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Peter Andreas Kjeldsberg

(b Kranz, Russia, July 7, 1896; d Trondheim, Norway, Nov 19, 1963). Norwegian collector of musical instruments and founder and director of the Ringve Museum in Trondheim. An amateur singer, she had no formal musical training, but three siblings became professional musicians. In ...

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Roger J.V. Cotte

(b Fockenhof, Kurland, Feb 14, 1722; d Paris, March 24, 1791). French dilettante, amateur violinist and composer, patron of the arts and instrument collector. A magnificent and very wealthy nobleman, he both amused and astounded his contemporaries. M. Audinot in his comic opera ...

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Jeremy Montagu

(b Croydon, South London, UK, April 11, 1863; d Oxford, Feb 9, 1939). English ethnographer, museum curator, and collector. He was appointed first curator of the Pitt Rivers Museum, Oxford (GB.O.prm), in 1893, having worked there as assistant from its foundation in 1884...

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James B. Kopp

(b London, UK, July 17, 1946). Conservator of musical instruments and maker of brasses, based in Ottawa, Canada. After studying fine arts and English at the University of Toronto, he joined the Canadian Conservation Institute, Ottawa, in 1975 as a conservator of furniture and wooden objects. He was trained in instrument conservation at the Germanisches Nationalmuseum, Nuremberg, and received a PhD from the Open University in ...

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Allison A. Alcorn

(b Kingston-on-Thames, Surrey, UK, March 14, 1940). English dealer in musical instruments, rare music books, music iconography, and related ephemera. After leaving school at the age of 16, Bingham trained as a quantity surveyor and opened his own surveying business in 1961, about the same time he began dealing in general antiques. He had a partnership in a musical instrument business for one year until ...

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Sarah L.B. Brown

(b New York, May 30, 1842; d New York City, Feb 15, 1918). American collector of musical instruments. Brown was formally schooled until age 16 and married the banker John Crosby Brown in 1864. Family (including six children), church, and charitable work were foremost in her life, but from ...

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Lyndesay G. Langwill and Rosemary Williamson

(b Newcastle upon Tyne, May 19, 1878; d Great Missenden, Nov 2, 1958). English collector and historian of instruments and composer. He was educated in Hanover (1892) and as a Macfarren scholar at the Royal Academy of Music (1893–1902, ARAM ...

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(b 1960; d Oct 24, 2000). American fretted-instrument collector, based in Toms River, New Jersey. During the 1990s he amassed more than 1000 vintage and 20th-century guitars, harp-guitars, banjos, mandolins, ukuleles, and other types representing a broad spectrum of designs, many by outstanding American luthiers and some previously owned by famous performers. His collecting activity, concentrated in a few years, drove up prices for fine fretted instruments generally and brought attention to guitars as works of art. Chinery lent generously for exhibitions and to performers, and intended to build a museum to house his holdings. His ‘Blue Guitar’ collection was inspired by a D’Aquisto Centura Deluxe model with a blue finish; Chinery commissioned 22 contemporary makers to build archtop guitars of their own design but all with a blue finish like D’Aquisto’s. Chinery also collected Cuban cigars, watches, automobiles, and comic books, among other hobbies supported by a fortune made from marketing nutrition supplements and other physical fitness products through Cybergenics, a company he sold in ...

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(b Copenhagen, May 1, 1855; d Frederiksberg, Feb 22, 1931). Danish textile manufacturer, diplomat, philanthropist, and instrument collector. He was the son of a theatre prop manager. In 1884, after some years as a school teacher and inspector, he moved to Malmö, where he opened a textile factory. While living in Sweden he helped establish the Swedish section of the International Musicological Society which he led until ...

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Charles Beare and Carlo Chiesa

(b Casale Monferrato, March 14, 1755; d Salabue, Dec 15, 1840). Italian collector of violins. He was of noble birth and endowed with both a natural curiosity about violins and the means to satisfy it. His first great opportunity came in 1775–6 when he acquired ten Stradivari violins, together with tools, patterns and all that remained of Stradivari's violin-making equipment (now owned by the city of Cremona) from the master's son Paolo. For the next 50 years, with the assistance of the Mantegazza family, Cozio avidly traced and where possible purchased fine Italian violins of the Cremonese school, scrupulously noting down their details in his ...