Antiques

Antiques: The History of an Idea

LEON ROSENSTEIN
Copyright Date: 2009
Edition: 1
Published by: Cornell University Press
Pages: 280
https://www.jstor.org/stable/10.7591/j.ctt7zb20
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  • Book Info
    Antiques
    Book Description:

    The notion of retrieving a bit of the past-by owning a material piece of it-has always appealed to humans. Often our most prized possessions are those that have had a long history before they came into our hands. Part of the pleasure we gain from the encounter with antiques stems from the palpable age and the assumed (sometimes imaginary) cultural resonances of the particular object. But precisely what is it about these objects that creates this attraction? What common characteristics do they share and why and how do these traits affect us as they do?

    In Antiques: The History of an Idea, Leon Rosenstein, a distinguished philosopher who has also been an antiques dealer for more than twenty years, offers a sweeping and lively account of the origin and development of the antique as both a cultural concept and an aesthetic category. He shows that the appeal of antiques is multifaceted: it concerns their value as commodities, their age and historical and cultural associations, their uniqueness, their sensuous and tactile values, their beauty. Exploring how the idea of antiques evolved over time, Rosenstein chronicles the history of antique collecting and connoisseurship. He describes changing conceptions of the past in different epochs as evidenced by preservations, restorations, and renascences; examines shifting attitudes toward foreign cultures as revealed in stylistic borrowings and the importation of artifacts; and investigates varying understandings of and meanings assigned to their traits and functions as historical objects.

    While relying on the past for his evidence, Rosenstein approaches antiques from an entirely original perspective, setting history within a philosophical framework. He begins by providing a working definition of antiques that distinguishes them from other artifacts in general and, more distinctly, both from works of fine art and from the collectible detritus of popular culture. He then establishes a novel set of criteria for determining when an artifact is an antique: ten traits that an object must possess in order to elicit the aesthetic response that is unique to antiques. Concluding with a provocative discussion of the relation between antiques and civilization, this engaging and thought-provoking book helps explain the enduring appeal of owning a piece of the past.

    eISBN: 978-0-8014-6382-2
    Subjects: Philosophy

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Preface
    (pp. ix-xiv)
  4. ONE Preliminaries: Understanding Antiques
    (pp. 1-38)

    At minimum, an antique is something that has endured over time: it carries some of the past into our present and has a story to tell. In fact, an antique usually has many stories to tell. Before saying anything definitive about antiques, let’s begin by looking at one antique’s story. It will serve as a case in point.

    In the October issue of two major antiques trade and collector-connoisseur publications, The Magazine Antiques (U.S.) and The Antique Collector (British), we find a display advertisement announcing the upcoming November sale in New York by Sotheby’s auctioneers of “Important European Works of...

  5. TWO An Archeology Of Antiques: A History of Antique Collecting and Connoisseurship
    (pp. 39-158)

    The idea of antiques and the development of the ability to regard them as objects of a unique aesthetic appreciation are bound up with the history of connoisseurship and development of a “taste” for them. The idea of antiques is also bound up with the history of the idea of art in general, with the advent of historical consciousness, and with the historical emergence of theories of art and beauty called “aesthetics.”

    It is not my intention in these historical chapters to present an encyclopedic history of collecting, connoisseurship, and taste. Much of that has already been done admirably by...

  6. THREE The Ten Criteria of Antiques
    (pp. 159-188)

    As promised in chapter 1, I now propose ten (3 × 3 + 1) criteria for the connoisseurship and collecting of antiques. They have simply been extracted from the archeology of chapter 2 and are intended to amplify the definition of the antique given in chapter 1. Unlike our account there, which was concerned with meaning and interpretation, here we will emphasize and focus on pragmatics, on evaluative judgments and appraisals of antiques, making use of many concrete examples and counterexamples for understanding the issues to which these ten criteria give rise.

    I have clustered these ten criteria in three...

  7. FOUR Conclusion: Antiques and Civilization
    (pp. 189-204)

    This is not a work of cultural or philosophical anthropology but an analysis and history of the idea of the antique; nevertheless, in the preceding chapters we have continually referred to cultural matters and to the evolution of civilization as a place where the idea of the antique and the aesthetic response to the antique “matters.” We have seen that a civilization’s conception of itself—of itself in its present as compared with its past and of itself in comparison with other civilizations—plays an important role in establishing the idea of the antique and in grounding the aesthetic response...

  8. Notes
    (pp. 205-252)
  9. Index
    (pp. 253-264)