cdwa and cco

For educational purposes only. Do not distribute.

Patricia Harpring, June 2009 CCO & CDWA for Rare Books & Manuscripts page 1 © 2009 CCO & J. Paul Getty Trust

Patricia HarpringManaging Editor, Getty Vocabulary Program

image credits: see slide #142

Cataloging Cultural Objects:

©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

June 2009

An In-Depth Look at Applying CCO & CDWAfor Manuscripts, Prints, Drawings, Rare Books

Table of Contents

• CCO in Context• CDWA and other standards• Rules and Application• Minimal Record• Establishing the Focus of

the Record• Establishing relationships

Applying Work Type• What is Class?• Recording the Creator• People Not creators• Anonymous and Unknown

Creators• Recording and Creating

Titles• Works That Have No Title• Titles vs. Inscriptions

• Physical Characteristics• Display vs. Indexing• Date of Creation• When Date Is Uncertain• Locations re. the Work Record• Description (Descriptive Note)• Information about View• What is the Subject?• Description, Identification,

Interpretation• Is There Always a Subject?• Authorities• Indexing• Specificity and Exhaustivity




CCO/CDWA in Context


©2009 J. Paul Getty Trust

http://www.getty.edu/research/conducting_research/standards/cdwaCategories for the Description of Works of ArtCategories for the Description of Works of Art

CDWA

The CCO is the grandchild of CDWA






CDWA

CDWA is a comprehen-sive set of over 530 elements for cataloging artSmall subset are “core”

CDWA includes discussion and brief cataloging rules for elementsFor Works and authority information




CDWA CDWA includes numerous cataloging examplesIllustrating application of rules, use of vocabularies (in authorities)




Chapter 1: Object NamingWork Type / Title

Chapter 2: Creator Information Creator / Creator Role

Chapter 3: Physical CharacteristicsMeasurements / Materials and Techniques /State and Edition/ Additional Physical Characteristics

Chapter 4: Stylistic and Chronological Information

Style / Culture / DateChapter 5: Location and Geography

Current Location / Creation Location / Discovery Location/ Former Location

©© 2005 CCO, slide 2005 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Chapter 6: SubjectSubject

Chapter 7: Class Class

Chapter 8: DescriptionDescription / Other Descriptive Notes

Chapter 9. View Information View Description / View Type / View Subject / View Date

Authority 1: Personal and Corporate Name AuthorityAuthority 2: Geographic Place AuthorityAuthority 3: Concept AuthorityAuthority 4: Subject Authority

CCO Elements (categories of data)

• CCO is more prescriptive than CDWA• Less comprehensive with 116 elements vs. over

530 subcategories• Based on the CDWA core and the VRA Core

Categories

© 2009 J. Paul Getty Trust; Patricia Harpring

• Visual Resources Association (VRA) Core Categories, published by ALA 2006

• As with CDWA, CCO includes advice for vocabulary use and prescribes fields and structure of authorities populated by vocabularies


http://www.vraweb.org/ccoweb/cco/about.html



What is CCO?• Manual for describing, documenting, and cataloging cultural

works and their visual surrogates• Primary focus is art and architecture, including but not limited to

prints, manuscripts, paintings, sculpture, photographs, built works, and other visual media

• Also covers many other types of cultural objects, including artifacts and functional objects from the realm of material culture

Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images

Who should use CCO?• Designed for use by professionals in museums, visual resources

collections, archives, and libraries • that have a primary emphasis on art, architecture, and material

culture


Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images

• Rules for core data elements needed to describe cultural objects

• Lists of terminology sources• Rules for vocabularies and authority control• Maps to CDWA Core and VRA Core 4 metadata

element sets• Can be used with other descriptive standards and

metadata element sets




Cataloging Cultural ObjectsIntroduction

Part 1: General Guidelines I. How to Use This GuideII. What Are You Cataloging?

III. Minimal DescriptionsIV. Work and ImageV. Related worksVI. Database Design and RelationshipsVII. Authority Files and Controlled Vocabularies

VIII. Examples of Work Records

The Guide is divided into three parts©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Part 2: Elements (categories of data)Chapter 1: Object Naming

Work Type / TitleChapter 2: Creator Information

Creator / Creator RoleChapter 3: Physical Characteristics

Measurements / Materials and Techniques /State and Edition/ Additional Physical Characteristics

Chapter 4: Stylistic and Chronological InformationStyle / Culture / Date

Chapter 5: Location and GeographyCurrent Location / Creation Location / Discovery Location/ Former Location

Chapter 6: SubjectSubject

Chapter 7: Class Class

Chapter 8: DescriptionDescription / Other Descriptive Notes

Chapter 9. View Information View Description / View Type / View Subject / View Date




Part 3: Authorities

Authority 1: Personal and Corporate Name Authority

Authority 2: Geographic Place AuthorityAuthority 3: Concept AuthorityAuthority 4: Subject Authority

Cataloging Cultural Objects


• When using CCO, for additional data elements and guidelines, see CDWA

• Records are intended for contribution to union catalogs and other repositories

• Uses the Open Archives Initiative (OAI) harvesting protocol

• Images can be harvested at the same time

http://www.getty.edu/research/conducting_research/standards/cdwa

What is CDWA Lite?What is CDWA Lite?

©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

CDWA Lite is XML schema for exchange of art object informationBased on CDWA and CCO



• Specification and schema are available on the CDWA site

http://www.getty.edu/research/conducting_research/standards/cdwa


©© 2 2009 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

What is VRA Core 4.0 What is VRA Core 4.0 relationship to CCOrelationship to CCO??



• data standard consisting of a metadata element set

• emphasizes image (visual surrogate), as well as the work

• ultimate purpose is for data exchange©© 2 2009 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

What is VRA Core 4.0 What is VRA Core 4.0 relationship to CCOrelationship to CCO??

