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This paper examines the dynamics of 'irregularly regulated markets', specifically those dealing with what we term 'criminogenic collectables': antiquities, fossils, and wildlife. Through the lens of 'irregular regulation' we consider how inconsistencies and loopholes in legal frameworks contribute to criminal activities in these markets. We outline five ways that such markets can be considered irregular: socially, jurisdictionally, temporally, culturally and discursively. Through this discussion, we address the subjective nature of legality in these markets, contested by cultural, economic, and political influences, and the role of market actors in manipulating perceptions. This study offers a nuanced perspective on the sociology of crime which includes consideration of the objects of crime. Here we emphasize not only the significance of market regulation and legal frameworks in shaping criminal behaviour, but also the agentic qualities of the target objects themselves. We argue that the idea of irregularity is a useful hermeneutic device for considering the grey areas and hot zones of debate that constitute the current global market for contested objects. [ABSTRACT FROM AUTHOR]

Professor Irene Manton (1904–1988) was in the vanguard of technical advances in botany through the use of electron microscopy. As well as new techniques and discoveries communicated through a considerable body of scientific publications, she left behind a collection of antiquities spanning a broad range of cultures and dates. Through these objects, Manton investigated intellectual problems in the history of science and communicated her findings with a highly original and idiosyncratic approach. At first sight a disparate group of unprovenanced antiquities, through the lens of Manton's archives this collection can be understood as a rich repository of material evidence. This critical examination of Manton's collecting practices and the uses she made of her ancient objects provides new evidence for the variety of approaches to collecting and interpreting antiquities, spanning disciplinary boundaries, over the course of the twentieth century. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to present an outline sketch of Carl Kallenberg, a little-known nineteenth-century collector of antiquities, and the circumstances of his purchase of Late Antique textiles from Egypt, and to summarize the further history of this ensemble. Calling on an essay published in 1890 by Kallenberg in Der Sammler and on an unpublished notebook of the antiquary and collector Robert Forrer, the paper examines the potential of these sources to complement our knowledge of the beginnings of interest in Late Antique textiles from Egypt, traces the provenance of Kallenberg's specimens in early collections and assesses their possible whereabouts today. [ABSTRACT FROM AUTHOR]

Britain's systems of imperial administration provided ample opportunity for self-seeking individuals to exploit. I argue that the career of Rupert Gunnis (1899–1965) in colonial Cyprus is one such case, in which even local laws were transgressed with impunity. His initial position as Aide-de-Camp to the Governor, Sir Ronald Storrs (1926–1932), established him as an influential member of the small British colonial community, affording him a power that he continued to exert as Inspector of Antiquities and informal adviser to the authoritarian Governor Richmond Palmer (1933–1939). Neither Storrs nor Palmer intervened to curb Gunnis's suspected activity in breach of local laws against the export of antiquities and against homosexual behaviour. The two probable offences were linked through the close relations that he developed with the island's Police force. Gunnis's high social standing in Cyprus and in Britain, achieved through assiduous networking, suffered after his falling-out with Palmer. In revenge, he challenged the Governor's position by participating in the nascent Cypriot movement in favour of a return to constitutional government. Gunnis's escape from Cyprus to avoid arrest brought an end to this unprecedented challenge to a Governor from one who had successfully manipulated the system to his own ends. [ABSTRACT FROM AUTHOR]

During the First World War (1914–1918), many service personnel collected souvenirs from the countries in which they served, but the collection of antiquities by service personnel remains a neglected area of research. Between 2019 and 2021, the R. D. Milns Antiquities Museum at the University of Queensland and the Queensland Museum collaborated in a research partnership to learn more about the antiquities collecting activities of First World War personnel from Queensland, Australia. In addition to reporting on the preliminary results of that pilot study, this paper also begins to address the question of why antiquities appealed to service personnel. Most artefacts in this study are from the private collections donated to the Queensland Museum and from three privately owned collections. Artefacts are mostly small 'curios' such as scarabs, figurines, coins and fragments of monuments collected in various theatres of the war. [ABSTRACT FROM AUTHOR]

