Rome is feminine. So is Odessa. London is a teenager, an urchin, and this hasn't changed since the time of Dickens. Paris, I believe, is a man in his 20s in love with an older woman.' (Oppenheimer, 2015) – in which he attributes gender, age, and character traits to capital cities, anthropomorphising them using his own past experiences and historical knowledge of them in order to catalogue them. He compares and contrasts, looking at both the similarities and differences between the four cities in order to bring them together.
Kettle's Yard, housing the personal collection of Jim Ede, is an interesting example of a catalogue. The art and artefacts are displayed based on his own relationship with them. Located in Cambridge, away from the confines of the conventional structure and austerity of museums and art galleries, 'inherent to the domestic setting' (Hetzler and Ede, 1984). Ede was an English collector and curator who had a passionate interest in contemporary art, much to the aversion of his colleagues. His remarkable and substantial collection is owed predominantly to friendships with artists and other like-minded people, formed whilst working at the Tate gallery in the early 20's. After leaving and returning to the UK some twenty years later, he began the conversion of his four Cambridge cottages that display his personal collection. The collection includes works by the likes of Alfred Wallis, Barbara Hepworth, and pieces gifted by close friend and sculptor Henri Gaudier-Brzeska upon his death. His vision was to create 'a living place where works of art could be enjoyed. where young people could be at home' (Hetzler and Ede, 1984), that invited open conversation and created a unique experience to view the artworks that he had collected. Artworks are positioned alongside the furniture and ceramics of the home, with the aim of 'creating a harmonic whole' (kettlesyard.
