The current issue and full text archive of this journal is available on Emerald Insight at:
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JD
74,6
1162
Received 23 February 2018
Revised 30 May 2018
Accepted 2 June 2018
Journal of Documentation
Vol. 74 No. 6, 2018
pp. 1162-1174
© Emerald Publishing Limited
0022-0418
DOI 10.1108/JD-02-2018-0032
Opera costumes and the
value of object biographies
Helen J. Waller
University of Sydney, Darlington, Australia, and
David S. Waller
Marketing Discipline Group,
University of Technology Sydney, Broadway, Australia
Abstract
Purpose – The purpose of this paper is to observe the nature of documentation and the description used in
object biographies by an auction house catalogue and an online museum collection database in relation opera
costumes. This research aims to discuss the issues of cultural and economic value in relation to objects in the
art world, and examine examples of object biographies for opera costumes that are sold at an auction and
exhibited in a museum.
Design/methodology/approach – The object biographies are compared from an auction house catalogue
and the online museum collection database, based on two factors: costumes worn by a famous singer and
costumes designed by a famous designer.
Findings – This study identified the valuation methods of auction houses and museums, including accounting
for the market value and fair value, as well as social and cultural values. The nature of the documentation also
clearly shows the different purpose of the object biographies. For auction houses the biography needs to be
short and specific as it provides sufficient information and is read out at the auction, while art catalogues can
also be used by experts as part of the conversation to understanding heritage value, and will also be viewed and
used by researchers, investors, other auction house specialists and art world professionals.
Research limitations/implications – By comparing two institutions, auction houses and museums, this
study has shown that the information that is documented and how it is presented in object biographies is
determined by the goals of the institutions. These goals may vary or overlap in providing information,
demonstrating cultural importance, to be spoken allowed to an audience and make sales, or to educate,
conserve and preserve.
Practical implications – This study shows that to some extent museum online databases display their
collection removed from cultural context, with an isolated image of the item, and in an organised, digitally
accessible manner. A potential implication is that museums should not only digitally catalogue an item, but
also provide discussion and the cultural background and significance of the item.
Social implications – Auction catalogues are written for a specific event (the auction), while the online
museum collection database is meant to be a permanent record, which aims to digitally preserve objects and
provide access to images and information to a general audience, and further could be edited with amendments
or new information when future research or events lead to potential updates.
Originality/value – This study adds to the discourse on approaches to the understanding of costumes as an
art object of significance and their potential cultural, economic and heritage value, particularly as represented
in the documentation of object biographies.
Keywords History, Cataloguing, Museums, Value analysis, Written communications, Catalogues
Paper type Research paper
Introduction
Clothing is not just a form of fashion, it can also be a form of art that can have social,
cultural, historic and economic value. A dress from a specific time period, especially if it was
worn or designed by a famous person, can be of great interest to people and collectors. It can
be seen as a piece of beauty, a work of art, an item that evokes memories, an object of history
and even a smart investment. As an object in a museum, it also provides us with an example
of “information as thing” (Buckland, 1991; Latham, 2012). This indicates that there is a value
in the dress that goes beyond the cost to produce it. Furthermore, as the years go by, the
dress can become an important piece of popular culture which points to the heritagization of
fashion. While for some people the concept of heritage means old pots, rusty relics and dusty
exhibits in empty museums, however, fashion and costumes have been the focus of several The value
successful exhibits in museums and art galleries around the world (Steele, 2008). This is of object
evident with the exhibiting and selling of dresses, gowns, underwear, shoes and other biographies
accessories, with great success, including for designers such as Gianni Versace, Christian
Dior, Yves Saint Laurent, John Galliano and Edith Head, and items worn by Princess Diana,
Marilyn Monroe, Grace Kelly and David Bowie (Bendigo Art Gallery, 2017; Tardiff, 2017;
Traill-Nash, 2015). Clothing and fashion definitely plays an important role in social and 1163
cultural history, and so individual items can grow in its heritage value.
The “heritagization” of popular culture, including fashion and music, involves the
collecting, documenting, archiving, conserving, digitising, remembering, recognising,
commercialising and displaying of a plethora of tangible and intangible cultural material
(Brandellero et al., 2014; Latham, 2012; Waller and Waller, 2016). These actions can be
performed by various professionals, collectors, interest groups, public/private organisations
and fans. Two major cultural industries that present such cultural material, but for different
ends (i.e. selling compared to educating), are auction houses and museums.
The purpose of this paper is to observe the nature of documentation and the description
used in object biographies by an auction house catalogue and an online museum collection
database in relation opera costumes. This research aims to discuss the issues of cultural and
economic value in relation to objects in the art world, and examine examples of object
biographies for opera costumes that are sold at an auction and exhibited in a museum.
This will be achieved by investigating and comparing the nature of documentation in object
biography approaches to cataloguing opera costumes by an auction catalogue from Leonard
Joel Auction House Sydney, and the online museum collection database of the Museum of
Applied Arts and Science’s Powerhouse Museum. This study adds to the discourse on
approaches to the understanding of costumes as an art object of significance and their
potential cultural, economic and heritage value, particularly as represented in the
documentation of object biographies.