In this article, we examine the organization of the British diplomatic service in the Ottoman Empire and analyse its transition from a prestigious, privately financed, highly individualized public office to a state-funded, but fragmented and poorly paid body. We survey the idiosyncratic character of the diplomatic apparatus set up by the Levant Company to serve its business pursuits, infiltrate local society and obtain political favours. In 1825 the Foreign Office replaced the Levant Company officers with public servants who had no ties or affinities with Levantine society. However, to obtain antiquities for the British Museum, the Foreign Office had to turn once again to British Levantines. Based on our earlier published work, 1 as well as recent unpublished archival research, this paper explains how the collecting of antiquities in the Ottoman Empire relied entirely on the British diplomatic service and its Levantine connection. [ABSTRACT FROM AUTHOR]

Copyright of Matica Srpska Journal for Fine Arts / Zbornik Matice Srpske za Likovne Umetnosti is the property of Matica Srpska, Department of Visual Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Collecting was one of the mechanisms through which women empowered themselves at the end of the nineteenth century and at the beginning of the twentieth. Through collecting they created networks with other women and established their presence in a public sphere from which they were habitually excluded because of their gender. In this article I flesh out these issues by focusing on the career of Isabel Frances Dodd (1857–1943), a specialist in art and archaeology who worked as a professor at the American College for Girls in Constantinople. The article is divided into two parts. First, I provide an overview of the historical context and the sources available for approaching the case study. Second, I concentrate on one of the main features of Dodd's professional life—namely, her role as a collector of antiquities. In this part, particular attention is devoted to the largest project she launched: the creation of a museum. [ABSTRACT FROM AUTHOR]

These chapters collectively act as nuanced and not so nuanced responses to the issues brought forth in Part I. Chapter 10 discusses the J. Paul Getty Museum's Provenance Project, which was started in 2012 and aims at a "holistic" approach to museum collections. Part I: "Biographies of Objects in the Menil Collection", includes the following chapters: chapter 1, "Who Was King? Part II: "A Wider Lens: Perspectives from American Institutions", followed by an epilogue I , i picks up where chapter 8 left off, namely discussing, addressing, and fleshing out courageous conversations that are frankly long overdue in the fields of museum collections, collecting history, and art history, among others. [Extracted from the article]

The article discusses the significance of Baraboo pipestone, a purple material, in various Native American cultures from Early to Middle Woodland times through the time of contact, with extensive use in the production of artifacts like pipes, ear spools, beads, pendants, and more. It also mentions the need for greater recognition and research on this material's artifacts, especially those yet to be attributed in public and private collections.

The nineteenth century saw an influx of men of trade into English antiquarian circles, a development that caused significant consternation among those who were accustomed to gathering in more rarefied spaces. However, devoting one's life to scholarship was not inexpensive, and these self-made scholars were often left scrambling to find reliable sources of income on which to live. This essay reconsiders the intersection between class and scholarship especially among Anglo-Saxonists, by examining the life of Joseph Mayer (d. 1886), a Liverpool jeweller and silversmith, who is best known as a collector of antiquities and the co-founder of the Historic Society of Lancashire and Cheshire (1848). This essay explores the sources of Mayer's growing wealth, the objectives of his investment in antiquities and the extent of his involvement in antiquarian societies in Liverpool, London, and abroad. We conclude that his identity as a tradesman was never fully erased by either his fortune or his scholarly contributions. We contend that an overlooked part of Mayer's legacy is his patronage of middle-class scholars such as Charles Roach Smith, Thomas Wright, Frederick Fairholt, Joseph Pulzsky and Eliza Meteyard, each of whom helped document his collections but also counted upon his largesse. However, the dangers of relying on a private patron became apparent when Mayer's interests changed later in life; the fact that so few other forms of support existed for scholars of modest background meant that many faced considerable challenges in finding financial stability in their final years. [ABSTRACT FROM AUTHOR]

Centered on the collection of pre-conquest antiquities formed by Miguel Garcés, a Puno landowner and antiquary, this article studies the creole antiquarian landscape of the Southern Andes over the late 1800s and early 1900s. Historians have commonly taken the fact that many of the area's private collections were later sold to museums abroad as a testament to this antiquarian landscape's fragility and precariousness. This article argues that the collections' very volatility, dissolution, and mobility also, somewhat paradoxically, contributed to their centrality. Indeed, many of these collections from "provincial" Peruvian and Bolivian localities would leave a decisive mark on the period's most visible museums of Americana in metropolitan centers—by their sheer scale and number, but also through their composition, prestige, and aesthetic appeal. The article thus contributes to an ongoing rethinking of the histories of anthropology and archaeology more broadly—by making visible Hispanic American contributions and the ways in which they were subsumed by, and constitutive of, the very "core" of these fields. The Southern Andes, the article holds, ought to be seen in many ways as a center, not a periphery, of Americanist learning, collecting, and display. [ABSTRACT FROM AUTHOR]

