Showing papers in "Art libraries journal in 2004"
TL;DR: In this article, the authors describe the process of recovering missing art items from the Art Loss Register database of stolen art, antiques and collectibles, and present an image of the object.
Abstract: Illuminated manuscripts, Islamic books, rare maps and first editions are amongst the many items registered on the Art Loss Register database of stolen art, antiques and collectibles. Once they have catalogued and recorded an object the company’s experienced art historians are able to search the database as part of the process of recovering missing goods. But to maximize the chance of recovery it is essential that each item is carefully and accurately described, and preferably accompanied by an image of the object, and to be most effective this of course needs to be done in advance of theft or other loss.
6 citations
TL;DR: In this article, the authors discuss the multiple research resources available to New York-based historians of dress, fashion designers and clothing industry affiliates, examining issues of choice and magical serendipity in the context of an at-times overwhelming plethora of information.
Abstract: By the 1990s, fashion studies’ relegation to the marginalia of art historical discourse had greatly diminished. During the same period, US fashion itself emerged from European domination, with the action centring on New York City. Conveniently, New York’s art, design and fashion libraries, archives and special collections were already the most wide-ranging anywhere and, propelled by multi-disciplinary-, multi-media-driven interests, they have continued to expand their collections in all areas of fashion research and design, as well as in fashion’s innumerable contiguous fields. While discussing the multiple research resources available to New York-based historians of dress, fashion designers and clothing industry affiliates, this article examines issues of choice and magical serendipity in the context of an at-times overwhelming plethora of information.
3 citations
TL;DR: Slide librarians need to educate themselves about these new products and update their skills in order to continue to ensure that their specialist knowledge of image use at higher education level is applied by the new developers.
Abstract: Higher education in the UK has always needed images, especially in the field of art and design, and institutions have built up their own slide libraries to service that demand. Latterly however it is digital images that are being sought by lecturers and students and numerous products are being produced to accommodate this need. Slide librarians need to educate themselves about these new products and update their skills in order to continue to ensure that their specialist knowledge of image use at higher education level is applied by the new developers.
3 citations
TL;DR: The Queensland Art Gallery has established a Provenance Research Team to complete its records for artworks of European origin which have missing provenance details during the period 1933-1945 as mentioned in this paper.
Abstract: In recent years museums and galleries have come under scrutiny following claims that artworks confiscated or looted during the Second World War, and still unaccounted for, have made their way into public collections. In response, many such institutions worldwide have been endeavouring to reaffirm the integrity of their collections. The Queensland Art Gallery has established a Provenance Research Team to complete its records for artworks of European origin which have missing provenance details during the period 1933-1945. This paper highlights the role the Gallery Library is taking in supporting the project.
3 citations
TL;DR: In this paper, the authors present a database of publishers' bindings from the British Library's Newspaper Archives at the British National Archives (BNArch), which they use to identify the publishers' designers and cover designers.
Abstract: century binding designs, certainly the tiniest fraction of the total output of the period, described in minute and often mind-numbing detail, arranged alphabetically by designer. Why was this done? King rather unconvincingly gives as his justification 'that accurate identification can be made, for the researcher or reader to be confident that the copy being examined elsewhere is the same as the one described in this bibliography, or a variant.' But what if the copy in hand is one or the other? What information can be derived from that? King mentions in the preface that all of his entries have been 'keyed into' a database that permits 'single or multiple searches for each field in which the data is entered (e.g. Publisher, Binder, Printer, Author, Illustrator, Cover Designer, etc., or a combination of these)' (p.xix). Unfortunately he has made no use whatever of his database for this publication. Where are the really interesting appendices that might have been constructed from this relational information? Certainly they would have provided some useful insights. Wouldn't it be fascinating to discover which designers worked for which publishers on which authors at which dates? King tacitly acknowledges the problem by offering to the reader that 'such enquiries can be done by searching the database, from which the text is derived'. Presumably the only way to do so is to make an appointment to visit the author's office in the Newspaper Archives at the British Library. One wishes that Oak Knoll Press and the British Library, instead of going to the trouble and expense of publishing a book whose 'essential feature . . . is its incompleteness', had chosen to provide access to the entire database and to digital scans of each one of the covers described. As it is, Mr. King has given us much more descriptive prose than we really need (disastrously edited at that) and withheld the information that would have done the scholarly project in general some good. Librarians wishing to provide basic reference in the history of publishers' bindings can do no better than to acquire the other texts cited in this review.