Background
The art world and value
The art world is a network of individuals and organisations with an invested interest,
specialist skills, knowledge and experience involved in creating, commissioning,
documenting, selling, curating and conserving art (Baca, 2006; Pardo-Guerra, 2011), and
includes collectors, auction houses and museums. The global art market is a large one and
growing, with it being valued at $50bn, which has increased over 60 per cent since the
global financial crisis (Robertson, 2015). It bridges the public and private spheres
with individuals from both sectors acting “as gatekeepers” and advocates for the arts
(Pardo-Guerra, 2011; Robertson, 2015). During the twentieth century, the professionalism
of the art world increased with the formation of experts from “established institutional
setting[s]” such as museum curators and directors, collectors, art critics and historians
whom formed “the circle of experts for judging artists value” (Hutter and Frey, 2010, p. 42).
Moreover, governments endorsed and participated in the art world via departments and
ministries dedicated to supporting the arts and culture through to adding to public
museums’ collections (Robertson, 2015).
Within any private or public arts organisation, depending on its size, there would be
numerous specialists with expert knowledge in a particular period, style, object, material or
culture. These specialists still need to have “a broad and comprehensive knowledge” to
perform critics, appraisals and comparative studies (Prendergast, 2014, p. 24). Furthermore,
it is through “conversations about art” between specialists, visitors, collectors, critics, etc.,
that the value of art is achieved through “the connection of value” that people make based
on the “objects, symbols, or events” (Hutter and Frey, 2010, p. 36).
JD These conversations about art and value occur in the art world, and also in the art
74,6 market. Actions in the art world and art market operate similarly due to “capitalist
principles” (Robertson, 2015, p. 240), and the interactions between the art world and art
market is evident in the auction house sphere, with companies like Christie’s and Sotheby’s.
This is where valuators, dealers, collectors, investors, even public museums, construct “the
market prices of numerous cultural objects whilst modifying the distribution of ownership
1164 over the world’s material heritage” (Pardo-Guerra, 2011, pp. 207-208). So, it is at auction
houses where art becomes a commodity and its value is represented in monetary terms
(Robertson, 2015).
As art moves from one sphere to the other, the results could be that the works are adding
value and gaining recognition or consequently being stored and rarely seen by the public.
Publicity and encouraging recognition can greatly add to the value of an object. For
example, when an artist’s work is exhibited in a highly visible and respected public
museum, this platform will increase “the level of critical attention” and amplify the artist’s
profile which will impact on the price of their work (Fillis et al., 2015; Robertson, 2015).
So, it is this “museum validation”, or the representation of the artist in respected art
festivals, which contributes to the cultural and economic value of the art (Robertson, 2015,
p. 36). It can also be reflected in a television story, films being screened at film festivals or
designers displaying their collection during a fashion week.
The popularity of a particular time period, style, person or object can also have an effect
on the historic or cultural value of an item. Some cultural institutions or collectors may focus
on a particular style, say art deco or modernism, and will place a greater value on
purchasing an object to add to their collection. In fact, a minor, early work by a famous artist
may be worth more than could be expected as the work could show an example of an artist’s
beginnings or the progression through various styles before achieving fame. Therefore,
measuring the economic value of an object “does not explain or correspond to cultural
value” (Ellwood and Greenwood, 2016, p. 9). An artwork within a museum could have a
higher cultural value in comparison to the economic or market value, yet it is possible that
researching, discerning and highlighting the artworks’ cultural value may increase its
economic value (Ellwood and Greenwood, 2016).
Unfortunately, this may not always be recognised by the artist, as one study found that
contemporary artists when asked their view about the cultural value of works felt that it “is
often constructed as a result of the intrinsic worth of their work”, as opposed to “market
influences” (Fillis et al., 2015). However, market influences can have a significant influence
on the perception of an object, and, therefore, the relationship between the art world and art
market in terms of shaping the economic and cultural value of an art-object is dependent on
many variables.