Other StandardsAACR/RDA

http://www.getty.edu/research/conducting_research/standards/intrometadata/3_crosswalks/index.html


A comparison to CCO:• Both are data content (i.e., cataloging) standards, conceptually

linked to data structure standards (for AACR, primarily MARC; for CCO, primarily CDWA)

• Implicit in both is the use of certain data value standards (for AACR, the use of the LC authorities and TGM are implied; for CCO, the use of any number of authorities—including local authorities—is implied)



AACR/RDA



A comparison to CCO:• Unlike AACR, CCO devotes a considerable amount of the

manual to building and implementing authorities

• Unlike AACR, CCO explicitly deals with indexing versus display issues

• For AACR and CCO, “work” means something different

Other Standards

AACR/RDA



A comparison to CCO:

Other Standards

CCO/CDWA “work” = FRBR “item” (CCO means art work, art object)CDWA “multiples” ~ FRBR “manifestation”CCO/CDWA focus on the physical works, so there is no real counterpart to FRBR “work” and “expression” (use “subject” for literary references)



DACS: DESCRIBING ARCHIVES: A Content Standard Society of American ArchivistsPART I – Describing archival materials Introduction to describing archival materials

1. Levels of description

2. Identity elements

3. Content and structure elements

4. Conditions of access and use elements

5. Acquisition and appraisal elements

6. Related materials elements

7. Note elements

8. Description control elements

PART II – Describing creators Introduction to describing creators

9. Identifying creators

10 Administrative / biographical history

A comparison to CCO:• CCO emphasizes rules for item-level description, but

includes group-level too• CCO focuses on art, architecture, and cultural objects • CCO includes information regarding the construction of

authorities• Where CCO overlaps with DACS, there is little if any

disagreement



Other Standards

CCO/CDWA Audience

© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.Images from metmuseum.org

Benefit from being compatible with broader community, data sharing, compliant with standardsCCO/CDWA are intended for a diverse audience: museums, archives, libraries, VR collections, others who catalog cultural heritage

Why use CCO/CDWA if I have my own local practices?



© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.Images from metmuseum.org

• You may look to CCO/CDWA for rules for all cataloging needs

• Or use CCO/CDWA in conjunction with other standards, to supply instruction where your other rules are lacking


CCO/CDWA Audience

• Based on best practice. Local practice may be less than ideal, may be driven by technical limitations

© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

• Often differences are reconcilable, simply a question of parsing existing data in CCO/CDWA-compliant form rather than editing the existing data

• Catalog once, export in various formats and for various standards


CCO/CDWA Audience



CCO preference:

Measurements display: 33.5 (height) x 12.5 cm (diameter at shoulders) (13 3/16 x 4 15/16 inches)Value: 33.5 Unit: cm Type: heightExtent: shouldersValue: 12.5 Unit: cm Type: diameter

Creating CCO/CDWA compliant data from existing data



The CCO elements map to other standardsMetadata Standards Crosswalk

Mapping to CCO and CDWA




© 2004 J. Paul Getty Trust



Some elements have no matche.g., Components or Provenance in CDWA

Mapping to CCO and CDWA

CCO/CDWA: Rules and Application




* Minimal Record* Establishing the Focus of the Record


Vase of Flowers. Jan van Huysum (Dutch, 1682-1749). 1722. Oil on panel, 31 1/4 x 24 inches (79.4 x 60.9 cm). J. Paul Getty Museum (Los Angeles, CA), 82.PB.70. © 2009 J. Paul Getty Trust. All rights reserved.

Required “elements”Examples tend to be fuller

Work TypeTitleCreatorCreation DateSubjectCurrent LocationMeasurementsMaterials


Include minimal descriptions



• Are you creating a record for the slide of the illumination? Or a work?

• Which work? Are you creating a record for the page as a component? Or for the volume as a whole?

• Maybe for a group?

Focus of the record: Image?Work?Single item?Group of items?Component?


Miracles of a Saint. Unknown German. 12th century.

Establish your focus

Work Record:Record Type [controlled]: item Class [cont.]: manuscripts*Work Type [link to authority]: illumination*Titles : Initial E with Miracles of a Saint*Creator Display: unknown German

*Role [controlled]: artist [link to Person/Corp. Authority]: unknown German*Creation Date: 1150s [controlled]: Earliest: 1150 Latest:

1159*Subject [link to authorities] religion/mythology saint miracles bed*Current Location [link to authority]: Ertel Morka Museum (Berlin,

Germany)Creation Location: Germany*Measurements

[controlled]: Value: Unit: Type:*Materials and Techniques: gold leaf and tempera on parchment[link to authority] gold leaf tempera (paint) parchment Related Image [link to Image Record]: 602232r

Not necessarily representative of the actual record in the Bainbridge Bunting Memorial Slide Library, College of Fine Arts, University of New Mexico; image ©Fienup-Riordan, Ann. The Living Tradition of Yup’ik Masks. Seattle: University of Washington Press, 1996

Maintain separate records for work and the image

Image Record:Image Number: 602232r Image Type

[link]: slideImage Source [link]: Michaels, Ann. The

Illuminated Tradition. Seattle: University of Washington Press, 1996 Page: 113Image Format [link]: Cibachrome (TM) 35 mmImage Measurements: 2 x 2 inches[controlled]: Value: 2 Unit: inches

Type: height *View Description: detail*View Type [link]: detail *View Subject: Initial E*View Date [controlled]: 1996©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.


Miracles of a Saint. Unknown German. 12th century.



itemvolumegroupsubgroupcollectionsetseries multiplescomponent

Record Typeor Catalog Level:



What is the catalog level of your Work Record?

* Establishing Relationships per CCO/CDWA




• Work records are linked to each other – hierarchical and other relationships

Entity-Relationship model from CDWA and CCO

Concept Authority

Personal and Corporate Name

Authority

Geographic Place Authority

Subject Authority

Work Records

Image Records

Source Records

Aut

h ori t

ies

Aut

h ori t

ies


When to catalog whole and parts separatelyCreate separate records

When each part contains unique information that would be difficult to clearly delineate a single recordWhen separate records are necessary to manage the works within the repository

When the parts are not physically joined to the whole, separate records to track loans, conservation, provenance separatelyWhen separate records will aid in the retrieval of the information and its display to the end user




Images from http://www.lightimpressionsdirect.com

When to catalog whole and parts separately


Criteria can include whether the artist, dates, style, media, subject, or location differ between the whole and the parts of a work

Phase 1 = group Phase 2 = box Phase 3 = itemImages from http://www.lightimpressionsdirect.com

When to catalog whole and parts separately


Criteria can include whether the artist, dates, style, media, subject, or location differ between the whole and the parts of a work

