In the twentieth century, collecting became a core activity of local authority art galleries and museums in Britain. A key feature of these art collections was the representation of Twentieth Century British Art. The aim of this study is to examine, for the first time, this development as abroad cultural phenomenon, through the distinctive roles played by central government-funded, and independent national and provincial art collection schemes. The central government-funded art collection schemes are the V. & A Purchase Grant Fund, War Artists' Advisory Committee and the National Heritage Memorial Fund; and the national loan and exhibition schemes offered by the Tate Gallery and the Arts Council. Independent schemes are more numerous and varied. These were administered by the National Art Collections Fund (now the Art Fund), Contemporary Art Society, Scottish Modem Arts Association, Contemporary Art Society for Wales, Henry Moore Foundation and Gulbenkian Foundation. In addition, there were the independent national loan and exhibition schemes offered by the Museums Association, Peter Stuyvesant Foundation and Alistair McAlpine and provincial schemes based in Manchester (Charles Rutherston Loan Scheme), Cardiff (National Museum of Wales Loan Scheme), Liverpool ('John Moores' competition-exhibitions) and Bradford ('International Print Biennale' competition-exhibitions). Given the geographical coverage, historical scope and focus of this study, a substantial body of published and unpublished literature was consulted. The wide-range of sources examined included institutional histories, biographies and studies of Twentieth-Century British Art; permanent collection and exhibition catalogues; newspaper, journal and magazine articles, curatorial records and correspondence; institutional records and correspondence; archival material and reports; and . correspondence and interviews. This entailed the discovery of much new material and the collation of substantial random data held by the Contemporary Art Society and the Gulbenkian Foundation This research seeks to show that local authority collecting of Twentieth-Century British Art was part of a nation-wide cultural pattern determined by certain ideas, theories and policies. Within this context, Section 1 identifies and discusses the nature and purpose of public art galleries, muscums and their art collections from 1845-1945. This momentous period in the museum movement in Britain, it is argued, sustained and generated ideas, theories and policies which encompassed national institutional hierarchies and their models of collecting, high art aesthetic standards and scholarship linked connoisseurship; the organic structure of museums; and multifaceted education. It concludes that during this formative period, an enduring cultural framework was established, from which emerged key collecting impetuses which are art history, patronage and heritage. Sections 2 and 3 examine the roles played by central government-funded and independent schemes, as a response to these issues, which also engendered and reinforced the collecting of specific types of Twentieth Century British Art. Section'4 surveys the local authority collections, which participated in the schemes, and concludes that 1957-79 was a crucial period in post-war collecting, which was both facilitated by the emergence of a considerable and dynamic network of commercial art galleries, and enhanced by national and provincial measures to decentralize the arts. A principal conclusion is that the future of modem (twentieth-century) and contemporary (twenty-first- century) British art collecting, by local authority art galleries and museums, lies in its perception as part of a collective cultural enterprise, in which the intervention of collection schemes will, as in the past, play a fundamental role. Finally, there is also a strong argument for provincial institutions to feed into a national debate as to what is selected to represent both modem and contemporary British art practice in public collections in general.

The shared language, attitudes, practices and patterns of those who participate in “collecting" in the lower mainland area of British Columbia are described. Recurring themes and patterns emerge in the analysis of data obtained through interviews with thirty collector-informants. The generalizability of collecting as a phenomenon which exists outside of what is being collected is established. Collectors' roles as curators and the serious and consuming aspects of collecting, including the cycles of collecting, affection and sentiment held toward collected objects, and the strategies and approaches to the process of collecting are discussed. Propositions set out by previous researchers Belk, Danet and Katriel are examined in light of the data. Implications for museum studies and museum education specifically, are considered. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Until relatively recently the histories of collections across the world was a subject sadly neglected. Generally most research on museums was specifically collections-based, meaning research that focused on the actual or individual objects with no real effort being made to preserve or research the actual collecting or acquiring history in detail. The question then arises, what is the importance of preserving collection history? Besides the pragmatic necessity to keep record of the details of the acquisition from a legal perspective, the actual provenance and historical context is also of relevance. On the one hand it is telling of what a particular society or institution deemed worthy of preservation within a particular time and therefore reflects on that past – while on the other hand, it also speaks to the nature and context of the collections themselves. It is from this perspective that this proposed study considers the range of collections that the University of Pretoria gathered over a period of just over a century / Dissertation (MHCS)--University of Pretoria, 2018. / Historical and Heritage Studies / MHCS / Unrestricted