Commodification of art
This network of relationships between cultural institutions, like museums, galleries and
auction houses, are entrenched in the art world. The primary, secondary and tertiary art
markets are based in a web of commercial galleries, auction houses and museums that also
have a “hierarchical structure” associated with influence, prestige and scope (Kopytoff,
1988; Singer and Lynch, 1994). Starting when the artwork is sold for the first time, the
primary art market is when it is sold by the artist or a gallery that represents the artist. Once
it has been purchased from the artist, it may be re-sold on the secondary market. If the art
work is then sold again, possibly as an investment, this is part of the tertiary art market,
where auction houses are traditionally the place where this occurs. Moreover, within this
web of institutions are different collecting categories in the fields of art and culture with
further sectors within these categories (Robertson, 2015). For example, art, jewellery,
furniture, luxury, collectibles and memorabilia.
 Auction houses are viewed as institutions within the art world “that straddles the The value
poles of economic (calculative) and social (aesthetic) life” (Pardo-Guerra, 2011, p. 207). of object
Pardo-Guerra (2011) describes the “story of the transformation of the entangled objects of biographies
the art world into the disentangled commodities of the auction floor” where it is the
calculation of the economic value and setting estimates that is a significant moment in the
art-object biography (p. 210). When art becomes “worthy” of collection, this indicates that
the item is valuable and will be priced, and to a degree their uniqueness and worthiness 1165
becomes established as the art becomes a commodity (Kopytoff, 1988, p. 81). This
commodification of art and collectibles through an auction house highlights how the
“economic and cultural values are shaped and reinforced” (Pardo-Guerra, 2011, p. 207).

Methods of valuation
So how are objects of art and collectibles valued? This is an area of much discussion in the
accounting world, particularly relating to heritage assets (Barton, 2005; Hone, 1997; Hooper and
Kearins, 2004; Micallef and Peirson, 1997). Auction house specialists calculate estimates of the
art and collectables, and this forms part of the commodification process (Pardo-Guerra, 2011).
Clearly “no one feature alone can determine a value” as there are a number of factors that can
influence valuation, and “the more desirable and prized each factor is in the particular market,
the more valuable an object will be in relation to similar examples in the market” (Prendergast,
2014, p. 25). Two main factors which generally shape the value of an artwork or collectable are
the evidence of authorship and authenticity (Hutter and Frey, 2010, p. 38). Other key factors
include the arts’ provenance, rarity, condition and quality, along with market trends
(Prendergast, 2014, p. 25). However, despite the number of ways an auction house specialist can
determine the monetary value of an artwork these methods will not be able to encapsulate its
total value (Robertson, 2015). Furthermore, each auction house specialist would have their “own
requirements and nuances for proper valuation” (Prendergast, 2014, p. 24).
Three common valuation methods are: the double-sale method, which involves
comparing past prices; the average-price method, which is the weighing of various artists in
a sample; and the representative-painting method, which is an index featuring close
substitute works of art (Robertson, 2015, pp. 240-241). A specialist carrying out an
evaluation would have an understanding of the art market for particular type of objects with
access to databases, catalogues and sales records (Pardo-Guerra, 2011; Prendergast, 2014).
Examples of online database of auction records are Artnet, AskArt and ArtFact, whilst
auction house websites may also list past sales results. However, comparing with recent
prices or prices of comparable objects is not enough, and the market value is not a substitute
for cultural value (Ellwood and Greenwood, 2016).
Whereas auction houses are engaged with market value and determining cost price,
museums over the last 25 years have been accounting for tangible heritage assets, such as
collections of art, in terms of “fair value”. Fair value is defined as “an amount for which an
asset could be exchanged or liability settled or depreciated replacement cost is an acceptable
estimate of the fair value where no market exists” (Hooper and Kearins, 2004, p. 411). This
introduction of this practice has meant that the public sector entities must create annual
financial reports that factor in the fair value of public heritage assets, thus, placing economic
values on cultural items (Hooper and Kearins, 2004; Ouda, 2014). However, it is argued that
this method of valuation of heritage assets is an inappropriate framework for reporting due
to the purpose and nature of these heritage assets (Ouda, 2014, p. 31). In the USA, for
example, the Guggenheim Foundation’s Statement of Financial Position indicates that the
asset value of its Art Collection is $1, even though many would say that the collection is
“priceless”. Its report states that: “In accordance with industry practice, art objects
purchased, donated and bequeathed are included in permanently restricted net assets at a
value of $1” (Guggenheim, 2017, p. 10). The issue of deciding the economic and the cultural
JD value of heritage assets and how it will be reported is a controversial one which needs more
74,6 research (Ellwood and Greenwood, 2016). At an individual object level, the cultural and
social value can be documented and reflected in an object biography.