• Catalog only the group as a group-level record? May catalog in phases



Work RecordRecord Type: collectionClass: photographs European art

*Work Type: cartes-de-visite*Title: Peruvian Portrait Cartes-de-Visite*Creator Display: Eugenio Courret (French, active ca. 1861-ca. 1900 in Peru) and Courret Hermanos (Peruvian, active 1863-ca. 1873)*Role [link]: photographer [link]: Courret, Eugenio*Role [link]: studio [link]: Courret Hermanos*Creation Date: ca. 1870-ca. 1880 [controlled]: Earliest: 1865 Latest: 1885*Subject [link to authorities] portraits travel Peru (South America) veiled women matador Native Andean soldier camp follower mother and child *Current Location [link to authority]: Getty Research Institute, Research Library, Special

Collections (Los Angeles, California) ID: 91-F46 *Material / Technique: cartes-de-visite (photographs)

[link]: cartes-de-visite*Measurements: 11 items, 9 x 8 cm each (3 1/2 x 3 1/8 inches)

[controlled]: Extent: each Value: 9 Unit: cm Type: height | Value: 8 Unit: cm Type: width | Extent: items Value: 11 Type: countInscriptions: versos read: E. Courret, Fotográfo, 197 Calle de la Union (Mercaderes), 71 Calle

del Palacio, Lima, República Peruana, Exposición 1869 Medalla de Honor, Exposición 1872 Medalla de Oro (9 items); Courret Hermanos [same address] with monogram; E Courret

Whole/part relationships: collection-level, group-level, volume-level record


Individual items may be cataloged separately and linked to the group

Work RecordRecord Type: collectionClass: photographs European art

*Work Type: cartes-de-visite*Title: Peruvian Portrait Cartes-de-Visite*Creator Display: Eugenio Courret (French, active ca. 1861-ca. 1900 in Peru) and Courret Hermanos (Peruvian, active 1863-ca. 1873)*Role [link]: photographer [link]: Courret, Eugenio*Role [link]: studio [link]: Courret Hermanos*Creation Date: ca. 1870-ca. 1880 [controlled]: Earliest: 1865 Latest: 1885*Subject [link to authorities] portraits travel Peru (South America) veiled women matador Native Andean soldier camp follower mother and child *Current Location [link to authority]: Getty Research Institute, Research Library, Special

Collections (Los Angeles, California) ID: 91-F46 *Material / Technique: cartes-de-visite (photographs)

[link]: cartes-de-visite*Measurements: 11 items, 9 x 8 cm each (3 1/2 x 3 1/8 inches)

[controlled]: Extent: each Value: 9 Unit: cm Type: height | Value: 8 Unit: cm Type: width | Extent: items Value: 11 Type: countInscriptions: versos read: E. Courret, Fotográfo, 197 Calle de la Union (Mercaderes), 71 Calle

del Palacio, Lima, República Peruana, Exposición 1869 Medalla de Honor, Exposición 1872 Medalla de Oro (9 items); Courret Hermanos [same address] with monogram; E Courret©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Provide access for items & components

If cataloging only the group, items must be accessible tooAlso for multiple-part items and folios or prints in volumesUse repeating field: e.g., gelatin silver print, platinum print, albumen print



Record Type: componentClass: prints and drawingswork type: engravingTitle: Spring Flowers in a Chinese VaseCreator: Maria Sibylla Merian(German, 1647-1717)Creation Date: 1680Medium: hand-colored engraving Measurements: folio 32.6 x 21.3 cm (12 13/16 x 8 3/8 inches)Subject: •still life •botanical •flowers •nsects •tulips •iris •vase •wasp •beetleCurrent Location: Natural History Museum (London, England)Relationship Type:broader contextRelated Work: New Book of Flowers. Nuremburg: 1680.Relationship Number:volume 3 plate 2

Record for the print is linked to separate record for the book as a whole


Record Type: setClass: decorative artsWork Type: tea service silverTitle: Traveling tea serviceCreation Location: Paris (France)Creation Dae: 1728/1729Creator: probably by: Martin Berthe, master in 1712Measurements:Overall (Teapot): 10 x 16.8 x 10.3 cm (3 15/16 x 6 5/8 x 4 1/16 in.)Overall (Tea Canister): 9 x 5.9 x 4.9 cm (3 9/16 x 2 5/16 x 1 15/16 in.)Overall (Sugar bowl): 10 cm (3 15/16 in.)Overall (Tea bowl and saucer): 4.9 cm (1 15/16 in.)Overall (Scent flask): 13.7 cm (5 3/8 in.)Overall (Spoons (each)): 11.7 cm (4 5/8 in.)Overall (Box): 15.4 cm (6 1/16 in.)Materials: silver and ebonized wood; porcelain; glass; kingwood;rosewoodInscriptions/Marks: Maker's Mark: a crowned fleur-de-lys, 2 grains, [M]B, a bunch of grapes ? (Dennis 50): Underside. Warden's Mark: 1728-29, a crowned M (Dennis 57): Underside. Charge Mark: 1727-32, an A crowned on the side (Dennis 57): Underside, partially effaced. Discharge Mark: for medium-sized work, 1727-32, a crowned martlet (Dennis 57): Underside. Countermark: 1727-32, a crowned bell (Dennis 343): flange of lid.Description: Traveling tea service consisting of a teapot; tea canister; suagrbowl; teabowl and saucer; scent flask; two spoons; box.Current Location: Museum of Fine Arts (Boston, Massachusetts); Elizabeth Parke Firestone and Harvey S. Firestone, Jr. Collection, 1993; Accession number: 1993.520.1-8Ownership History: By 1955, with Jean-Louis Bonnefoy, Au Vieux Paris, Paris; November 1955, sold by Au Vieux Paris to Elizabeth Parke Firestone (1897-1990) and Harvey S. Firestone, Jr. (1898-1973), Akron, OH and Newport, RI; 1993; gift of the Estate of Elizabeth Parke Firestone and Harvey S. Firestone, Jr. (Accession date: May 26, 1993)

Image:from Museum of Fine Arts, Boston. www.mfa.org

Traveling Tea ServiceTeapot Tea CaddyJapanese Imari Sugar Bowl and CoverChinese Famille- Verte Tea Bowl and SaucerSilver-mounted Scent FlaskTwo SpoonsWooden Box