Instead, the textual and visual materials Adams has gathered together are presented in a series of "vig-nettes" charting Montague's life and death, but also documenting the research process itself, including the contribution of other researchers such as the Kanak archaeologist François Wadra, Adams's "longstanding research companion". Paul Montague's father, Leopold, was a numismatist and collector of antiquities and "ethnographic" weapons, displays of which covered the walls of Penton, the Montague family home in Crediton, Devon. If Montague and Adams herself are the book's main actors, then Wadra is the supporting actor who steals every scene in which he appears. [Extracted from the article]

The article offers information on the history of the Badger State Archaeological Society (B.S.A.S.). It highlighting its founding and evolution; its role in promoting archaeology in Wisconsin, U.S.; and its significant contributions to artifact collection and preservation over the past 50 years. It also discusses the unique artifacts and relics found in Wisconsin, U.S., showcasing the state's archaeological richness.

The purpose of this article is to analyse the symbolism concerning Poland and the reigning house of the Jagellonian dynasty, represented, together with various symbols of other institutions, in a temporary triumphal arch, created in 1556 on the occasion of the arrival of Queen Bona Sforza in Padua. The city authorities asked Alessandro Maggi, a Paduan scholar and collector of antiquities, to take charge of the arch, designed by the Veronese architect Michele Sanmicheli, and to provide it with a symbolic-decorative apparatus. In order to immortalize the event, Maggi decided to write, in the form of an open letter, and to give to the press Dichiaratione dell'arco fatto in Padova nella venuta della Serenissima Reina Bona di Polonia, a chronicle in which he not only narrated Bona's stay in the lands of the Venetian Republic and the festive procession that took place in Padua, but also meticulously described the structure of the arch, explaining, at least in part, its symbolism. In particular, the iconographic and iconological analysis of the allegorical representations and selected inscriptions will allow us to understand his level of knowledge of the realm of which Bona Sforza, consort of Sigismund I, had been queen for almost forty years, as well as what meanings Maggi - through personal interpretations and the application of his profound knowledge of the ancient Roman world to the era contemporary to him - intended to convey to onlookers. [ABSTRACT FROM AUTHOR]

The present paper aims to investigate the phenomenon of Latin translations of vernacular works on the example of the Latinisations of Petrarch's Rerum vulgarium fragmenta, contained in the commentary on Petrarch's work by Marco Mantova Benavides, entitled Annotationi brevissime, sovra le rime di Messer Francesco Petrarca (1566). The Latin translations of Petrarchan texts included in the commentary are RVF 126, Chiare fresche e dolci acque, by Marcantonio Flaminio, RVF 128, Italia mia, and RVF 366, Vergine bella, by Pietro Amato and RVF 291, Quand'io veggio dal ciel, by Francesco Luigini. Marco Mantova Benavides, a humanist from Padua, jurist, lover and collector of antiquities and works of art, and professor at the Studio patavino, had friendly relations with Polish scholars, notably Jan Kochanowski and Andrzej Patrycy Nidecki. The exegetical activity of Mantova Benavides and the Latin translations of Petrarch's texts belong to the colourful cultural context that Polish students in Padua had to deal with. [ABSTRACT FROM AUTHOR]

Humanism can be studied from the perspective of the logic of the field, developed by P. Bourdieu, and not only from the perspective of the history of ideas and cultural imagery. Humanistic biography, studied from the perspective of social practices, is a tool for studying the strategies undertaken by individual actors. I understand biography here as a specific social construct, not as a typical rhetorical genre of the Renaissance. This allows an attempt to create an interpretive model that can help in comparative studies of the functioning of cultural elites during the humanist period. In the article, I analyse biographies of authors such as Vergerio the Elder, Janus Pannonius and Paul Skalich, who came from areas peripheral to the cultural and political centres of the time. In the article, I analyse their choices to gain an important position in the field. I argue that excellence in the use of Latin and a predilection for Roman monuments are not only expressions of a shared taste, but they also represent the competence necessary to gain and maintain a position. Perfect Latin is also a barrier to accessing the resources of the field, and researching Rome's legacy or collecting antiquities makes it possible to create networks that support mobility in the field. The three cases studied not only allow some features of a model to be proposed but also prompt looking at the relationship between Italian centres and non-Italian peripheries through the prism of not only influence but also rivalry. [ABSTRACT FROM AUTHOR]

