The Collector And The Collected

From horror superstar K.R. Alexander . . . Something horrible happened to Josie--something so horrible she won't talk about it. But when the horror returns for her little sister, Anna, she's back in the battle against a fearsome force that manifests in diabolically deadly dolls. It's been five years since Josie squared off against the evil Beryl and her killer haunted dolls. She hasn't talked about it since, and likes to pretend it didn't happen. Too bad she didn't tell her younger sister, Anna. Because Anna is now the one being drawn in to the evil -- and the evil has some new tricks this time.

"Explores the paradigm of "area studies" - a way of supporting regionally-focused collecting, processing, and liaison work - in the academic library, through an explicitly anti-colonial lens"--

In Collected, expert collectors and decorating experts Fritz Karch and Rebecca Robertson present a tour of peculiar, elegant, and awe-inspiring collections from around the world. The book teaches readers the basic principles of the hunt while exploring the thoughtful and inventive ways people display their various collections, from the accessible and affordable to the aspirational extreme. The featured collections range from dice to café au lait bowls to 19th-century-French sewing tools to sand from world travels—illustrating collections as expressions of personal style. From no frills (“The Modest”) to ornate (“The Exceptionalist”), Karch and Robertson examine the selected collections according to personality type. The book showcases 16 different collecting personalities, each with its own chapter, featuring gorgeous photo­graphs, vignettes showing how the objects are displayed, and a collecting lesson.

A new edition of the classic guide to book collecting includes a new section on Internet resources.

The Collector’s Voice is a major four-volume project which brings together in accessible form material relevant to the history and practice of collecting in the European tradition from c. 1500 BC to the present day. The series demonstrates how attitudes to objects, the collecting of objects, and the shape of the museum institution have developed over the past 3000 years. Material presented includes translations of a wide range of original documents: letters, official reports, verse, fiction, travellers' accounts, catalogues and labels. Volume 1: Ancient Voices, edited by Susan Pearce and Alexandra Bounia Volume 2: Early Voices, edited by Susan Pearce and Kenneth Arnold Volume 3: Imperial Voices, edited by Susan Pearce and Rosemary Flanders Volume 4: Contemporary Voices, edited by Susan Pearce and Paul Martin

Nearly everyone collects something, even those who don’t think of themselves as collectors. William Davies King, on the other hand, has devoted decades to collecting nothing—and a lot of it. With Collections of Nothing, he takes a hard look at this habitual hoarding to see what truths it can reveal about the impulse to accumulate. Part memoir, part reflection on the mania of acquisition, Collections of Nothing begins with the stamp collection that King was given as a boy. In the following years, rather than rarity or pedigree, he found himself searching out the lowly and the lost, the cast-off and the undesired: objects that, merely by gathering and retaining them, he could imbue with meaning, even value. As he relates the story of his burgeoning collections, King also offers a fascinating meditation on the human urge to collect. This wry, funny, even touching appreciation and dissection of the collector’s art as seen through the life of a most unusual specimen will appeal to anyone who has ever felt the unappeasable power of that acquisitive fever. "What makes this book, bred of a midlife crisis, extraordinary is the way King weaves his autobiography into the account of his collection, deftly demonstrating that the two stories are essentially one. . . . His hard-won self-awareness gives his disclosures an intensity that will likely resonate with all readers, even those whose collections of nothing contain nothing at all."—New Yorker "King's extraordinary book is a memoir served up on the backs of all things he collects. . . . His story starts out sounding odd and singular—who is this guy?—but by the end, you recognize yourself in a lot of what he does."—Julia Keller, Chicago Tribune

This book was prepared by researching publicly available information, selected references, published books and from information obtained from artists. I have had the pleasure of knowing many of the painters and sculptors personally and over many decades; much of the information presented in this book is from them. The art depicted was all in my collection, although some pieces have been sold, most have been gifted – donated to museums and other institutions – prior to the completion of this book. I thank all of the artists who created the art that has given me utmost pleasure over many years. I have wonderful memories of time spent with the artists who became my friends. Additionally, I thank all those who appreciated my art collection and helped with the downsizing. This painful experience was somehow lessened, as the art is now in good hands, to be enjoyed by many now and in future generations. Foremost, I acknowledge my wife, Jere, who has been a partner in my life; she is the one who has endured all the toils, trials and tribulations of my collecting art, and to share with me our great journey of the “Art of Living with Art.”

Collecting is an obsession that goes back to the mists of history. While spare time and spare cash seem an absolute necessity for this kind of activity, every collector has his or her own approach to the formation of a collection. The way in which one’s treasures are displayed is another important instance in which one collector differs from another. Glass cases, niches, trays, cupboards, or drawers have been adopted; sometimes cards offer information on the subject, its age and provenance; an overall theme may have prompted the choice of the actual objects displayed together; security reasons suggest one room over another. While some collectors keep their treasures as close as possible—in their bedroom, throughout their living quarters, or in a locked up closet nearby—others may find that they want to be able to show off their collection without being disturbed by visitors in the rooms in which they actually spend most of their time. Certainly, our notions of private and public have changed considerably over the centuries and this has had an impact on questions of display and on the separation of particular parts of the house from other less accessible ones, in particular in great houses that allow for the establishment of a museum. The museum, in such cases, is quite separate from the living quarters, for example situated on the ground floor off the main hall. Not all displays were so defined; there were many forms of exhibition just as there were many forms of collections. The aims and ambitions of the collector are often discussed in terms of the display of their collections; in part because we believe that analysing how a collection was shown and how it was received are key contributors to our understanding the role and purpose of the collection. In lieu of any other documentation, inventories, sales catalogues and wills remain essential tools for the historian of collecting, both in terms of what was owned and where it was housed. This volume, the second in a series of four, presents ten articles that explore the connection between collections and their display in, near, or separate from the princely apartment within a time frame that runs from the sixteenth century to the early nineteenth and within a geographical area that includes courts on the Italian peninsula, in England, France, The Netherlands and Germany.