Whole/Part Records for a setRelationships indicated with indentation


Relationships



Work RecordRecord Type [controlled]: series Class [controlled]: prints*Work Type [link to authority]: color woodcuts*Title : Thirty-six Views of Mount Fuji: First SeriesAlternate Title: First Series: Mt. Fuji Views*Creator Display: Katsushika Hokusai (Japanese, 1760–

1849); Published by Eijudo Japan *Role [controlled]: painter [link]: Hokusai, Katsushika Role: [cont.] publisher [link]: EijudoJapan

*Creation Date 1827-1837 [controlled]: Earliest: 1827 Latest: 1837

*Subject [links] Mount Fuji ocean genre scenes meisho-e

*Current Location [link to authority]: not applicableStyle: Edo*Measurements: 36 prints, average plate size: 24 x 37 cm

[cont.] Extent: items Value: 36 Unit: N/A Type: countQualifier: average dimensions Extent: plate mark

Value: 24 Unit: cm Type: height Value: 37 Unit: cm Type: width

*Materials and Techniques: woodcuts, polychrome ink and color on paper

[link] ink color (pigment) paper woodcutsDescription: Hokusai produced two series of Views of Mt.

Fuji. This is the first series.

Relationships

Work RecordRecord Type [controlled]: item Class [controlled]: prints and drawings Asian art *Work Type [link]: color woodcut*Title: Great Wave at KanagawaTitle: In the Hollow of a Wave off the Coast at Kanagawa

Title Type: alternate*Creator Display: Katsushika Hokusai (Japanese, 1760-1849);

published by Nishimura Eijudo (Japanese, 19th century)* Role [link]: printmaker [link]: Hokusai, Katsushika* Role [link]: publisher [link]: Nishimura Eijudo*Creation Date: ca. 1831/1833 [controlled]:

Earliest: 1828 Latest: 1836*Subject [links]: seascape wave fishermen boat Mount Fuji (Chubu, Japan) Kanagawa (Kanto, Japan)Style [link]: EdoCulture [link]: Japanese*Current Location [link]: Metropolitan Museum of Art, New

York, New York, USA) ID:JP1847*Measurements: 25.7 x 37.9 cm (10 1/8 x 14 15/16 inches)

[controlled]: Value: 25.7 Unit: cm Type: height |

Whole/Part Records for a series and a part


Record Type: multiplesClass: prints and drawingsWork Type: drypointsTitle: Christ Presented to the PeopleCreator: Rembrandt van Rijn (Dutch, 1606–1669)Description: Rembrandt treated this large drypoint almost as a painting, making marked changes to the composition as he reconceived the scene over and over. In the sixth state of the print, he removed much of the original crowd that stood directly below the main event and replaced it with two brick arches over an unidentified chasm. Between the arches he also added a sculpted male figure, lightly covered over in this, the final, state. The iconographic significance of these changes remains a mystery, but compositionally they serve to thrust the viewer into direct confrontation with Christ's fate.Source: Metropolitan Museum of Art online

Whole/Part Records for a multiples “group”


Relationships

Christ Presented to the PeopleState 1 State 2State 3State 4State 5 State 6State 7State 8



Work RecordRecord Type [controlled]: group Class [controlled]: prints and drawings American art

*Work Type [link]: design drawings models*Title: Pei’s Drawings and Models for the East Building,

National Gallery of Art*Creator Display: I. M. Pei & Partners (American,

established 1955); chief architect: I. M. Pei (American, born in China in 1917)* Role [link]: architectural firm [link]: I. M. Pei & Partners * Role [link]: chief architect [link]: Pei, I. M.

*Creation Date: 1968-1978 (inclusive dates) [controlled]: Qualifier: inclusive Earliest: 1968 Latest: 1978

*Subject [links]: East Building, National Gallery of Art (Washington, DC, USA)

*Current Location [link]: Archives, National Gallery of Art (Washington, DC, USA) ID:unavailable

*Measurements: 152 items; various dimensions[controlled] Extent: items Value: 152 Type: count

*Materials and Techniques: variousDescription: 152 design drawings and models for the East

Building project that I. M. Pei & Partners gave to the archives of the National Gallery of Art in 1986.

Related Work:Relationship Type [controlled]: depicts[link to Work Record]: Pei, I. M. (American, born 1917 in China); East Building, National Gallery of Art (Washington, DC, USA); completed in 1978cc

Images: Copyright © 2009 National Gallery of Art, Washington D.C. 1. I. M. Pei. Early conceptual sketch for building plan, National Gallery of Art East Building. Fall 1968. Crayon and graphite on tracing paper. 2. I. M. Pei & Partners. National Gallery of Art East Building Design Team. Working studies. ca. October 1968. Felt-tip pen on tracing paper. 3. I. M. Pei & Partners. National Gallery of Art East Building Design Team. Study, "Stepping down the geometry for light." Pen on tracing paper. 4. I. M. Pei & Partners. Scale model of East and West Buildings showing final design for Third Street facade, spring 1971.

Relationships

Hierarchical relationships between groups, sub-groups, and items

Drawings and other documents from the office of I.M. Pei for the East Building, National Gallery of Art

Early drawingsLater drawingsArchitectural models


Image: Pendant Mask: Iyoba, 16th century; Edo, court of Benin; Nigeria; ivory, iron, copper; Michael C. Rockefeller Memorial Collection, Gift of Nelson A. Rockefeller, 1972; Metropolitan Museum of Art (New York, New York) (1978.412.323); Photo by The Photograph Studio, Metropolitan Museum of Art, copyright © 2004 The Metropolitan Museum of Art. All rights reserved; Ivory Mask,. British Museum, London. Image from http://www.thebritishmuseum.ac.uk/compass/

Non-hierarchically related records

pendant of, copy of, depicted in, study for, etc.Only link clear, directly related works




Class*: manuscriptsWork Type*: charterTitle or Names*: Magna CartaCreation-Creator/Role*: composite work,

Creation-Date*: 1297Subject Matter*: rights, lawCurrent Location*: National Archives and

Record Administration, Washington, DC. on indefinite loan from the Perot Foundation

Measurements*: 22.4 x 17.3 cmMaterials and Techniques*: ink on

parchment

Descriptive Note: Exemplification of 1215; The British Library Cotton MS Augustus II.106; One of four surviving exemplifications issued over the Great Seal of King John on and after 23 June 1215.