Object biographies
The significance of an artefact or artwork may be documented by creating an object
1166 biography. An object biography is “an approach to material culture that highlights the
shifting roles and meanings of an artefact over time and context” (Mytum, 2003). This
indicates that the biography is not static once an object is located at a museum, and points to
the richness that the documentation can provide (Alberti, 2005). This can be achieved by
methods that question and cross-examine the art-objects by referring to historical,
archaeological or anthropological research with the aim “to make mute objects ‘speak’ by
placing them in a historical context, linking them to written sources such as diaries, store
inventories, trade records, etc.” (Hoskins, 2006, p. 78).
The understanding and value of documentation in an increasing complex and digital
environment is extremely important (Buckland, 1997; Frohmann, 2004, 2009; Latham, 2014).
There is also a growing literature observing documentation in the art world, particularly
museums (Cameron and Mengler, 2009; Goerz and Scholz, 2009; Latham 2012; Light et al.,
2014; Navarrete and Owen, 2016; Roberts and Light, 1980). Kopytoff (1988) gives examples
of the types of questions you might ask about an object when documenting its biography:
where does the thing come from and who made it? What has been its career so far, and what
do people consider to be an ideal career for such things? What are the recognised “ages” or
periods in the thing’s “life”, and what are the cultural markers for them? How does the
thing’s use change with its age, and what happens to it when it reaches the end of its
usefulness? (Kopytoff, 1988, pp. 66-67). The answers to these questions will expose the
aesthetic, historical and other cultural values along with judgments about significance
“that shape our attitudes to objects labelled ‘art’ ” (p. 67).
Also, changes in the object’s journey will impact the object’s identity as they are shifted into
different systems of value (Hoskins, 2006; Navarrete and Owen, 2016). For example, from the
origin of the object, the sale of object to private collection to its re-sale and acquisition into a
museum – the artwork moves across the primary, secondary and tertiary art markets, through
market value to fair value, existing in periods of being priceless and priced. Here it is seen how
through the conversations about value “these meanings change and are renegotiated through
the life of an object” (Gosden and Marshall, 1999, p. 170). So, understanding the meanings
behind the object is reflected in “the accumulating histories” along with “processes and cycles
of production, exchange and consumption”, which provide sites for “[creating] meanings and
[producing] object biographies” (Gosden and Marshall, 1999, p. 174).
In developing the object biography, peoples’ interaction with the object as how they
purchase, view, sell display, etc., these artworks must also be considered (Hoskins, 2006,
p. 76). This includes the object’s “agency” as “the ways in which they stimulate an emotional
responses and are invested with some of the intentionally of their creators” (Hoskins, 2006,
p. 75). For example, works produced by contemporary artists often reflect and embody
socio-cultural complexities along with explicit or symbolic meanings which the viewer can
“interact directly and indirectly to create meanings” (Fillis et al., 2015, p. 254). From a
fashion perspective, costumes used in films or by celebrities can also arouse memories,
passions and emotions of nostalgia, beauty and awe.
According to Kopytoff (1988), “a culturally informed economic biography of an object”
includes an understanding of the cultural meanings and its creation in a socio-cultural
context (p. 68). This can be seen in an auction catalogue that includes information on the
cultural status and significance, and the anticipated sale price (economic market value).
The significance of an art object is documented in the catalogue (McNulty, 1992). A printed
or online catalogue for an auction provides object descriptions and the estimate price, thus, The value
placing the work into the art market (Ferrari, 2000; Pardo-Guerra, 2011; Prendergast, 2014). of object
An auction catalogue would typically include a photograph, or series of photographs, with biographies
accompanying text describing the works’ quality, artistic style and technique, historical
context informed by research and its provenance record to demonstrate authenticity –
which are elements that are factored into realizing the market value and is indicated by the
estimate listed price (Bandle, 2015; Geismar, 2001). Prendergast (2014) stated that auction 1167
catalogues are “for both the seller and buyer” (p. 24).
Importantly, this emphasises that a catalogue is a vital source of information about an
object, but it is also a marketing tool. The photographic reproductions of the objects are
used to show item before auction but also for marketing and advertising purposes, making
the catalogue a cross “between the commercial mail order catalogue and the academic
literature on art” (Pardo-Guerra, 2011, p. 214). In some cases, the nature of documentation of
object biographies in a catalogue would reinforce its social and economic value,
collectability and worth. The following will observe object biographies from an auction
house catalogue and an online museum collection database in relation opera costumes.

