Trouble is 'collector' can describe those like Sharp, Broadwood, Baring-Gould, Hammond and Gardner who did so because that is what people of that class did in those days - whether it was moths, stamps or folk-songs, they collected, catalogued and published - and those who collect to make money. The same holds true in the art world; the collector has a status near that of the academic, whereas the dealer is merely trade, however well cut the suit. And often the borders are blurred (as in the case of Charles Saatchi).
And how does one reward a primary source? Do you sign a royalty deal with each one, or given them a one-off payment or just buy them a pint? And, if the material is trad rather than composed by your source, does that make it public domain?
An interesting conundrum, though...