Related Work: Magna Carta

Object may be copied from another known workMultiples (prints), versions, linked to each other with discretion


Class: prints and drawingsWork Type: measured drawingTitle: External elevation of the model for St. Peter’s Title Type:descriptiveCreator: circle of Etienne DupéracSubject: •elevation •Model of St. Peter’sRelated Work: Model of St. Peter’sDate: probably late 1560sMedium: brown ink on paperDescriptive Note: Probably done in preparation for the series of …Current Location: Metropolitan Museum of Art (New York, New York, USA); 49.92.91

Class: prints and drawingsWork Type: •design drawing •preliminary drawingTitle: Section and Elevation of the Drum and Dome of St. Peter’s

Title Type: descriptiveCreator: Michelangelo (Florentine sculptor, painter, architect, 1475-1564)Date: mid 1550sMedium: incised lines, charcoal with traces of brown ink on paperMeasurements: 270 x 267 cmType, Purpose, Method of Representation:Descriptive Note: This is the only known drawing where…Subject/Built Work: •section •elevation•Dome (St. Peter’s Basilica, Rome)Related Work: Dome (St. Peter’s Basilica, Rome)Relationship type: design forCurrent Location: Musée des Beaux Arts (Lille, France) Collection Wicar, 93-94

Decide the level of detail with which you need to record relationships

Record building depicted as a separate work?Two drawings: Link both to the work?




Class: sculptureWork Type: half modelTitle: Half Model for the Dome and Drum for St. Peter’s, Rome Title Type: descriptive

Creators: Michelangelo and Giacomo della Porta; Luigi VanvitelliDate: 1558-1561Medium: linden wood, gesso, paintMeasurements: 5 x 4 x 2 m (without modern base) Scale: 1:15Current Location: Musei Vaticani(Vatican City, Italy)Subject: Dome of St. Peter’sRelated Work: Dome of St. Peter’sDescriptive Note: The model was probably completed under the direction of Michelangelo during …




But actually, one drawing is of the modelThe model is linked to the dome


Class: sculptureWork Type: half modelTitle: Half Model for the Dome and Drum for St. Peter’s, Rome Title Type: descriptive

Creators: Michelangelo and Giacomo della Porta; Luigi VanvitelliDate: 1558-1561Medium: linden wood, gesso, paintMeasurements: 5 x 4 x 2 m (without modern base) Scale: 1:15Current Location: Musei Vaticani(Vatican City, Italy)Subject: Dome of St. Peter’sRelated Work: Dome of St. Peter’sDescriptive Note: The model was probably completed under the direction of Michelangelo during …




And the dome has part/whole relationships with St. Peter’s Basilica and Complex




List of suggested relationship types is in CCO and CDWA


Jean-Auguste-Dominique Ingres; Study for the Dress and the Hands of Madame Moitessier; 1851; graphite on tracing paper, squared in black chalk; 13 15/16 x 6 5/8 inches; J. Paul Getty Museum (Los Angeles, California); 91.GG.79

Jean-Auguste-Dominique Ingres; Madame Moitessier; 1851; Samuel H. Kress Collection, National Gallery of Art (Washington, DC); 1946.7.18

study for

study is

Relationships must be reciprocal




* Applying Work Type* What Is Class?


Work RecordRecord Type [controlled]: item Class [controlled]: decorative arts numismatics

European art*Work Type [link]: medal*Title: Medal of Emperor Rudolf II (1552-1612)

*Creator Display: unknown Czech* Role [link]: goldsmith [link]: unknown Czech

*Creation Date: early 17th century [controlled]: Earliest: 1600 Latest: 1630

*Subject [links]: numismatic object Rudolf II (Holy Roman Emperor, 1552-1612) power victory Capricorn (Zodiac) Caesar Augustus (Roman emperor, 63 BCE-14 CE) peace laurel wreath

*Current Location [link]: J. Paul Getty Museum (Los Angeles, California, USA) ID:92.NJ.87

Creation Location: Prague (Czechoslovakia)*Measurements: 4.15 cm x 3.32 cm (1 7/8 in. x 1 3/8 inches)

[controlled]: Value: 4.15 Unit: cm Type: height | Value: 3.32 Unit: kg Type: width

*Materials and Techniques: cast goldMaterial [links]: gold Technique [links]: burnishing casting

Inscriptions: obverse: RUDOLPHUS II ROM IMP AUG REX HUNG BOE, (Rudolf the Supreme Emperor of the Romans, King of Hungary and Bohemia); reverse: ASTRUM FULGET CAES (The Emperor's Star Shines Brightly)

Description: The subject of the obverse are the Habsburg Emperor Rudolf II wearing a laurel wreath. The subject of the reverse is the ram, zodiac sign of the constellation Capricorn, referring to Augustus Caesar, who was conceived under this sign, suggesting an analogy between Rudolf and Caesar. The Habsburg Emperor Rudolf II minted this medal in imitation of ancient rulers, celebrating his power and dominion. He wears a laurel wreath, sign of victory and peace, and the chain and pendant of the Order of the Golden Fleece. The casting is of very high quality, evident in the subtle differentiation of textures on the medal.

Description Source [link]: J.Paul Getty Museum online. www.getty.edu (accessed 24 January 2009)

• Record Type: item•Class: decorative artsnumismatics European art

• *Work Type: medal

Work Typeidentifies what the work isphysical form, function, or media

Work TypeWork Type

Vocabulary controlled with an authority




Work RecordRecord Type [controlled]: item

Class [controlled]: prints and drawings European art*Work Type [link]: etching*Title: Shell (Murex brandaris)*Creator Display: Wenceslaus Hollar (Bohemian, 1607-1677)* Role [link]: printmaker [link]: Hollar, Wenceslaus*Creation Date: ca. 1645 [controlled]:Earliest: 1640 Latest: 1650*Subject [links]: animal still life shell Murex brandaris(marine mollusk)Culture [link]: Bohemian*Current Location [link]: National Gallery of Art (Washington, DC, USA) ID: 1992.17.2*Measurements: plate: 9.5 x 13.6 cm ( 3 3/4 x 5 3/8 inches)[controlled]: Extent: plate Value: 9.5 Unit: cm Type: height | Value: 13.6 Unit: cm Type:width