Methodology
To have a better understanding of the importance of object biographies in the art world, a
comparison will be made of descriptions made by an auction house and a museum in relation
opera costumes. The auction house chosen for this study is Leonard Joel, a company that
organised the auction of Opera Australia costume and memorabilia in June 2017 (Leonard Joel,
2017). This auction was of items that were no longer in use, and it aimed to raise money for the
opera company. It was also the first time Opera Australia costume and costume designs had
been publicly auctioned. The auction was held across two days, and the items embodied
significant historical, aesthetic, technical and cultural value. The catalogue documentation
and media attention increased the profile of this collection (Cockington, 2017). The first
100 lots were part of the evening auction of “Hero” costumes and designs. These items were
deemed to be technically and aesthetically extraordinary, worn by important performers,
worn in recognisable roles and productions. The second auction presented whole operas and
larger lots of bulk costumes. These items were worn by dancers and chorus members.
The museum in the study is the Powerhouse Museum which is part of the Museum of
Applied Arts and Science, Sydney. It describes itself as “Australia’s contemporary museum
for excellence and innovation in applied arts and sciences”, and houses a collection that
“spans history, science, technology, design, industry, decorative arts, music, transport and
space exploration” (Powerhouse Museum, 2017). The museum also collects and exhibits
fashion items, costumes and memorabilia, with past exhibitions including outfits from
Christian Dior, Audrey Hepburn, Kylie Minogue and Diana, Princess of Wales.
A comparison was made on equivalent examples of object biographies, which is a
method undertaken in previous studies (Schamberger et al., 2008). In the current study the
nature of and the description used in object biographies are compared from an auction
catalogue and the online museum collection database, based on two factors: costumes worn
by a famous singer (Dame Kiri Te Kanawa and Dame Nellie Melba), and costumes designed
by a famous designer (Catherine Martin).

Results
Costumes worn by a famous singer
In the Leonard Joel auction there were several costumes that were worn by well-known
singers/actors, including Dame Heather Begg, Yvonne Kenny, Sigrid Thornton and Cheryl
Barker. However, the best known was worn by internationally renowned New Zealand
soprano Dame Kiri Te Kanawa, and the auction included a costume for the role as “Violetta”
JD in the 1978 production of La Traviata. The object biography identified the role, opera,
74,6 composer, year of production, costume designer, production director and who wore it,
“Dame Kiri Te Kanawa ONZ DBE AC”. The reference for this item is Lot 23 for auctioning
purposes rather than cultural archiving, so potential bidders knew which item it was and
approximately when it would be open for bidding. The object description includes a detailed
description of the gown, an estimated size as this would appeal to customers wishing to
1168 wear the garment and an estimated price. The biography, while short (100 words), provides
a lot of detail about the gown, along with a picture, which would help bolster appreciation
for the item and encourage a good price. The gown was bought for $4,000.
The Powerhouse Museum has over 500,000 separate items in its collection, and presents
a portion in a detailed online museum collection database. As part of the collection, there is a
costume worn by Dame Nellie Melba, an Australian operatic soprano who became one of the
most famous singers of the late 1800s and early twentieth century. The item, object number
98/26/1, is a costume believed to be for the role of Marguerite in “Faust”, made around 1910,
and acquired in 1998 from the Sydney Opera House Trust. The page is very detailed with
high-quality images, the singer’s biographical information, object number, a very
comprehensive physical description of the dress, history of garment including
provenance and collection history, date of acquisition and citation. The webpage includes
the tagged “opera costumes”, “dresses”, “opera” and “costume design”, related objects and
suggested items which may be useful when researching the collection. This detailed record
takes into account multiple users of this online resource, and highlights the significance of
this object with the historical, technical and cultural values it presents. The text for both
object biographies for costumes worn by famous singers is in Appendix 1.

