An entertaining guide to how to collect a wide range of items - crammed with anecdotes, stories and advice gleaned from a lifetime of collecting.

DigiCat Publishing presents to you this special edition of "The Confessions of a Collector" by William Carew Hazlitt. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

In the spring of 1932, I had finished a two-year run in Threes A Crowd, a musical revue in which I appeared with Clifton Webb and Libby Holman. The following September I was to go into a new show. I had no contract; merely the producers promise. When I returned to New York to start rehearsals, I discovered that there was to be no show. It had been a hot summer. Many people hadn’t been able to keep things. One of the things the producer hadn’t been able to keep was his promise. With the advance of refrigeration, I hope that along with the frozen foods someday we will have frozen conversation. A person will be able to keep a frozen promise indefinitely. This will be a boon to show business where more chorus girls are kept than promises. With no immediate plans for the theater, I began to wonder about radio. Many of the big-name comedians were appearing on regular programs. In the theater the actor had uncertainty, broken promises, constant travel and a gypsy existence. In radio, if you were successful, there was an assured season of work. The show could not close if there was nobody in the balcony. There was no travel and the actor could enjoy a permanent home. There may have been other advantages but I didn’t need to know them. The pioneer comedians on radio were Amos and Andy, Ray Knight and his Cuckoo Hour, the Gold Dust Twins, Stoopnagle and Budd and the Tasty Yeast Jesters. With the exception of Amos and Andy, who had been playing smalltime vaudeville theaters under the name of Sam and Henry, the others were trained and developed in radio. All of these artists performed their comedy routines in studios without audiences. Their entertainment was planned for the listener at home. In the early 1930’s when the Broadway comedians descended on radio, things went from hush to raucous. The theater buffoon had no conception of the medium and no time to study its requirements. The Broadway slogan was “Its dough—lets go!” Eddie Cantor, Jack Pearl, Ed Wynn, Joe Penner and others were radio sensations. They brought their audiences into the studios, used their theater techniques and their old vaudeville jokes, and laughter, rehearsed or spontaneous, started exploding between the commercials. The cause of this merriment was not always clear. The bewildered set owner in Galesburg, Illinois, suddenly realized that he no longer had to be able to understand radio comedy. As he sat in his Galesburg living room he knew that he had proxy audiences sitting in radio studios in New York, Chicago and Hollywood watching the comedians, laughing and shrieking “Vass you dere, Charlie” and “Wanna buy a duck” for him.

The author recounts his experiences in building collections of rare books and manuscripts of French literature, and reveals little-known facts about French artists, composers, and writers.

In A Dream of Sadler's Wells, 14-year-old Veronica is suddenly uprooted from her life in London and the ballet classes she loves so much when her father dies. Now she has to move away to live with mean relatives. How will she cope?

Originally published: London: Doubleday, 2002.

(Book). In Confessions of a Vintage Guitar Dealer , Norman Harris tells how he became the world's leading seller of vintage guitars. As founder and owner of the legendary store Norman's Rare Guitars, he has sold some of the finest fretted sting instruments to the biggest stars in the world, including George Harrison, Bob Dylan, Tom Petty, and many others. In 1970 Harris moved to Los Angeles in hopes of hitting the big time in music. His first plan was performing, but plan B was buying and selling guitars, and he had no idea how much opportunity for this there would be. Many groups came to LA also hoping to hit it big, but those who didn't might have to sell their instruments. This helped make early-1970s Los Angeles a haven for beautiful vintage guitars. At the same time, Hollywood was beginning to realize the value of time-correct instruments in film, and the recording industry recognized the high-quality sound vintage instruments produced. The value of these instruments has grown dramatically since the '70s, and the vintage guitar market has become an international phenomenon with Norman Harris at the center of it all. Filled with fascinating stories and insights into the entertainment business, Confessions of a Vintage Guitar Dealer is an intriguing memoir from a man who has spent a lifetime getting extraordinary instruments into the hands of extraordinary artists.

A collection of essays discusses the central and joyful importance of books and reading in the author's life.

Le livre d'artiste "Collection for the poor" est inspiré du livre d'Eugène Schwartz "Confessions of a poor collector". Il peut être vu comme une réponse à la demande de devenir un collectionneur d'art contemporain malgré un quasi-zéro du compte bancaire. Il rassemble 21 artistes entreprenant le travail d'exploration des stratégies économiques et de distribution en dehors du marché de l'art. Le livre qui en résulte est une oeuvre d'art en soi à un prix très raisonnable qui est en même temps un manuel qui aide à trouver des oeuvres d'art abordables qui conviennent à la fois aux capacités financières et au bon goût.