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In this lavishly illustrated book, Adrian Franklin, TV presenter, writer and serious collector, takes a decade by decade approach to exploring the twentieth century .
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Press release. Weingarten first began collecting souvenir buildings in , on a trip to Speyer Cathedral in Germany with his uncle, architect Charles Moore. When his uncle purchased a larger miniature of the cathedral, Weingarten opted for a smaller representation.


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The two Speyer Cathedrals, part of this collection, sparked a decades-long endeavor, later assisted by Margaret Majua, with whom Weingarten wrote two books about the collection, and Lucia Howard, his partner at Ace Architects. This history is popular, not pedagogic or polemic, focused not at all on the inexorable progress of the styles, but instead on those buildings people have thought remarkable and memorable, engaging and appealing, swell enough to commit to memory, provoked by a souvenir building. These pocket-sized buildings are at once a reminder of travel, and a record of popular architecture.

Souvenir buildings are almost always cast in a mold, mass produced, and made from various materials: cork; every sort of marble; brass and bronze; zinc, iron, silver, copper, and gold; plastic, paper, wood, clay, wax, and rubber; and even soap. In addition to their purpose as a souvenir, some serve other functions: they are inkwells, lamps, and boxes; paperweights, pencils, and pencil weights; salt and pepper shakers, banks, bookends and bottles; cigarette lighters, cigarette boxes, and ashtrays; needle cases, radios; erasers, and candles.

Assortment of buildings in India and Pakistan.

Shanghai Expo. An exception to the 20th century parameters of the collection is this carefully wrought, painted pot metal replica of the theme building from the Shanghai Exposition.

20th Century Souvenir Buildings - National Building Museum

Flip a concealed switch and patterns of colored lights issue skyward. By its very nature, the quest of the antique required a leap of faith. They were staunchly individual but firmly of their own time, having been admitted into a club of thousands of responsive readers to whom no desire was too far-fetched; no problem too troublesome; no hobby or obsession too trivial. In the Exchange and Mart , second-hand goods were never second best.

Adjusting the focus of the history of collecting and related material practices to take in popular periodicals and the second-hand trade therefore has important implications for understanding the relationship between self-cultivation, social distinction, and the democratization of culture. Oxford University Press is a department of the University of Oxford.

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Postcard Collecting

Advanced Search. Article Navigation. Close mobile search navigation Article Navigation. Volume Article Contents. Newnham College, University of Cambridge. Oxford Academic. Google Scholar. The PhD research on which this article is based was supported by the Arts and Humanities Research Council grant number Cite Citation. Permissions Icon Permissions. Figure 1.

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Open in new tab Download slide. Figure 2. A Westbourne Park collector informed Clements that his prices were higher than those of G. Lawrence of Wandsworth, the antiquities dealer who had been involved in the sale of the Cheapside Hoard to the London Museum in Figure 3. In those cases […] [w]e do not hold court and ask the witnesses to come before us.

We decide the case solely on an examination of the article itself in conjunction with the correspondence of the disputants.

Annie E. See e. I am grateful to Bryony Millan for helping me locate this record.


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