Costumes designed by a famous designer – Catherine Martin

The value of a costume can also increase if it was made by a well-known designer, like Edith
Head or Karl Lagerfeld. In Australia, Catherine Martin is a famous costume designer,
production designer, set designer and film producer, who has won four Academy Awards
for the films Moulin Rouge! (2002) and The Great Gatsby (2014). She has also been the
designer for Opera Australia productions of Lake Lost (1988), La Bohème (1990) and A
Midsummer Night’s Dream (2003). The Leonard Joel auction had two costumes designed by
Catherine Martin, while the Powerhouse Museum collection includes costumes for the four
key characters from La Bohème (2003).
According to the auction catalogue there were two costumes for sale, Lots 68 and 69, which
were both dresses for the role of Musetta in two productions of La Bohème (1996 and 1990).
The object biographies were both short, around 50 words, and presented similar information
as described in the earlier Lot 23 dress worn by Dame Kiri Te Kanawa. This included the role,
opera, composer, year of production, costume designer, production director, who wore it,
description of the dress, size and estimated price. Interestingly, both costumes were purchased
for $2,400, and the buyer was the Powerhouse Museum to add to their Catherine Martin
collection. As for the Powerhouse Museum, an example of their Catherine Martin collection is
a costume for the role of Mimi in a 2003 production of La Bohème (object number 2011/43/126).
The page, like its page for the Dame Nellie Melba costume, is very detailed with information
like object number, a physical description of the dress, history of garment including
provenance and collection history, date of acquisition and citation. The text for the object
biographies for costumes designed by a famous designer is in Appendix 2.

Discussion
The comparison of opera-related costumes in this study indicates that there is a complexity
of an art-object’s significance, which is reflected in a co-existence of cultural and economic
values. From the examples of object biographies, it appears that the auction house
emphasises the cultural/historic background as a way to encourage bidding and increase The value
the economic value. The museum provides more detail to emphasise the cultural/historic of object
background as a way to encourage and increase the heritage value of the object. This extra biographies
attention to detailing the documentation further highlights the object’s significance and
cultural value, thereby giving the object in a museum “prestige value”, which can be
appreciated by the public that owns the items whether they view them in person or not
(Kopytoff, 1988; Robertson, 2015). This information about the object can be used to outline 1169
the aesthetic, historical, technical and other cultural values along with its research potential.
It is obvious that there was a significant difference in the amount of information and
detail provided in the auction catalogue and the online museum collection database. This
clearly shows the different nature and purpose of these object biographies. For auction
houses the biography needs to be short and specific as it provides sufficient information and
is read out at the auction, thus, reinforcing the idea that auction catalogues are “for both the
seller and buyer” (Prendergast, 2014, p. 24). However, as mentioned earlier, catalogues can
also be used by experts as part of the conversation to understanding heritage value, and will
also be viewed and used by researchers, investors, other auction house specialists and art
world professionals. This concept seems to be better understood by museums that provide
very detailed information on their online museum collection databases which can be used as
a resource to be accessed by a wide audience of professionals and non-professionals. Both
auction catalogues and museum collection records form a valuable information archive that
can be used as a comparison to other objects or showing the journey of a specific object.
However, a major difference is that auction catalogues are written for a specific event (the
auction), while the online museum collection database is meant to be a permanent record,
which aims to digitally preserve objects and provide access to images and information to a
general audience (Kirkland et al., 2015), and could be edited with amendments or new
information when future research or events lead to potential updates.
A criticism of the auction catalogue is that it depicts art and cultural objects as detached,
arranged and ordered that is not in their “natural” context and becomes visually clean and
methodically arranged (Pardo-Guerra, 2011). However, while collections in a museum may be
grouped together and interactive media can be used to tell the historic or cultural story, this
study shows that to some extent museum online databases also display their collection removed
from cultural context, with an isolated image of the item, and in an organised, digitally
accessible manner. A potential implication is that museums should not only digitally catalogue
an item, but also provide discussion and the cultural background and significance of the item.
This study has shown that the nature of documentation and the description used in
object biographies is determined by the goals of the cultural institutions, which may vary or
overlap in providing information, demonstrating cultural/historic importance, to be spoken
aloud to an audience and make sales or to educate, conserve and preserve. These processes
form part of the object biography, as well as the objects themselves which represent past
histories and, with new information, can influence their future (Alberti, 2005).