*Materials and Techniques: etching on laid paperMaterial [links]: etching laid paper Technique [links]: etching Description: Pliny’s dye-producing “purpura” was probably this species, Murex brandaris.

physical form, function, or media


Record TypeRecord Type:: item ClassClass:: prints and drawings European art**Work TypeWork Type:: etching

Work RecordRecord Type [controlled]: item

Class [controlled]: decorative arts ceramics Islamic art *Work Type [link]: lamp*Title: Mosque Lamp*Creator Display: unknown Syrian or Egyptian* Role [link]: artist [link]: unknown Syrian* Role [link]: artist [link]: unknown Egyptian*Creation Date: ca. 1285 (Mamluk period) [controlled]:Earliest: 1280 Latest: 1295*Subject [links]: object (utilitarian) lamp light mosque furnishingsCulture [link]: Syrian Egyptian Islamic*Current Location [link]: Metropolitan Museum of Art (New York, New York, USA) ID: 17.190.985*Measurements: 26.7 cm (height) (10 1/2 inches)[controlled]: Value: 26.7 Unit: cm Type: height

*Materials and Techniques: free-blown glass, enameled and gilded; tooled on the pontilMaterial [links]: enamel glass gold Technique [links]: tooling free-blown glass

Inscriptions: states that it was made for the mausoleum of a Syrian official.Description: This lamp is a metaphor. In the Koran, God's light is likened to "a niche in which is a lamp, the lamp is in a glass, and the glass is as if it were a brightly shining star."Description Source [link]: Metropolitan Museum of Art online. www.metmuseum.org (accessed 10 February 2004)

physical form, function, or media


Record TypeRecord Type:: item ClassClass:: decorative arts ceramics

Islamic art**Work TypeWork Type:: lamp



Record Type: itemClass: architectural drawings American artwork types: measured drawing record drawing sectionInscribed Title: Barn at Darington Court , Faversham, KentDescriptive Title: Sections and details of Barn at DaringtonCourtCreator: W. G. Prosser (American, 20th century)Date: 20th centuryMedium: pen and black inkMeasurements: 240 x 260 cmScale: 2 1/2 in. = 10 feetCurrent Location: Royal Commission of Historic Monuments (London, England)Descriptive Note: Commissioned by the RCHM to record this threatened building.


Record TypeRecord Type:: item ClassClass:: prints and drawings

architectural drawings American art**Work TypesWork Types::

measured drawing record drawing section

May be multiple work types for one item

Class: Prints, Drawings, and PhotographsWork Type: Title: Birth and Baptismal CertificateCreator: Francis Portzline (American (Pennsylvania German), active 1838 -1855)Creation Location: Pennsylvania, United StatesCreation Date: 1840/1855Materials: watercolor wash, pigments in gum medium, and ink on wove paperMeasurements: sheet: 12 13/16 x 15 9/16 inches (32.5 x 39.5 cm)Current Location: Pennsylvania Museum of Art (Pennsylvania, Pennsylvania, USA). 1928-10-90; Gift of J. Stogdell Stokes, 1928Description: The colorful drawings known today as fraktur(so called because of the "fractured" Gothic script employed) were created as blessings, rewards of merit, or personal records of confirmation, marriage, or baptism, as in this example. Like many fraktur artists, Francis Portzlinetaught school and had special skills in lettering and painting. In his work, the surrounding birds, butterflies, and flowers reinforce the celebratory nature of the religious ceremony. Such records were important for membership in the Lutheran or Reformed Churches; their texts also offered spiritual guidance for their owners.

Record TypeRecord Type:: item ClassClass:: prints and drawings

American art**Work TypesWork Types::

fraktur (document) birth certificate baptismal certificate




Record Type: itemClass: Manuscripts Near Eastern worksWork Types: manuscript palimpsest prayer book homilaryTitle: MS 575. Codex Armenicus Rescriptus. Palimpsest. Creator: Unknown scribes, created at the Monastery of St. Catherine, Mt.Sinai, Egypt; Authors: Johannes Chrysostomus: Homilies on the Psalter ; Parakletikon: Melkite Liturgical Prayers, Including a Tract on the Mobilitas Demon Date of Creation: 6th century, 1st half of 10th centuryMedium: palimpsest; ink on vellum. Binding: Barking, Essex, 1990, green cloth gilt folding case by Aquarius.Measurements: Text 1: 18 ff., 23x17 cm, 2 columns, (19x16 cm), 25 lines in Armenian uncial (Erkathgir): Text 2: ., single column, (18x13 cm), 19-23 lines in Syriac estrangela book script, with 7 interlinear decorations.Language: Text 1: (underlying text 6th century, Armenian; Text 2: (overlying text Syriac)Provenance: 1. Monastery of St. Catherine, Mt. Sinai (6th – 19th c.); 2. Friedrich Grote, Germany (ca. 1900); 3. Walther Adam, Magdeburg and Goslar (1918/30-1964); 4. Carl Wilhelm Adam, Goslar (1964-1987); 5. F. Dörling, Hamburg 1.6.1987:29; 6. Sam Fogg, London.Description: The Codex Armenicus Rescriptus is a parchment originating at the Monastery of St. Catherine at Mt. Sinai. The original text on the parchment was an Armenian version of the Homilies on the Psalter by John Chrisostomos. It was later overwritten with Melkite liturgical prayers in Syriac. The Armenian text dates from the 6th century, the golden age of the Armenian language. The Syriac text dates from the 10th century. Among the earliest examples of Armenian literature. Text 2 is the oldest evidence of the Melchite liturgy in Syriac. There are 20 MSS from Mt. Sinai in The Schøyen Collection. Besides the monastery's own famous library (4300 MSS), only The British Library (8 MSS) and The National Library of Russia, St. Petersburg, have comparable holdings. Sources: Context: 93 ff. from the same MS: Karl W. Hirsemann, Leipzig, cat. 500(1922):42, now in Den Haag, the Meerman-Westreenen Museum. The presAssfalg: Syrische Handschriften, pp. 211-13, No. 109-110, S 11 & 13.Exhibited: Conference of European National Librarians, Oslo. Sept. 1994

