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The contributors to this volume examine musical instrument collectors and their reasons and means for collecting: Who were they professionally and personally? Why did they collect musical instruments? How did they acquire their objects? What were their collecting criteria and aesthetics?
List of contents
Introduction 1. Collecting African Musical Instruments during the Colonization Era. The case of the Congo 2. Provenance and Instruments of the Violin Family 3.From ‘Scoundrel’ to Professor: The legacy of John Donaldson (c. 1788–1865) and the founding of the University of Edinburgh’s musical instrument collection 4. Carl Engel (1818–1882): ‘The highest authority in Europe upon the development of musical instruments’ 5. ‘The rare museum of an artist and inventor’: Adolphe Sax’s (1814–1894) collection of musical instruments 6. Alfred Hill (1862–1940) and Arthur Hill (1860–1939): Private collectors, public benefactors 7. César Charles Snoeck (1834–1898): Making the intangible, tangible 8. Daniel Sargent Pillsbury (1836–1902): First collector of American band instruments 9. Collecting Musical Instruments – A Merchant’s Passion. The Rück family collection (c. 1880–1962) 10. Mary Elizabeth Adams Brown (1842–1918): A Herculean piece of work 11. Auguste Tolbecque's (1830–1919) Collection: A new aesthetic order and the experimental archeology of musical instruments 12. Celebrating the Art of Musical-Instrument Making. The private collection of Victor-Charles Mahillon (1841–1924) 13. Carl Claudius (1855–1931) and His Sound-chests 14. ‘No Mere Assemblage of Musical Instruments’: The foundations of Arnold Dolmetsch’s (1858–1940) collection 15. Dayton C. Miller (1866–1941), an American Collector of Flutes 16. George Henry Benton Fletcher (1866–1944), The Improbable Collector 17. Francis W. Galpin (1858–1945): The Canon and collector 18. Henry Ford (1863–1947): Gathering America’s musical past 19. Fritz Wildhagen (1878–1956) – Painter, Collector, Aesthete 20. Evan Gorga (1865–1957): An extraordinary collector, his incredible collections, and their disastrous odyssey 21. Curt Sachs (1881–1959) as Head of the Collection of Musical Instruments in Berlin: Views and perspectives Appendices
About the author
Christina Linsenmeyer is Associate Curator, Collection of Musical Instruments at Yale University.
Summary
The contributors to this volume examine musical instrument collectors and their reasons and means for collecting: Who were they professionally and personally? Why did they collect musical instruments? How did they acquire their objects? What were their collecting criteria and aesthetics?