The collection of antiquities displayed at Gołuchów castle in Poland by Izabela Działyńska was one of the largest private collections in Europe of ancient works of art from the Middle East, Egypt, Greece, and Rome. Ancient pottery, stelae from Cyprus, fragments of Roman marble sculpture, and a large collection of ancient Egyptian artifacts were exhibited in the Greek Vases Hall, the Antiquities Hall, and the Egyptian Hall. The invasion of Poland by Nazi troops on 1 September 1939 and the attack of Soviet troops on 17 September started a two-front war in Poland. On 28 September 1939, the German-Soviet Frontier and Friendship Treaty was signed, marking the border between the two aggressors on Polish lands along the line of the rivers San-Bug-Narew-Pisa. This division of Poland continued until the German invasion of the USSR in June 1941. As a result of these wartime events, the collection of Izabela Działyńska was dispersed. Many of the objects are now in various museums in Poland, but some, including ancient artefacts and other valuable works of art, are considered lost. It cannot be ruled out that some were destroyed. [ABSTRACT FROM AUTHOR]

Copyright of Muzealnictwo is the property of Index Copernicus International and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Muzealnictwo is the property of Index Copernicus International and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Muzealnictwo is the property of Index Copernicus International and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the mission of South Dakota State Historical Society to sustain that cultural heritage and history by collecting, preserving, interpreting and promoting the accounts and evidence of the state's past. It mentions office of archaeology is responsible for managing and preserving the archaeological resources of South Dakota and the artifact collection. It also mentions historic preservation implements the National Historic Preservation Act in South Dakota.

The article focuses on history of Nevada Historical Society (NHS) which collect artifacts, oral histories, documents, and photographs and portions of Nevada's legacy with regard to mining, immigration, and settlement. It mentions history teacher Jeanne Wier has collected relevant materials for both library and museum collections and student read history curriculum is Nevada history. It also mentions American Gaming Archives is the newest and rapidly expanding archive and artifact collection.

This article considers the relevance of the Society for American Archaeology's 2018 "Statement on Collaboration with Responsible and Responsive Stewards of the Past" for imported antiquities (specifically, "classical" ones—that is, from Mediterranean regions). Various practical, legal, and ethical differences between collecting imported versus domestic objects make it difficult to identify "responsive and responsible stewards" of the former. An obstacle to responsible stewardship of privately owned classical collections—and to collaboration between classical archaeologists and collectors—is the 2008 acquisition guidelines issued by the two leading professional organizations in the museum field. I argue that the best home for unprovenienced and poorly provenienced antiquities collections is in university museums, where their complicated object biographies can be fully researched, taught, and displayed. [ABSTRACT FROM AUTHOR]

However, Drucker does not linger on the Middle Ages too much and turns her attention mostly to those scholars who pondered the issue of the alphabet since the seventeenth and eighteenth centuries. Many times, a reviewer faces a fairly easy task because the study under investigation presents a straightforward, focused point and develops this through a variety of lenses. Johanna Drucker: Inventing the Alphabet: The Origins of Letters from Antiquity to the Present: University of Chicago Press, Chicago, IL, USA, 2022, 380 pp., numerous b/w ill. and figures, Hardcover, ISBN 978-0226815817. [Extracted from the article]

anna's storytelling abilities are recognized not only in his orphan stories recounted to Galland, but also in more than 40 stories that he recorded in his travel account. Stephan's introduction focuses on the relationship between anna and Lucas as the driving force of the storytelling in anna's account. One of the major issues is the parallels between the orphan stories added to the I Arabian Nights i by anna and Galland and the tales which anna inserted in his travel account. [Extracted from the article]

Copyright of Revista de Arqueología Histórica Argentina y Latinoamericana is the property of Revista de Arqueologia Historica Argentina y Latinoamericana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the role of the auction in the formation and dispersal of collections of ancient art in late‐eighteenth‐ and early‐nineteenth‐century Britain. I demonstrate that competitive collecting, as well as the culture of acquiring and fragmenting collections at auction, had a profound effect on the way in which British buyers collected and displayed antiquities within their private collections. I argue that through an exploration of two textual sites, the auction and collection catalogue, we can observe that collectors carefully curated their collections, visually as well as textually, in order to craft specific narratives centred on the act of collecting at auctions, shaping and shifting the ways in which collectors understood and curated the art of antiquity. [ABSTRACT FROM AUTHOR]

