Les collectionneurs de l'ancienne Rome : notes d'un amateur.

Bound with the author's Les collectionneurs de l'ancienne France. Paris, 1873.

The gentle art of faking; a history of the methods of producing imitations & spurious works of art from the earliest times up to the present day,

Mode of access: Internet.

Gazette des beaux-arts

Mode of access: Internet.

Early American craftsmen,

Reprinted in part from various periodicals.

An encyclopedia of antiques,

"First printing, September 1937."

The ABC of Japanese art /

Mode of access: Internet.

Sold to the lady in the green hat.

Mode of access: Internet.

The Connoisseur.

Mode of access: Internet.

The Magazine antiques.

Mode of access: Internet.

Addressbuch der Museen, Bibliotheken, Sammler und Antiquare. Ein Handbuch für Sammler, Auctionatoren, Museums-Vorstände und Händler,

Mode of access: Internet.

The Connoisseur.

Index to book reviews in the humanities

Unfolding the Archive (Group Exhibition)

Unfolding the Archive, an exhibition of new work by the international artists’ group Floating World, is the result of a collaboration between the National Irish Visual Arts Library (NIVAL) and the F.E. McWilliam Gallery & Studio in partnership with the NCAD Gallery at the National College of Art & Design. The exhibition takes its title from the tangible starting point for engagement with an archive – the simple act of unfolding – and the practice of appraisal, valuation and interpretation that is inherent in this process.

‘On the influence of the scientific societies of New Zealand on the character of the nation’ - Collecting and identity at the Hawke’s Bay Philosophical Institute museum, 1874–1899

This paper explores the collection and collecting activity of the Hawke’s Bay Ph ilosophical Institute of Napier, New Zealand. It examines the development of the Institute’s museum and considers the motivations, intentions and interests of the collectors and their activity within the broader scientific and museum context. The work of two significant collectors is examined in detail: William Colenso, FLS, FRS, missionary, explorer and enthusiastic botanist, who engaged in over fifty years of correspondence and botanical exchange with Sir Joseph Hooker at Kew Gardens; and Augustus Hamilton, the curator of the museum who later became Director of New Zealand’s national collection at the Colonial Museum in Wellington. Through consideration of the Institute’s activities during the period 1874 to 1899, it is proposed that within the collection, the emergence of a distinct local identity can be discerned, during the early colonial period of Hawke’s Bay.

Demonstration of Solar Heating and Cooling System using Sorption Integrated Solar Thermal Collectors

Producing cost-competitive small and medium-sized solar cooling systems is currently a significant challenge. Due to system complexity, extensive engineering, design and equipment costs; the installation costs of solar thermal cooling systems are prohibitively high. In efforts to overcome these limitations, a novel sorption heat pump module has been developed and directly integrated into a solar thermal collector. The module comprises a fully encapsulated sorption tube containing hygroscopic salt sorbent and water as a refrigerant, sealed under vacuum with no moving parts. A 5.6m2 aperture area outdoor laboratory-scale system of sorption module integrated solar collectors was installed in Stockholm, Sweden and evaluated under constant re-cooling and chilled fluid return temperatures in order to assess collector performance. Measured average solar cooling COP was 0.19 with average cooling powers between 120 and 200 Wm-2 collector aperture area. It was observed that average collector cooling power is constant at daily insolation levels above 3.6 kWhm-2 with the cooling energy produced being proportional to solar insolation. For full evaluation of an integrated sorption collector solar heating and cooling system, under the umbrella of a European Union project for technological innovation, a 180 m2 large-scale demonstration system has been installed in Karlstad, Sweden. Results from the installation commissioned in summer 2014 with non-optimised control strategies showed average electrical COP of 10.6 and average cooling powers between 140 and 250 Wm-2 collector aperture area. Optimisation of control strategies, heat transfer fluid flows through the collectors and electrical COP will be carried out in autumn 2014.

Collecting the Painted Netherlands: The Art Collection of Ernest of Austria in Brussels

The (art) collection of Archduke Ernest of Austria (1553-1595) is widely unknown when it comes to early-modern Habsburg collections. Ernest, younger brother of Emperor Rudolf II (b. 1552) and educated at the Madrid court, was appointed Governor-General of the Netherlands by King Philip II of Spain, his uncle, in summer 1593. Ernest relocated his court from Vienna to Brussels in early 1594 and was welcomed there with lavish festivities: the traditional Blijde Inkomst, Joyous Entry, of the new sovereign. Unfortunately, the archduke died in February 1595 after residing in Brussels for a mere thirteen months. This investigation aims to shed new light on the archduke and his short-lived collecting ambitions in the Low Countries, taking into account that he had the mercantile and artistic metropolis Antwerp in his immediate reach. I argue, that his collecting ambitions can be traced back to one specific occasion: Ernest’s Joyous Entry into Antwerp in June 1594. There the archduke received a series of six paintings of Pieter Bruegel the Elder (1525/30-1569) known as The Months (painted in 1565), hanging today in separate locations in Vienna, New York and Prague. These works of art triggered Ernest’s collecting ambitions and prompted him to focus mainly on works of art and artefacts manufactured at or traded within the Netherlands during the last eight months of his lifetime. Additionally, it will be shown that the archduke was inspired by the paintings’ motifs and therefore concentrated on acquiring works of art depicting nature and landscape scenes from the 1560s and 1590s. On the basis of the archduke’s recently published account book (Kassabuch) and of the partially published inventory of his belongings, it becomes clear that Ernest of Austria must be seen in line with the better-known Habsburg collectors and that his specific collection of “the painted Netherlands” can be linked directly to his self-fashioning as a rightful sovereign of the Low Countries.