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Centering Periphery: New Perspectives on Collecting East Asia, edited by Nataša Vampelj Suhadolnik, explores East Asian collections in "peripheral" areas of Europe and North America and their relationship with the collections of that kind in former imperial and colonial centres. Authors not only present the stories of a number of less well-known individual objects and collections, but also discuss the socioeconomic conditions, fashion trends, and evolving tastes in collecting East Asian objects in areas that were not European centres of colonial power.
To date, research on the collecting East Asian objects in the Euro-American region has focused primarily on larger collections and collectors in France, Britain, and the United States. The first traces of stories from the periphery already point to some important departures from the dominant discourses and practises of East Asian collecting, as well as the adaptation and questioning of established taxonomies and knowledge systems.
With contributions by Tina Berdajs, CHOU Wei-chiang, Györgyi Fajcsák, HAN Jin, Sarah Laursen, Beatrix Mecsi, MOTOH Helena, Stacey Pierson, Maria Sobotka, Filip Suchomel, Barbara Trnovec, Nataša Vampelj Suhadolnik, Brigid Vance, Maja Veselič, Nataša Visočnik Gerželj, Bettina Zorn.
Watermarks 1450-1850 offers a concise history of the production of paper in Western Europe from the Middle Ages to the nineteenth century. The research is based on watermarks collected from various sources in combination with other elements from the trade. This includes for instance decorated paper and ream wrappers. The authors offer an insight into the different sizes in combination with watermarks. Over 700 watermarks are illustrated.

Frans and Theo Laurentius have published two more books on the topic in this same book series: Italian Watermarks 1750-1860 (2016), and Watermarks in Paper from the South-West of France, 1560-1860 (2018). In 2007/2008 they published Watermarks (1600-1650) Found in the Zeeland Archives and Watermarks (1650-1700) Found in the Zeeland Archives.
The Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso
Volume Editor:
This book is the first scholarly account of how lost wax casting was forgotten and rediscovered around the world thanks to transmission of know-how by Italian founders in the late nineteenth century. Against this backdrop, Medardo Rosso, an Italian sculptor living in Paris, overturned rules of the technique through creative approaches to serial reproduction. His unusual casts prefigured experiments in casting in the modern era. The volume includes art-historical essays by distinguished scholars on the revival of lost wax casting in different countries and a case study of Rosso’s Bambino ebreo series, including scientific analysis and conservation studies.

Podcast interview with Sharon Hecker about this book: #HumanitiesMatter - Remodeling a Lost Wax Technique: The Methods of Medardo Rosso (
Working with manuscripts has become a digital affair. But, are there downsides to digital photos? And how can you take advantage of the incredible computing power you have literally at your fingertips? Cornelis van Lit explains in detail what happens when manuscript studies meets digital humanities. In Among Digitized Manuscripts you will learn why it is important to include a note on the photo quality in your codicological description, how to draw, collect, and publish glyphs of paleographic interest, what standards (such as TEI and IIIF) to abide by when transcribing a text, how to write custom software for image recognition, and much more. The leading principle is that learning a little about computers will already be of great benefit.
Inquiries on the Intersection of Curatorial and Conservation Cultures
The Explicit Material gathers varied perspectives from the discourses of conservation, curation and humanities disciplines to focus on aspects of heritage transmission and material transitions. The authors observe and explicate the myriad transformations that works of different kinds - manuscripts, archaeological artefacts, video art, installations, performances, film, and built heritage - may undergo: changing contexts, changing matter, changing interpretations and display. Focusing on the vibrant materiality of artworks and artefacts, The Explicit Material puts an emphasis on objects as complex constructs of material relations. By so doing, it announces a shift in sensibilities and understandings of the significance of objects and the materials they are made of, and on the increasingly blurred boundaries between the practices of conservation and curation.