Art collecting

The collector, art historian and critic Douglas Cooper (1911-84) relished conflict. He was a formidable man, loud in speech and dress, with forceful views and a taste for ridicule. He could also be very funny. John Richardson, Picasso’s biographer, who knew Cooper better than most, said it was as though an angel and a demon child were perpetually fighting for control of his personality. Physically robust, Cooper survived being stabbed in the stomach when he was 50 after unwisely propositioning a French soldier. He is remembered today, if at all, for his legendary collection of Cubist art, focusing on the four greats of the movement: Picasso, Braque, Léger and Gris.

Jim Ede started early. At the age of 12 he used £8 of his hard-won savings to buy a Queen Anne desk. No bicycle, air pistol or football for him: this solid piece of old furniture was the thing, the first step in a long life of acquiring objects that lived, breathed and spoke to him. To call him a compulsive collector is to understate the passion that over the years saw the desk followed by an avalanche of stuff, from porcelain and glasses to pebbles and feathers, textiles and above all paintings, drawings and sculpture. Each acquisition admired, loved, cherished and shared for its uniqueness – what Gerard Manley