Conclusion
The research aims of this paper were to discuss the issues of cultural and economic value in
relation to objects in the art world and examine examples of object biographies for opera
costumes that are sold at an auction and exhibited in a museum. By introducing the art
world and art market with its key players, this study identified the valuation methods of
auction houses and museums. These operations involved accounting for the market value
and fair value of art-objects that were dependent on various factors that could change
throughout its lifetime. Art-objects in the art market have a multitude of values and in many
cases social, cultural and historic value could be more valuable than its market value or even
fair value. This is an area that needs further research.
JD The study also recognised how object biographies are important for documenting items
74,6 in catalogues and online museum collection databases. However, different goals for the
presentation of information result in varying degrees of content and digital accessibility,
and the use of detailed information can be used to highlight the cultural value of the item to
bolster its economic or heritage value. Future research could be useful to analyse the role of
different types of documentation in influencing perceived and actual value of an object.
1170 Studies could also track and compare the object biographies of other collections as items
move from the auction house to private and public collections.

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Appendix 1. Costumes worn by a famous singer

(1) Dame Kiri Te Kanawa (Leonard Joel Catalogue)
Lot 23
THE FEMALE PRINCIPAL COSTUME FOR “VIOLETTA”, LA TRAVIATA
[VERDI], 1978
Designed by Michael Stennett for the 1978 production by Elijah Moshinsky, worn by Dame
Kiri Te Kanawa ONZ DBE AC, constructed in the style of a nineteenth-century ball gown, the
boned bodice in ivory satin with embroidered floral motif, embellished with faux pearls,
crystal beading, diamantes and lace at neckline and in tiered flutter sleeves, above a “bell”
skirt with a central panel of tiered lace ruffles, edged with large cream bows, the remainder in
silk organza with appliqued flowers and lace detailing, above an accompanying hoop skirt, the
skirt and bodice finished in accenting sequins, size 12–14 (3).
Estimate $4,000–6,000
Sold for $4,000
(2) Dame Nellie Melba (Powerhouse Museum)
98/26/1 Opera costume worn by Dame Nellie Melba
Made in Sydney, New South Wales, Australia, C.1910
Summary
Object No. 98/26/1
Physical description: costume, opera, dress, worn by Dame Nellie Melba, velvet/silk/cotton/leather/
metal, maker unknown, C.1910
Full length empire line dress in fawn silk velvet and silk with velvet trim. Square neck edged with
black velvet and cream silk. High waisted, slightly boned bodice meets skirt with a row of very rough
stitching. Long skirt part of dress is finished with a strip of black velvet edged with cream silk. The
skirt back is gathered onto the waist forming a short train. The long sleeves of the costume consist of
bands of puffy cream silk (very tattered) and tight fawn velvet edged with black velvet. The sleeve
ends with a curved cuff, and the long forearm section is tied at the back with criss-crossed black silk
ribbon, which pulls together boned edges. Centre back opening fastens via two leather strips which
hold a series of black enamelled hooks and eyes in place, threaded with a length of black ribbon. The
bodice is lined with cream brushed cotton, the skirt with light brown cotton and the cuffs with cream
silk damask. The velvet on the back is very worn, and the costume has been repaired in several places
(mainly on the back). The register at the Sydney Opera House speculates that the “condition of this
piece is character driven”.
 Short URL: https://ma.as/163391 The value
Dimensions: width 440 mm of object
Production
Note: The designer and maker are not known biographies
Made: C.1910
Melba sang the part of Marguerite in “Faust” from 1899 to C.1924 and the costume probably dates
from C.1910.
History 1173
Notes
Dame Nellie Melba (1861–1931) was a legendary soprano. Born Helen Porter Mitchell
in Melbourne, she began her stage career in Brussels in 1887 and triumphed two years later at
London’s Covent Garden in “Romeo et Juliette”. From that day onwards she appeared regularly
at Covent Garden and the New York Metropolitan Opera, becoming one of the highest paid singers
of her day.
Melba’s world tours often included Australia and were hugely popular. In 1902, the takings of one
Sydney concert set a world record. When Melba made her Covent Garden farewell in 1926, the concert
programme summed up her achievements as “years of almost monotonous brilliance”.
Melba made her first appearance as Marguerite in “Faust” at Covent Garden in 1899 and sang the
part until her farewell season. She prepared for the part under the personal instruction of the composer
Charles Gounod. It is thought that she wore this costume as Marguerite around 1910.
Given to Barbara Firth by Hilda Mulligan, a Retired Director of the Sydney Conservatorium of
Music, who had a collection of opera costumes. Donated by Barbara Firth to the Sydney Opera House
around 1973. Transferred from the Dennis Wolanski Library, Sydney Opera House to the Powerhouse
Museum in 1998.
Owned: Sydney Opera House
Used: Melba, Nellie C.1910
Source
Credit Line: Gift of Sydney Opera House Trust, 1998
Acquisition Date: 10 March, 1998
Cite this Object
Harvard Opera costume worn by Dame Nellie Melba 2016, Museum of Applied Arts & Sciences,
accessed 27 September 2017, https://ma.as/163391
Wikipedia{{cite web |url ¼ https://ma.as/163391 |title ¼ Opera costume worn by Dame Nellie Melba
|author ¼ Museum of Applied Arts & Sciences |access-date ¼ 27 September 2017 |publisher ¼ Museum
of Applied Arts & Sciences, Australia}}

