because many private collections later became the mainstay of institutional ones, this volume holds that it is essential to understand these collectors and historical collecting practices, in order to understand our museum collections today. The book will be of interest to scholars working in material culture, collecting and museum studies, music history, and organology"--

The contributors to this volume examine musical instrument collectors and their reasons and means for collecting: Who were they professionally and personally? Why did they collect musical instruments? How did they acquire their objects? What were their collecting criteria and aesthetics?



The contributors to this volume examine musical instrument collectors and their reasons and means for collecting: Who were they professionally and personally? Why did they collect musical instruments? How did they acquire their objects? What were their collecting criteria and aesthetics?

Following a critical introduction, two chapters on historically overlooked yet essential themes – provenance, and collecting in the context of colonialism – lay the foundation for nineteen chapters, each on an individual collector, telling personal and individual stories of collecting and collections. These narratives illuminate a rich contextual history, including the factors that shaped each collector’s acquisition and use of objects. Because many private collections later became the mainstay of institutional ones, this volume holds that it is essential to understand these collectors and historical collecting practices, in order to understand our museum collections today.

The book will be of interest to scholars working in material culture, collecting and museum studies, music history, and organology.

Introduction
1. Collecting African Musical Instruments during the
Colonization Era. The case of the Congo
2. Provenance and Instruments of the
Violin Family 3.From Scoundrel to Professor: The legacy of John Donaldson
(c. 17881865) and the founding of the University of Edinburghs musical
instrument collection
4. Carl Engel (18181882): The highest authority in
Europe upon the development of musical instruments
5. The rare museum of an
artist and inventor: Adolphe Saxs (18141894) collection of musical
instruments
6. Alfred Hill (18621940) and Arthur Hill (18601939): Private
collectors, public benefactors
7. César Charles Snoeck (18341898): Making
the intangible, tangible
8. Daniel Sargent Pillsbury (18361902): First
collector of American band instruments
9. Collecting Musical Instruments A
Merchants Passion. The Rück family collection (c. 18801962)
10. Mary
Elizabeth Adams Brown (18421918): A Herculean piece of work
11. Auguste
Tolbecque's (18301919) Collection: A new aesthetic order and the
experimental archeology of musical instruments
12. Celebrating the Art of
Musical-Instrument Making. The private collection of Victor-Charles Mahillon
(18411924)
13. Carl Claudius (18551931) and His Sound-chests
14. No Mere
Assemblage of Musical Instruments: The foundations of Arnold Dolmetschs
(18581940) collection
15. Dayton C. Miller (18661941), an American
Collector of Flutes
16. George Henry Benton Fletcher (18661944), The
Improbable Collector
17. Francis W. Galpin (18581945): The Canon and
collector
18. Henry Ford (18631947): Gathering Americas musical past
19.
Fritz Wildhagen (18781956) Painter, Collector, Aesthete
20. Evan Gorga
(18651957): An extraordinary collector, his incredible collections, and
their disastrous odyssey
21. Curt Sachs (18811959) as Head of the Collection
of Musical Instruments in Berlin: Views and perspectives Appendices
Christina Linsenmeyer is Associate Curator, Collection of Musical Instruments at Yale University.