Early Modern Merchants as Collectors encourages the rethinking of collecting not as an elite, often aristocratic pursuit, but rather as a vital activity that has engaged many different groups within society. The essays included in this volume consider merchants not only as important collectors in their own right, as opposed to merely agents or middlemen, but also as innovators who determined taste. Through bringing together contributions on merchant collectors across a wide geographical spread, including England, The Netherlands, Venice, Moghul India, China and Japan, among other locations, it aims to challenge the often Eurocentric view of the study of collecting that has shaped the discipline to date. The early modern period and its Wunderkammern formed the subject of some of the earliest, foundational texts on collecting. This volume expands on such previous scholarship, taking a more in-depth look at a particular class of collectors and investigating their motivations, social and economic circumstances, and the intellectual ideas and purposes that informed their collecting. It offers a fresh approach to the understanding of the role of merchants in early modern societies and will serve as a resource to historians of art, science, museums, culture and economics, as well as to scholars of transcultural studies.

Early Modern Merchants as Collectors encourages the rethinking of collecting not as an elite, often aristocratic pursuit, but rather as a vital activity that has engaged many different groups within society. The essays included in this volume consider merchants not only as important collectors in their own right, as opposed to merely agents or middlemen, but also as innovators who determined taste. Through bringing together contributions on merchant collectors across a wide geographical spread, including England, The Netherlands, Venice, Moghul India, China and Japan, among other locations, it aims to challenge the often Eurocentric view of the study of collecting that has shaped the discipline to date. The early modern period and its Wunderkammern formed the subject of some of the earliest, foundational texts on collecting. This volume expands on such previous scholarship, taking a more in-depth look at a particular class of collectors and investigating their motivations, social and economic circumstances, and the intellectual ideas and purposes that informed their collecting. It offers a fresh approach to the understanding of the role of merchants in early modern societies and will serve as a resource to historians of art, science, museums, culture and economics, as well as to scholars of transcultural studies.

Despite the central importance of connoisseurship in the rarefied world of art collecting, it occupies an uncomfortable position in modern scholarship. On the one hand, the concept retains a significant role in the study of art and the care of public and private collections when it is linked with art appreciation, qualities visible to the attuned eye, or the processes of attribution and authentication. On the other hand, the last century has seen connoisseurship marginalized in academic discourse: it is often associated with amateurism, social elitism, status-display, and intellectual mystification. The present collection of essays enters this breach and—by adopting a broad, interdisciplinary approach—considers connoisseurship afresh, investigating its practice in both familiar and unexpected places. Essays on the role of connoisseurship in Western art history appear alongside innovative, global perspectives on Chinese numismatics and walnut collecting, wine and coffee expertise, the market for geological specimens, and the parallels between Morellian connoisseurship and modern forensics. These essays resonate with one another in surprising ways and create new dialogues about connoisseurship's meaning and application, demonstrating that its practice can be both intuitive and scientific.

Furniture is an artifact so what can it tell us about culture? What social, religious, political and economic factors have shaped its form and functions? How does furniture demonstrate the transformations in private and public life across time and cultures? In a work that spans 4,500 years, 70 experts chart across six volumes the changing cultural framework within which furniture was designed, produced, and used in Western Europe. Individual volume editors ensure the cohesion of the whole and, to make it as easy as possible to use, chapter titles are identical across each of the volumes. This gives the choice of reading about a specific period in one of the volumes, or following a theme across history by reading the relevant chapter in each of the six. The six volumes cover: 1 - Antiquity (2500 BCE - 500 CE); 2 - Middle Ages and Renaissance (500 - 1500); 3 - Age of Exploration (1500 - 1700); 4 - Age of Enlightenment (1700 - 1800); 5 - Age of Empire and Industry (1800 - 1900); 6 - Modern Age (1900 - present). Themes (and chapter titles) are: Design and Motifs; Makers, Making, and Materials; Types and Uses; The Domestic Setting; The Public Setting; Exhibition and Display; Furniture and Architecture; Visual Representations; and Verbal Representations. The total extent of the pack is approximately 1,824 pages. Each volume opens with a Series Preface, an Introduction, and Notes on Contributors and concludes with Notes, Bibliography, and an Index. The Cultural Histories Series A Cultural History of Furniture is part of the Cultural Histories Series. Titles are available both as printed hardcover sets for libraries needing just one subject or preferring a one-off purchase and tangible reference for their shelves, or as part of a fully searchable digital library available to institutions by annual subscription or on perpetual access (see www.bloomsburyculturalhistory.com).