Description
Book SynopsisWhy did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today? These are among the questions tackled in this volumethe first to examine the practices of collecting prints, posters, and ephemera during the modern and contemporary periods. A wide range of case studies feature collections of printed materials from the United States, Latin America, France, Germany, Great Britain, China, Japan, Russia, Iran, and Cuba. Fourteen essays and one roundtable discussion, all specially commissioned from art historians, curators, and collectors for this volume, explore key issues such as the roles of class, politics, and gender, and address historical contexts, social roles, value, and national
Trade ReviewLoosely connected and wide-ranging, the 14 scholarly essays in this volume consider collecting prints, posters, and ephemera and their value and preservation ... Iskin and Salsbury include essays on diverse topics, including traditional and contemporary print collecting, corporate and individual collecting, women print makers and collectors, and Japanese prints. * CHOICE *
Remarkable for its global scope and historical range,
Collecting Prints, Posters, and Ephemera is a vital contribution to our understanding of printed images in all their variety and an indispensable guide to how collecting practices have shaped their meaning. * Richard Taws, University College London, UK *
Collecting Prints, Posters, and Ephemera is essential reading. Its essays discuss a broad range of printed matter from high art to ephemera, works originally intended for vastly different purposes and audiences. The authors provide a global context that expands our understanding of both print history, gender history, and the history of collections. * Patricia Mainardi, Graduate Center of the City University of New York, USA *
Table of ContentsList of Figures Series Editor’s Introduction Introduction
Ruth E. Iskin and Britany Salsbury Part I Collecting Prints Introduction, Part I: Collecting Modern and Contemporary Prints
Britany Salsbury 1. Henrietta Louisa Koenen’s (1830–81) Amsterdam Collection of Women Printmakers
Madeleine C. Viljoen 2. Loys Delteil (1869–1927): Community and Contemporary Print Collecting in
Fin-de-Siècle Paris
Britany Salsbury 3. Women Collectors of Japanese Prints: The 1909–14 Paris
Expositions des estampes japonaises at the Musée des Arts Décoratifs
Elizabeth Emery 4. Collecting
Ukiyo-e Prints in Japan during the Nineteenth and Twentieth Centuries
Shigeru Oikawa 5. Building Hemispheric Unity to Serve Corporate Identity: IBM’s Collection of Prints from the Americas
Rachel Kaplan Part II Collecting Posters and Ephemera Introduction, Part II: Collecting Posters and Other Ephemera: From Modernity to the Digital Era
Ruth E. Iskin 6. From Commune to Commerce: Ernest Maindron’s Collecting Ephemera and Posters, Late 1850s–Early 1900s
Ruth E. Iskin 7. The Maurice Rickards Collection of Ephemera
Michael Twyman 8. Hans Sachs: The Most Dedicated Collector of Posters in Germany
Kathleen Chapman 9. To Possess is to Belong: Carlos Monsiváis’s Collection of Ephemera and Popular Culture in Mexico City
Liliana Chávez Díaz 10. The David King Collection of Russian and Soviet Ephemera at Tate: Expanding the Museum Narrative with Ephemera
Sofia Gurevich 11. Collecting Chinese Propaganda Posters
Stefan Landsberger 12. The Cuba Poster Project: Collecting for People, not Profit
Lincoln Cushing 13. Collecting Pre- and Post-Revolution Iranian Movie Posters in the United States and in Iran
Hamid Naficy 14. The Challenge of Collecting Digital Posters and Graphics from the Web: A Roundtable Discussion
Anisa Hawes Author Biographies Index