2 citations
TL;DR: The background to the project and the involvement of the user communities in the development of the guide are given, as well as describing future directions.
Abstract: Cataloguing Cultural Objects (CCO) is a standards-based project developed under the auspices of the Visual Resources Association (VRA). CCO addresses the metadata needs of communities that work with a broad range of artistic or cultural works and associated images of those works. CCO provides guidelines for selecting, ordering and formatting descriptive data used to populate catalog records. This article gives the background to the project and the involvement of the user communities in the development of the guide, as well as describing future directions.
2 citations
TL;DR: In this article, the authors look at the many problems that art libraries experience in developing video art collections, from why it is often difficult to acquire video art, to reasons why many of the respected art library collections do not actively collect such material.
Abstract: This article looks at the many problems that art libraries experience in developing video art collections. It considers a range of issues, from why it is often difficult to acquire video art, to reasons why many of the respected art library collections do not actively collect such material. Most of the findings arise from a workshop called Diverse practices, which was held at Kent Institute of Art and Design in February 2003.
2 citations
1 citations
TL;DR: The artists' multiple collection as mentioned in this paper was developed at the Chelsea College of Art and Design to give students first-hand experience of original work by artists, something that is rarely included in the special collections of art libraries.
Abstract: The artist’s multiple is difficult to define, but could be described as an original artwork produced in an edition of two or more. At Chelsea College of Art and Design, the artists’ multiples collection was developed to give students first-hand experience of original work by artists, something that is rarely included in the special collections of art libraries. This article examines the history and development of this unique collection of objects, and how it has enabled the library to play an active part in the life and work of the academic community it serves.
1 citations
TL;DR: The Design Archive at Brighton University, until 2004 known as the Design History Research Centre Archives, houses a number of collections which are of great value to UK and international design historians.
Abstract: The Design Archive at Brighton University, until 2004 known as the Design History Research Centre Archives, houses a number of collections which are of great value to UK and international design historians. These include the Design Council Archive and that of ICOGRADA (the International Council of Graphic Design Associations), as well as material relating to two well-known designers, James Gardner and F. H. K. Henrion. These archives, which actually relate to one another very well, were acquired somewhat serendipitously, but future additions will be chosen as the result of a more strategic planning process.
1 citations
TL;DR: In recent years many museums and art galleries in Europe have remodelled their libraries, often funding the physical changes by means of sponsorship, while at the same time re-thinking access and the services to be provided.
Abstract: In recent years many museums and art galleries in Europe have remodelled their libraries, often funding the physical changes by means of sponsorship, while at the same time re-thinking access and the services to be provided. This article analyses some current examples in Paris, London and the Netherlands and describes a range of different approaches. But it finds most successful the British Museum’s Paul Hamlyn Library, housed in the famous circular Reading Room and open to all visitors: these will discover, that, alongside modern databases, the Library has kept its traditional links with the book.
TL;DR: In this paper, the authors combined the strengths of the catalogues of Vart and Curiosite with the catalogue of the Repertoire des catalogues de ventes publiques interessant Vart ou la curiosite, created by Frits Lugt.
Abstract: Much of the research which has been carried out in the field of art history would have been impossible without the use of art sales catalogues. Furthermore, the use of historical art sales catalogues would never have been possible without the impressive four-volume reference work, Repertoire des catalogues de ventes publiques interessant Vart ou la curiosite, created by Frits Lugt. IDC Publishers have combined the strengths of both in their new publication.