Cardinal Pietro Bembo's accomplishments as a poet, linguist, philologist, and historian are well known, but his activities as an art collector have been comparatively little studied. In his writing, he directed his attention to the past via texts--Ciceronean Latin and Petrarchan Italian--for their potential to transform present and future ideas. His assembly of antiquities and contemporary art served an intermediary function parallel to his study of texts. In this dissertation I investigate Bembo as an agent of cultural exchange by offering a reconstruction of his art collection and, in so doing, access his thinking in a way not yet accomplished in previous work on this writer. Chapter One offers a historiographic overview of my topic and collecting as a subject of art historical study. Chapter Two maps the competition and overlapping interests of collectors who bought from Bembo's heirs. Chapter Three calls upon anthropological methodology for treating the study of material culture and applies it to Bembo's mission as a collector. Chapter Four concludes with a statistical analysis of subjects and object types to which Bembo was drawn. In the extensive Object Catalog individual works are examined in conjunction with one another and considered for what they reveal about Bembo's theoretical strategy. Appendix A is a timeline outlining Bembo's life. Appendix B is a chronologically ordered selection of accounts describing Bembo as a collector and descriptions of his collection and his properties. Appendix C is a Bembo family tree. Appendix D presents by location known repositories for traced objects that can be connected to Bembo's collection. The recovery of Pietro Bembo as a collector illustrates that his wide-ranging ambitions were intertwined. His museum was not a place fixed in geography but, rather, a dynamic mechanism for transmitting the analytic power and poetic potential he located in the visual. / Art History

This thesis uses the letters of Carl Linnaeus to investigate the social and academic practices ofgeologists in the 18th century. Geology in the 18th century is understudied, and this study usessources written by Linnaeus, who was not famous but nevertheless active in geology, to study thedaily practices of geologists. Collective biography is used to bring together small and disparate datapoints. Personal factors had an influence on the practices the geologists engaged in. Though theactivities of nobles and academics could be similar, gender was a limiting factor, restricting the fieldto all women but those of the highest status. Age and seasonality were, surprisingly, very importantin determining which activities were undertaken. In the field, geologists’ travels were also impactedby their age. Their reporting on their travels was often linked to academic discussions, withcorresponding expectations of what they might find, and presentation of their findings that seemedto replicate the note taking in the field. This was part of a wider trend, also seen in exchangesbetween practitioners, of bringing the outside world into the study of the geologist. That way, theycould experience areas they were not likely to visit themselves. This was done intentionally, andgeologists took care to send each other interesting rocks. In much the same way, information wasexchanged between geologists, informing a correspondent of local geological features. Writtenpractices extended into giving recommendations for membership of academic societies andreviewing each other’s publications.The actions of geologists indicate that geology was a heterogeneous professional field (inBourdieu’s sense of the word) when it comes to the social origin of the practitioners. Nobles andacademics often engaged in similar activities, and worked together on equal standing, despite thestatus imbalance. Overall, geology in the 18th century gives the impression of an open field, in whichpractitioners were not in competition with each other, but aimed to complete each other’sknowledge, which would naturally be fragmented by their distance and the difficulties of travel.

This thesis aims to document and discuss the role and legacy of the Italian antiquario Alessandro Contini Bonacossi (1878-1955) in the international secondary art market for Old Master paintings during the first half of the twentieth century. Grounded in the discovery of primary archival evidence and set against the major historical events that unfolded during his lifetime, this work presents its findings by following a research process adopted to answer the following research questions: who was Contini Bonacossi, what was his business network (where was he buying paintings, at what prices, and who were his clients), what was his modus operandi for selling and marketing his work, and what is his legacy. To answer these questions, I made extensive use of primary sources, the vast majority of which are unpublished or have never been used before in this context, framed by a contextualized analysis of their historical background. The archival investigation has brought to light, for the first time, documentary evidence of Contini Bonacossi's transactions and business ties with other European dealers such as Duveen Brothers, Heinemann Galleries, Colin Agnew, Colnaghi, Böhler, Steinmeyer, and Kleinberger Galleries; with scholars such as Wilhelm von Bode, Roberto Longhi, and Bernard Berenson; as well as previously unknown connections Contini Bonacossi had with members of the Harvard museum community and the Boston cultural elite such as Paul Sachs (1878-1965), Edward W. Forbes (1873-1969) Denmann Ross (1853-1935); and offers new details regarding his relationship with the Kress Brothers, their gifts of artworks to the new National Gallery of Art in Washington DC, and the Kress Foundation's Regional Program that endowed museums across the US. Ultimately, this work adds to our knowledge important sources for the study of the history of private and public collecting during its crucial years in the formation of American museums. More broadly, in documenting Contini Bonacossi's case, this study strives to rethink the role of art dealers, to look at them not solely as market professionals engaged in the dynamics of supply, demand and profit, but first and foremost as bearers and sellers of culture, whose activities were fully embedded in the socio-political environment of their time and so to acknowledge and extend knowledge about their active role in the international dissemination and interpretation of cultural heritage.