• Work type may change over time• Include terms for original and current type

Record TypeRecord Type:: itemClassClass:: manuscripts Near

Eastern works**Work TypesWork Types::

manuscript palimpsest prayer book homiliary


Was originally a set of homilies; second text is a prayer book

Record Type: itemClass: Manuscripts Near Eastern worksWork Types: manuscript palimpsest prayer book homilaryTitle: MS 575. Codex Armenicus Rescriptus. Palimpsest. Creator: Unknown scribes, created at the Monastery of St. Catherine, Mt.Sinai, Egypt; Authors: Johannes Chrysostomus: Homilies on the Psalter ; Parakletikon: Melkite Liturgical Prayers, Including a Tract on the Mobilitas Demon Date of Creation: 6th century, 1st half of 10th centuryMedium: palimpsest; ink on vellum. Binding: Barking, Essex, 1990, green cloth gilt folding case by Aquarius.Measurements: Text 1: 18 ff., 23x17 cm, 2 columns, (19x16 cm), 25 lines in Armenian uncial (Erkathgir): Text 2: ., single column, (18x13 cm), 19-23 lines in Syriac estrangela book script, with 7 interlinear decorations.Language: Text 1: (underlying text 6th century, Armenian; Text 2: (overlying text Syriac)Provenance: 1. Monastery of St. Catherine, Mt. Sinai (6th – 19th c.); 2. Friedrich Grote, Germany (ca. 1900); 3. Walther Adam, Magdeburg and Goslar (1918/30-1964); 4. Carl Wilhelm Adam, Goslar (1964-1987); 5. F. Dörling, Hamburg 1.6.1987:29; 6. Sam Fogg, London.Description: The Codex Armenicus Rescriptus is a parchment originating at the Monastery of St. Catherine at Mt. Sinai. The original text on the parchment was an Armenian version of the Homilies on the Psalter by John Chrisostomos. It was later overwritten with Melkite liturgical prayers in Syriac. The Armenian text dates from the 6th century, the golden age of the Armenian language. The Syriac text dates from the 10th century. Among the earliest examples of Armenian literature. Text 2 is the oldest evidence of the Melchite liturgy in Syriac. There are 20 MSS from Mt. Sinai in The Schøyen Collection. Besides the monastery's own famous library (4300 MSS), only The British Library (8 MSS) and The National Library of Russia, St. Petersburg, have comparable holdings. Sources: Context: 93 ff. from the same MS: Karl W. Hirsemann, Leipzig, cat. 500(1922):42, now in Den Haag, the Meerman-Westreenen Museum. The presAssfalg: Syrische Handschriften, pp. 211-13, No. 109-110, S 11 & 13.Exhibited: Conference of European National Librarians, Oslo. Sept. 1994

• Work type may change over time• Use terms for original and current type

Record TypeRecord Type:: itemClassClass:: manuscripts Near

Eastern works**Work TypesWork Types::

manuscript palimpsest prayer book homiliary


• If the function or physical characteristics of a work have changed over time, record both the original and subsequent Work Types

• List historical sequence in reverse chronological order • or with the most important Work Type first• The changing use or characteristics of the work may be explained

in the descriptive note



Work Types: church Display Date: from 4th century [Earliest: 300 Latest: 1500 ]mosque Display Date: under Ottomans [Earliest: 1400 Latest:1934]museum Display Date: since 1934 [Earliest: 1934 Latest: 9999]

Names/Titles: Hagia Sophia Type: preferredChurch of the Holy WisdomAyasofya Language: TurkishAgia SofiaAgia SophiaSancta Sophia Language: Latin

Current Location: Istanbul (Marmara region, Turkey) Location type:geographic

Display Creator: architects: Anthemios of Tralles (Byzantine architect and mathematician in Asia Minor, ca. 474-ca. 534) and Isidoros of Meletus, the Elder (Byzantine architect and engineer in Asia Minor, active mid-6th century)

Related People/Corporate Bodies:Anthemios of Tralles Role: architectIsidoros of Miletus Role: architect

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• Work Type may be delimited by dates


Record TypeRecord Type:: item ClassClass:: manuscripts

Near Eastern works**Work TypesWork Types::

church Display Date: from 4th century [Earliest: 300 Latest: 1500 ]mosque Display Date: under Ottomans [Earliest: 1400 Latest:1934]museumDisplay Date: since 1934 [Earliest: 1934 Latest: 9999]

* Class: decorative arts furniture

* Work Type: roll-top desk* Title: Roll-Top Desk* Creator Display: David Roentgen (German, 1743-1807, active

in Paris)* Creation Date: ca. 1780-1785* Subject: desk, writing, sciences* Current Location: J. Paul Getty Museum (Los Angeles,

California, USA) ID: 72.DA.47* Measurements: 165.1 x 150.3 x 85.1 cm* Materials and Techniques: veneered with mahogany, with gilt

bronze mountsDescription: This Neoclassical desk has a writing surface that

can be pulled out, triggering a mechanism that automatically withdraws the roll top, thereby displaying drawers and pigeonholes ...

Class

Class categorizes a work in a broader scheme


Record TypeRecord Type:: item ClassClass:: decorative arts

furniture European art**Work TypeWork Type:: roll-top desk



* Class: decorative arts furniture

* Work Type: roll-top desk* Title: Roll-Top Desk* Creator Display: David Roentgen (German, 1743-1807, active

in Paris)* Creation Date: ca. 1780-1785* Subject: desk, writing, sciences* Current Location: J. Paul Getty Museum (Los Angeles,

California, USA) ID: 72.DA.47* Measurements: 165.1 x 150.3 x 85.1 cm* Materials and Techniques: veneered with mahogany, with gilt

bronze mountsDescription: This Neoclassical desk has a writing surface that

can be pulled out, triggering a mechanism that automatically withdraws the roll top, thereby displaying drawers and pigeonholes ...