TL;DR: This article further details recent changes made to the Anglo-American cataloguing rules to accommodate various types of e-resources.
Abstract: At the 2003 ARLIS/UK & Ireland Annual Conference, Creative partnerships, at the University of Sussex, a workshop entitled Documenting electronic resources: standards and challenges attracted delegates interested in exploring the practical and theoretical issues raised by cataloguing electronic resources in traditional library environments. This article further details recent changes made to the Anglo-American cataloguing rules to accommodate various types of e-resources. While quasi-established methods of representing such resources have undergone substantial revision, new metadata schemes are emerging and divisions between respective repositories containing different material types are disintegrating. Adapted or entirely new workflows for managing cataloguing of e-resources are under development (TrackER) and a fundamental restructuring of the very framework for relating data in bibliographic records to the needs of users (FRBR) may impact significantly on the representation of e-resources in library OPACs. Do these developments in any sense touch the library user whose ‘infosphere’ is underpinned by the seamlessness of Google’s PageRank algorithm and will the Research Libraries Group’s pilot service RedLightGreen sufficiently ‘Google-ize’ what libraries provide for these users?
TL;DR: The Bibliotheque des Arts decoratifs as discussed by the authors has been available to students, researchers and professionals from the art world as a place of reference which does not charge ever since it moved to the rue de Rivoli in 1904.
Abstract: The Bibliotheque des Arts decoratifs, founded in 1864, has been available to students, researchers and professionals from the art world as a place of reference which does not charge ever since it moved to the rue de Rivoli in 1904. Its bibliographic database of 100,000 records can be consulted on-site or over the internet. But perhaps its most distinctive feature is the extensive Maciet iconographic collection, whose loose-leaf albums cover the walls of the reading room and contain over a million images classified by subject; this is currently being digitised.
TL;DR: Artifact as mentioned in this paper is the arts and creative industries hub of the UK's Resource Discovery Network, which offers an alternative to commercial search engines, principally for those studying, teaching or researching arts, communications and other creative subjects within UK further and higher education, but also freely available to anyone seeking quality-assured resources online.
Abstract: Artifact, which was officially launched in November 2003, is the arts and creative industries hub of the UK’s Resource Discovery Network. Variously described as a gateway, a hub and a subject guide, Artifact offers an alternative to commercial search engines, principally for those studying, teaching or researching arts, communications and other creative subjects within UK further and higher education, but also freely available to anyone seeking quality-assured resources online. With the support of a wide spectrum of professionals from both the educational and commercial arts sectors, Artifact is now developing into a comprehensive service that can help fulfil a wide array of information needs for potential customers from many spheres.
TL;DR: Drouot-Documentation, the library of the oldest auction house in the world, began the 21st century by putting its furniture and furnishings database onto the Internet as mentioned in this paper.
Abstract: Drouot-Documentation, the library of the oldest auction house in the world, began the 21st century by putting its furniture and furnishings database onto the Internet. This has given access not only to the 12,000 objects Drouot sells and photographs for its sales catalogues each year, but also to selected data in this specialised subject field from provincial sales in France and from others overseas, notably American and English ones. And there are plans eventually to convert the remaining manual indexes, which cover many other hard-to-find topics like the art of glass, ceramics and goldsmiths’ work.
TL;DR: Student graphic designers can now use stock photography: those images of cute children, attractive couples, active seniors, funky pets, and preternaturally fresh fruit, plants and flowers that are used to communicate, influence, and sell something, somewhere, to someone.
Abstract: Student graphic designers want fast, easy and cheap access to high-resolution images. As well as using the image-rich art books in their libraries, these students can now use stock photography: those images of cute children, attractive couples, active seniors, funky pets, and preternaturally fresh fruit, plants and flowers that are used to communicate, influence, and sell something, somewhere, to someone.
TL;DR: This versatile, reasonably-priced electronic version of Lugt's Repertoire online will enable many libraries to end their search for the expensive and hard-to-find print volumes.
