Art objects -- Collectors and collecting; Collectors and collecting
The intuitive sense will carry the _amateur_ a long way, but
connoisseurship will depend upon knowledge. Those persons who are
absolutely indifferent to the whys and wherefores of things,
uninterested in any effort to discover the “story” of an object, bored
by its history or unappreciative of its beauty, are hardly likely to
become collectors, though accident and the chances of fortune may throw
interesting things into their possession. Neither are they likely ever
to become as Thackeray, who, in “Roundabout Papers,” said of a certain
antique and curio shop: “I never can pass without delaying at the
windows--indeed, if I were going to be hung, I would beg the cart to
stop, and let me have one look more at the delightful _omnium
gatherum_.”
Now, it often happens that we find a collector-in-embryo--one who has a
desire to start a collection, but fancies it an undertaking requiring
very special qualifications--asking: “How could I hope to become a
collector when I know so little about the subject I think I should be
interested in? Then I fear good things cost too much, and that real
bargains have long ago vanished from the mart.” To such a one the reply
can truthfully be made that it is by no means difficult for the beginner
to acquire definite and valuable knowledge on any subject in the
collector’s field that may chance to interest him.
The way one learns to collect (and that means the way one learns about
the things worth collecting) is by collecting. Contact with the objects
themselves is necessary to connoisseurship, just as it is one of its
pleasures. The collector learns more about Oriental porcelains, old
English china, Dresden figurines, French enamels, Russian brass, Italian
laces, or Bohemian glass by having a few representative pieces of them
at hand for study than he could learn, so far as helpful knowledge
fitting him to judge is concerned, from volumes on the subject. While
this contact with actual objects is necessary in developing a
connoisseurship (one may have it visually in museums or have access to
private collections; the shops, too, will teach one much), all the
accessible writings on the subject should be consulted, as comparative
study increases the interest and confirms or corrects one’s personal
deductions and opinions.
Public-domain text, read in full here on John Shaqi.
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