Appendix 2. Costumes designed by a famous designer – Catherine Martin.

(1) Catherine Martin – La Boheme (Leonard Joel Catalogue)
Lot 68
THE FEMALE PRINCIPAL COSTUME FOR “MUSETTA”, LA BOHEME
[PUCCINI], 1996
Designed by Catherine Martin for the 1996 production by Baz Luhrmann and worn by
Aikido Nakajima, constructed in a red cotton lace over matched lining in a 1950s silhouette
with halter shelf bust neckline and full skirt, the bodice and skirt encrusted with red sequins,
size 6–8 (1).
Estimate $3,000–5,000
Sold for $2,400
Lot 69
THE FEMALE PRINCIPAL COSTUME FOR “MUSETTA”, LA BOHEME
[PUCCINI], 1990
Designed by Catherine Martin for the 1990 production by Baz Luhrmann and worn by
Christine Douglas, constructed in a 1950s silhouette with black embellished net over red satin
lining, the bodice with sweetheart neckline and sleeves, above a black velvet wide waist band,
over a full skirt with accompanying petticoat, approx. size 14–16 (2).
JD Estimate $2,000–4,000
74,6 Sold for $2,400
(2) Catherine Martin – La Boheme (Powerhouse Museum)
Mimi’s ensemble from “La Boheme”
Summary
Object No. 2011/43/126
1174 Physical description: peach, silk satin, v neck slip, trimmed with beige lace appliqué with slit up
each side and zipper fastening. Spaghetti straps of same peach silk satin material.
Beige, cotton, wide collar and lapel, single breasted trench coat. Plastic button fastenings, left of
centre. Belted waist. Belt buckle is plastic. Cuffs are belted in the same fashion as waist belt. A pocket is
on both left and right hip area. Pockets have flap in own material and button fastenings. Slit up back.
Fully lined in beige nylon. Hip area is padded under lining.
Brown crocodile imitation leather stiletto pump shoes. Toe is pointed. A second layer of crocodile
imitation leather has been applied to toe area. Brown leather lining.
Short URL: https://ma.as/414593
Production
Notes: Catherine Martin works with a production team on each of her projects. Costumes designed
by Catherine Martin and Angus Strathie in Sydney in 2003. Made by Wardrobe Department at Iona,
Darlinghurst, Sydney.
Designed: Strathie, Angus
Designed: Martin, Catherine 2003
Source
Credit Line: Donated through the Australian Government Cultural Gifts Program by Catherine
Martin, 2011
Acquisition date: 21 June, 2011
Cite this Object
Harvard Mimi’s ensemble from “La Boheme” 2016, Museum of Applied Arts & Sciences, accessed
27 September 2017, https://ma.as/414593
Wikipedia {{cite web |url ¼ https://ma.as/414593 |title ¼ Mimi’s ensemble from “La Boheme” |
author ¼ Museum of Applied Arts & Sciences |access-date ¼ 27 September 2017 |publisher ¼ Museum
of Applied Arts & Sciences, Australia}}

About the authors

Helen J. Waller works at the Verge Gallery at The University of Sydney. She has a Bachelor of Arts and
a Master of Museum and Heritage Studies from The University of Sydney. Her research has included
projects on painted advertising signs, object biography and social media and museums.
David S. Waller is Senior Lecturer in the Marketing Disciple Group, University of Technology
Sydney. David has over 20 years’ experience teaching marketing subjects at several universities in
Australia. His research has included projects on marketing communications, controversial advertising,
international advertising, marketing ethics and marketing education. David S. Waller is the
corresponding author and can be contacted at: david.waller@uts.edu.au

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