艺术品收藏家的

He is a collector of Chinese art.

他是一名中国艺术品的收藏家。

The auction house's deputy chairman and head of its Asianart department, Colin Sheaf, has been in the business a long time andhas long-standing contacts with the families of old British collectors,such as Lord Cunliffe, who died in 1963, and Edward Wrangham, who diedearlier this year.

拍卖行的代理主席， Bonhams 的亚洲艺术部经理 Colin Sheaf 从事艺术品已有多年。不少老派的英国收藏家，如1963年逝世的 Cunliffe 勋爵和今年初刚走的 Edward Wrangham ，他们的家族都和 Sheaf 先生签订了长期的合作协议。

Most of the dozen or so collectors who have bought the pieces (at $40,000 to $85,000) have hung them in the entryway of their homes.

十几位购买这种艺术品（要价40，000到85，000美元）的收藏家，大都把它们挂在家里的玄关。

The backbone of the collection stems from the merger of UBS and PaineWebber in 2000. The former CEO of PaineWebber, Donald B. Marron, himself an important private contemporary art collector, assembled one of the most significant contemporary art collections in the U.S.

瑞银集团艺术藏品展的历史要回溯到2000年瑞银集团与美国大型券商PaineWebber 合并时期，作为地位显著的当代艺术品私人收藏家前PaineWebber总裁Donald B。

For contemporary work, private collectors have particular advantages: free of state bureaucracy, they can respond quickly to the fast pace, and show work in ways that are too radical for traditional museums – in the confiscated-goods warehouse of a former drug enforcement agency in Miami, for example, that since 1996 has housed the Rubell Family Collection, ranging from sensationalist Chinese photography by Zhang Huan to Jeff Koons' vacuum cleaners.

对于当代艺术品而言，私人收藏家拥有特殊优势：他们摆脱了政府官僚主义的束缚，能够迅速对快速发展做出回应，同时能够以对传统博物馆而言过于激进的方式展示作品，例如在迈阿密的前稽毒署的一个没收商品的储藏室进行展示，自1996年以来，这里一直是卢贝尔家族珍藏馆的展区，展示的作品从中国的张桓那精湛的摄影作品到杰夫·库恩斯的真空吸尘器。

During the Song Dynasty (960 1279 AD), scholar-bureaucrats and the Chinese gentry became avid antiquarians and collectors of ancient artwork, some claiming to have found Shang Dynasty era bronze vessels with written inscriptions.

宋代（ 960-1279年），学者，官员和中国士绅成为收藏家和爱好者antiquarians古代艺术品，一些声称已经发现商代青铜器时代的题词。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。