Abstract: 100 pages are 0.30 euros per page and microfiche copies are billed at 10 euros per fiche with a minimum order amount of 115 euros plus a handling charge of five percent, with a minimum of 30 euros. Lugt's Repertoire online is\"an impressive achievement, a welcome addition to the auction catalogue literature and far easier to search than the printed volumes. Its search protocols are easy to understand and search results are clearly labeled. Online help screens can be accessed quickly and provide concise explanations to frequently asked questions about the database. The ability to order reprint copies of the catalogues is sure to be appreciated by art librarians and scholars who lack access to large collections of auction materials or IDC's Art sales catalogues 1600-1900 microfiche collection. This versatile, reasonably-priced electronic version will enable many libraries to end their search for the expensive and hard-to-find print volumes.
TL;DR: The Frick Art Reference Library has one of the world's richest historic collections of catalogs of art sold at auction as mentioned in this paper, which has been used extensively in the field of art historical scholarship.
Abstract: The Frick Art Reference Library has one of the world’s richest historic collections of catalogs of art sold at auction. Awareness and use of this collection has increased as independent scholars and the staff of museums rigorously investigate issues of provenance. Another factor in the increasing recognition of auction sale catalogs is their value as economic documents that may shed light on broader trends, topics that sometimes resonate beyond the field of art historical scholarship.
TL;DR: The first phase explored the barriers, both practical and theoretical, to creating a union catalogue and tackled problems such as the mapping of non-standardized metadata to a common record and the ingest of those records into a prototype union catalogue.
Abstract: The Union Catalog of Art Images (UCAI) is a research and development project located at the University of California, San Diego, and is funded by the Andrew W. Mellon Foundation. The first phase explored the barriers, both practical and theoretical, to creating a union catalogue and tackled problems such as the mapping of non-standardized metadata to a common record and the ingest of those records into a prototype union catalogue. Two of the biggest challenges were record clustering (using automated techniques to identify duplicate or closely-related records and bring them together), and working with hierarchical records (works and their surrogate images). The second phase, now under way and ending in mid-2005, will move the prototype union catalogue closer to production-level quality.
TL;DR: A research team within the Textiles Department at the University of Manchester Institute of Science and Technology has been involved in designing and realising an internet-based resource for textile students and staff at higher education institutions in the UK as mentioned in this paper.
Abstract: A research team within the Textiles Department at the University of Manchester Institute of Science and Technology has since 2001 been involved in designing and realising an internet-based resource for textile students and staff at higher education institutions in the UK. The project was funded by the Arts and Humanities Research Board (AHRB). Members of the team here provide an overview of the main issues involved in planning and implementing a digitisation project, discussing technical and design details and describing the construction of textile terminology relevant to design students.
TL;DR: Havlice's World painting index as discussed by the authors provides a list of paintings published in art monographs and exhibition catalogues, and the source of each reproduction is identified by reference number keyed to the bibliography.
Abstract: The two volumes of the new third supplement to Patricia Pate Havlice's popular World painting index retain the format of the earlier volumes and, like them, locate reproductions of paintings published in art monographs and exhibition catalogues. Volume 1 begins with a brief preface (reprinted in volume 2) and the 'Bibliography', a numbered list of the books and exhibition catalogues examined by Havlice. The index proper starts with an alphabetical list of 'Paintings by unknown artists arranged by title' and is followed by the much more extensive 'Painters and their works'. The source of each reproduction is identified by a reference number keyed to the bibliography. Letter codes describe the format of the images: 'c' for color, 'be' for both black-and-white and color, 'd' for a detail in blackand-white, 'cd' for a detail in color. (A number without a letter indicates a black-and-white reproduction.) The second volume is the 'Title index'. Its listings refer back to entries in volume 1 (excluding entries in 'Paintings by unknown artists') and can also be used as a rough subject guide to the paintings indexed.