There is a long history of collaboration between private collectors and collecting institutions. Literature that discusses collaboration between these two groups typically focuses on the donation or sale of a private collection to an institution. Existing research focuses less often on the collaborative practices these two groups use to create, preserve, and access their recording collections. Furthermore, there is no scholarly work that aggregates known public-private collaborative practices. As a result, these additional practices are consistently underdeveloped and underutilized. For the first time, this thesis compiles a list of collaborative practices employed by private collectors and collecting institutions. Data was gathered through a literature review and a series of semi-structured interviews with private collectors and information professionals working with recorded sound collections. The constant comparative method of qualitative analysis was used to analyze the data. This thesis finds and discusses twelve collaborative practices employed by private collectors and information professionals. This study also discusses factors that encourage and discourage the use of these collaborative practices, the potential for their continued use, and ways in which future studies can extend the exploratory research of this study. This study’s findings contribute to the efforts of both private collectors and collecting institutions to preserve and provide access to the vast body of sound recordings documenting the multitude of historic and cultural perspectives necessary for scholarly and personal research. / text

This thesis examines the portrayal of gentleman collectors in late-nineteenth and early-twentieth-century literature, arguing that they often find themselves challenged and destabilised by their collections. The collecting depicted contrasts revealingly with the Enlightenment practices of classification, taxonomy, and commodification, associated with the growth of both the public museum and the market economy. The dominance of such practices was bound up with the way they promoted subject-object relations that defined and empowered masculine identity. In the Dialectic of Enlightenment Theodor W. Adorno and Max Horkheimer note that “[i]n the most general sense of progressive thought, the Enlightenment has always aimed at liberating men from fear and establishing their sovereignty” (3). That being so, this study explores how the drive to classify and commodify the material world found oppositional, fictional form in gothicly inflected texts depicting a fascinating but frightening world of unknowable, alien objects and abject, emasculated subjects. The study draws upon Fred Botting’s contention that gothic extremes are a reaction to the “framework” of “reductive and normalising limits of bourgeois morality and modes of production” (89). Examining novels and short stories by Richard Marsh, M.R. James, Arthur Machen, Vernon Lee, George Gissing, Wilkie Collins, Bram Stoker, Mary Cholmondeley, and Mary Ward, the thesis shows how gothicised instances of unproductive-masochism, pathological collecting, thwarted professionals, and emasculated heirs broke down the “framework” within which men and material culture were understood to interact productively and safely. Individual chapters dealing respectively with acquisition, possession, dissemination and inheritance, respond to the recent “material turn” in the humanities, bringing together literary criticism and historically grounded scholarship to reveal the collector and the collection as the locus 3 for concerns with masculinity and materiality that preoccupied a turn-of-the-century mindset.

published_or_final_version / Fine Arts / Doctoral / Doctor of Philosophy

Name: Analysis of an individual playing perfomance for younger pupils Objective: The aim of this study is to determine the technical level of the younger pupils AC Sparta Praha and SK Slavia Praha against Bohemans 1905. It is specifically the percentage success collecting of the ball, pass and shot. Further, as I will be interested in the failing collecting, shooting and passing the ball skills. Methods: The method that I used for processing work is called indirect observation of previously recorded video. Data were processed mainly quantitative method. Results: Using the results, we found that a skill that is among hard according to the literature, and handling of the ball had the highest success rate of all monitored. Furthermore, what I found is that the players have many more attempts each game activities played under pressure than no pressure on the players. Keywords: Football, pass, shoot, ball collecting