Formed by the Kent family – farmers and landowners from the north of England – the little-known Kent collection brought together antiquities from Greece, Rome, Egypt and Cyprus, alongside weapons, armour, furniture and textiles. On the death of Benjamin Kent in 1968, most of the collection was bequeathed to the Harrogate Corporation, sparking debate on the value of such heterogeneous collections for general public audiences. This article investigates the collection's history, examining the practices that formed it, the quasi-museum setting of the Kent family home, and the collection's display following its transfer to municipal ownership. We focus on the ancient Cypriot objects, some of which can be traced to Thomas Backhouse Sandwith, British vice-consul on Cyprus from 1865 to 1870 and an important figure in the early collecting of Cypriot antiquities in the UK. Through this exploration, we consider how histories of collections, especially smaller-scale collections of private individuals, can re-contextualize objects and enrich their interpretation. [ABSTRACT FROM AUTHOR]

The first part of the study deals with trade with natural history objects that reflected, at least in the 19th century, the increasing interest in collecting artefacts, their identification and description, protection, exchange, sale and artistic reconstructions. Natural history dealers contributed to science popularization and to the nascence and development of collection building activity by memory institutions and universities. They procured specimens not only to museums and cabinets, but also to private collectors and they functioned as intermediaries when collections were being sold. The study does not omit the fact that also museums played the role of intermediaries in selling or exchanging items, alongside with other memory institutions and/or researchers. At the beginning of the 20th century, many natural history dealers either extended or reduced their portfolios with casts of palaeoanthropological fossils. The study goes on to describe societies that ensured trade with natural history objects or making casts of palaeoanthropological fossils such as R. F. Damon & Co. in the United Kingdom, Les Fils d'Emile Deyrolle in France and Dr. F. Krantz, Rheinisches Mineralien-Kontor in Germany. The second part of the study focuses on the archaeologist Karel Absolon (1877-1960) who gathered casts and specimens in the 1920s and 1930s, motivated by the view of establishing a new institution and museum called the Anthropos Pavilion of the Moravian Museum in Brno. The study uses Absolon's correspondence to explain the process and specification of his orders of dozens of casts and reconstructions from R. F. Damon & Co. He placed his first big order in 1928 to acquire material for an exhibition in a special pavilion called Man and His Ancestry that he prepared in the same year for the Exhibition of Contemporary Culture in Czechoslovakia at the Brno Fair. His second big order in 1936 was a follow-up to Absolon's efforts, being fully aimed at establishing an institute or museum that would be called Anthropos. The objective of the study is to present Karel Absolon's correspondence from the period of the First Czechoslovak Republic as specific testimony of the manner of his scientific work that was based on a wide range of international contacts, sharing and disseminating findings and contacts and ways of acquiring (through trade and exchange) specimens, casts and reconstructions with the purpose of building collections and exhibitions of world museums. [ABSTRACT FROM AUTHOR]

O n 4 June 1925, Harold Woodbury Parsons was appointed European Representative to the Cleveland Museum of Art; for the remainder of the decade he distinguished himself in scouting for and acquiring masterworks of European art for the essentially brand new institution. His long-time contacts in Rome, to begin with, led him to a famous Byzantine ivory (formerly in the collection of Count Grigorij Stroganoff). This he bought for the museum in November 1925, winning enthusiastic praise from Paul J. Sachs, a key figure in American museological circles. Similarly, he acquired soon afterwards El Greco's Holy Family with St Mary Magdalen , despite intense competition. Parsons was ideally placed in the sale of Filippino Lippi's Holy Family tondo as a sometime agent for the antiquities collector Edward Perry Warren (recently deceased). Parsons's correspondence and unpublished notices in the Duveen Brothers records document the off-again, on-again dealing for what is now one of the pre-eminent Italian Renaissance paintings in America, acquired in August 1929. [ABSTRACT FROM AUTHOR]

Copyright of Archaeological Materials & Research / Materiale şi Cercetǎri Arheologice is the property of Institute of Archaeology "Vasile Parvan" and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)