History Today carried a feature in 2015, describing The Origin of Museums as "a cult book [that] spawned a new discipline in the history of collecting". Indeed, the first publication of this book in 1985 undoubtedly marked a propitious moment in the development of interest, in what has since grown to be a dynamic subject-area in its own right. That an appetite for such matters was already there is confirmed by the fact that the first impression sold out within a few months, a second impression a year or two later, and the third in 1989. There was to be no further printing by the original publishers, Oxford University Press. However in 2001 a new edition appeared with a new publisher. Demand again proved buoyant, but within a few months the company failed; having operated on a print-on-demand basis, it left behind it no unsold stock. The Origins of Museums reverted to a scarce (though much sought-after) volume. With original copies now selling for hundreds, if not thousands of pounds, the Ashmolean is proud to make this important volume readily available again.

Artefacts made from skeletal materials since the Roman period were, before this book, neglected as a serious area of study. This is a comprehensive account which reviews over fifty categories of artefact. The book starts with a consideration of the formation, morphology and mechanical properties of the materials and illuminates characteristics concerning working with them. Following chapters discuss the organisation of the industry and trade in such items, including the changing status of the industry over time. Archaeological evidence is combined with that from historical and ethnological sources, with many illustrations providing key visual reference. Originally published in 1985.

Artefacts made from skeletal materials since the Roman period were, before this book, neglected as a serious area of study. This is a comprehensive account which reviews over fifty categories of artefact. The book starts with a consideration of the formation, morphology and mechanical properties of the materials and illuminates characteristics concerning working with them. Following chapters discuss the organisation of the industry and trade in such items, including the changing status of the industry over time. Archaeological evidence is combined with that from historical and ethnological sources, with many illustrations providing key visual reference. Originally published in 1985.

This lavishly produced volume presents a survey and analysis of a fascinating cabinet of curiosities established around 1750 by the Cobbe family in Ireland and added to over a period of 100 years. Although such collections were common in British country houses during the 18th and 19th centuries, the Cobbe museum, still largely intact and housed in its original cabinets, now forms a unique survivor of this type of private collection from the Age of Enlightenment. A detailed catalogue of the objects and specimens is accompanied by beautiful, specially commissioned photographs that showcase the cabinet's component elements. Reproductions of portraits from the extensive collection of the Cobbe family bring immediacy to the narrative by illustrating the personalities involved in the collection's development. Scholars contribute commentary on the significance of the objects to their collectors; also included are essays outlining, among other topics, the place of the cabinet of curiosities in Enlightenment society and the history of the Cobbe family. Extracts from the extensive family archive place the collection in its social context. Published for the Paul Mellon Centre for Studies in British Art

Essays investigating the idea of natural heritage and the ways in which it has changed over time. The concepts of nature, culture and heritage are deeply entwined; their threads run together in some of our finest museums, in accounts of exploration and discovery, in the work of artists, poets and writers, and in areas that arecherished and protected because of their landscapes and wildlife. The conservation ethic - placing a value on the natural environment - lies at the heart of the notion of "natural heritage", but we need to question how those values originated, were consolidated and ultimately moulded and changed over time. In a contemporary context the connections between nature and culture have sometimes become lost, fragmented, dislocated or misunderstood; where did "natural heritage" begin and how do we engage with the idea of "nature" today? The essays collected here re-evaluate the role of culture in developing the concept of natural heritage, reflecting on the shifts in its interpretation over the last 300 years. Contributors: Martin Holdgate, Marie Addyman, E. Charles Nelson, Darrell Smith, Andrew Ramsey, Viktor Kouloumpis, Richard Milner, Gina Douglas, Penny Bradshaw, Arthur MacGregor, Chiara Nepi, Hannah Paddon, Stephen Hewitt, Gordon McGregor Reid, Ghillean T Prance, Peter Davis, Christopher Donaldson, Lucy McRobert, Sophie Darlington, Keith Scholey, Paul A. Roncken, Angus Lunn, Juliet Clutton-Brock, Tim Sands, Robert A. Lambert, James Champion, Erwin van Maanen, Heather Prince, Chris Loynes, Julie Taylor, Sarah Elmeligi, Samantha Finn, Owen Nevin, Jared Bowers, Kate Hennessy, Natasha Lyons, Mike Jeffries.

Relating to the Ashmolean Museum, The Vice-Chancellors Consolidated Catalogue (1695) includes an introduction and Inventory of the Visitors catalogues, including The Book of the Vice-Chancellor; The Book of the Dean of Christ Church; The Book of the Principal of Brasenose; The Book of the Regius Professor of Medicine; Book of the Senior Proctor; and The Book of the Junior Proctor. There are also Glossaries of Latin terms used for natural specimens and Brazilian, Mexican, Nahuatl and other American Indian terms used for natural specimens in the catalogues.

Photos with descriptions and dimensions of the Migration period and Viking material in the Ashmolean. Many items come from the 19th century collecting of Sir Arthur Evans and his meticulous recording of provenances will enable these items to be fitted into their correct context on the Continent; some of his brooches can be paired with pieces now in Cologne and Berlin.