Record TypeRecord Type:: item ClassClass:: decorative arts

furniture European art**Work TypeWork Type:: roll-top desk

In some cases, a short controlled listmay suffice (no variant terms, very short list)

Class: Vocabulary controlled with Controlled List


• Based on organizational scheme of a particular repository or collection; purpose is to place work within a broader context

• Group the work with other works on the basis of similar characteristics, including materials, form, shape, function, region of origin, cultural context, or historical or stylistic period

Class:works on paper medicinal objects Ethiopian works

Work Type:magic scroll

Museum of Natural and Cultural History. University of Oregon. http://darkwing.uoregon.edu/mnh/

May have multiple Class terms




Class: Indian and Himalayan ArtWork Type: Title: A Prince Restrains a Rampaging ElephantCreator: unknown, India, Rajasthan, Kota Creation Date: ca. 1780Creation Location: IndiaMaterials: opaque watercolor, gold, and silver-colored paint on paperMeasurements: 11 7/8 x 17 1/2 inches (30.2 x 44.5 cm)Current Location: Philadelphia Musem of Art (Philadelphia, Pennsylvania); 2004-149-65;Alvin O. Bellak Collection, 2004Description: From early in Indian history, elephant training wasconsidered a science and entire books were written on the subject. Elephant combats of various sorts were a popular sport among Indian rulers. Elephants, however, have a tendency to become enraged if hurt, startled, or during breeding times and this elephant has clearly run amok. Nothing deters him: not the pointed goad wielded by his princely rider, nor the whirling firecrackers of his keepers, nor the whip of a rider whose blackhorse shies from the enraged beast.

What is “Indian and Himalayan Art” in one repository may be “Asian Art” in another

Record TypeRecord Type:: item ClassClass:: paintings

Indian and Himalayan Art**Work TypeWork Type:: illumination


Class: Prints, Drawings, and PhotographsTitle: Alberti Dvreri pictoris et architecti praestantissimi De vrbibvs...", 1535Artist: Albrecht Dürer (German, 1471–1528)Publication Location: Paris: Officina Christiani WecheliCreation Date: 1535Materials: illustrated book; 78 pages; H: 13 3/4 in. (35 cm)Current Location: Metropolitan Museum of Art (New York, New York). Purchased with income from the Jacob S. Rogers Fund (125.97 D932) Description: methods of constructing letterforms, from "InstitutionumGeometricarum" Albrecht Dürer, painter, draftsman, printmaker, and writer, was perhaps the greatest German artist. He created paintings and drawings of the highest quality and made major contributions to the development of printmaking, particularly engraving. In 1525 Dürer published "Underweysungder Messung, mit dem Zirckel und Richtscheyt in Linien Ebenen und gantzen Corporen [Institutionum Geometricarum . . . ]," an introductory manual of geometric theory and its practical application for young artists. His treatise "Etliche Underricht, zu Befestigung der Stett, Schlosz und Flecken[De Urbibus, arcibus, castellisque . . . ]," on military fortification, was published about 1527. The Library's copy contains the Latin editions of both the military and geometric treatises published in Paris in the mid-1530s. The earlier manual was intended to give artists a strong base in the theory and application of geometry. In it Dürer discusses the generation of ellipses, the geometry of three-dimensional bodies, and the practical application of geometry in architecture. The last section of "Underweysung der Messung" is the first scientific treatment of perspective by a northern European artist, and its very placement in his treatise on geometry emphasizes the importance of perspective as a branch of mathematics, not merely as a technique of painters and architects. The practical application of geometrical theory reappears in Dürer's work on fortification, the first book in German on the subject. He relied heavily on Italian literature, but the "Etliche Underricht" was the first printed book in any language to bring together elements of the art of fortification from various sources and to present them as a system. Although it has been previously rebacked, the Library's copy is bound in a contemporary blind-tooled calfskin.Relationship Numbers: Pages 136–37,

Record TypeRecord Type:: item ClassClass:: prints, drawings, and photographs

**Work TypeWork Type:: illustrated book

What is “prints, drawings, and photographs” in a museum may be “rare books” or “special collections” in a library




* Recording the Creator * People Not Creators* Anonymous and Unknown Creators


Display vs. Indexing

Controlled fields vs. free-text fields

Controlled fields contain indexing terms, key data values drawn from standard vocabularies, and formatted to allow for successful retrieval

Free-text fields are note fields, not controlledUsed to communicate nuance, uncertainty, and ambiguity to end users




Display vs. Indexing

Display refers to how the data looks to the end user in the database, on a Web site, on a wall or slide label, or in a publicationInformation for display should be in a format that is easily read and understood by usersFree-text or concatenated from controlled fields


Indexing refers to the process of evaluating information and designating indexing terms by using controlled vocabulary that will aid in finding and accessing the cultural work recordBy human labor, not to the automatic parsing of data into a database index

CREATOR INFORMATIONCREATOR INFORMATION

Class: paintings*Work Type: watercolor*Title: Nous Quatre a Paris*Creator Display: Palmer Hayden (American, 1890-

1973)*Creation Date: 1935*Subject: portraits, African Americans, card playing,

billiardsCurrent Location: Metropolitan Museum of Art, New

York (New York); Joseph H. Hazen Foundation, Inc.

*Measurements: 43.18 x 35.56 cm (17 x 14 inches)*Materials and Techniques: watercolor on paperStyle: Harlem Renaissance

Creator information includes the identification of the maker and his/her roles


Creator Display for end-user legibility, nuanceIndexing of role and name using authorities

*Creator Display:Palmer Hayden (American, 1890-1973)

Role: painterName [link to authority]:Hayden, Palmer



Record Type [controlled]: item Class [controlled]: photographs American art

*Work Type [link]: gelatin silver print *Title: Panoramic Photograph of the White House, Washington, DC

*Creator Display: Haines Photography Co. (American, 19th-20th century)

* Role: photographers[link]: Haines Photography Co.

*Creation Date: ca. 1909 [controlled]: Earliest: 1904 Latest: 1914

*Subject [links]: architecture White House (Washington, DC, USA) panoramic view

Culture [link]: American*Current Location [link]: Library of Congress (Washington, DC, USA) ID: unavailable

*Measurements: 15.85 x 55.88 cm (6 1/4 x 22 inches)[controlled]: Value: 15.85 Unit: cm Type: height

Value: 55.88 Unit: cm Type: width *Materials and Techniques: gelatin silver print

Technique [links]: gelatin silver printRelated Work:

Relationship Type [controlled]: depicts[link to Work Record]: White House (Washington, DC, USA);

1792-1817

Creator may be an individual, or a firm or other corporate or administrative body


e.g., photographic studio, architectural firm

*Creator Display: Haines Photography Co. (American, 19th-20th century)

* Role: photographers[link]: Haines Photography Co.

Record Type [controlled]: itemClass [controlled]: prints and drawings American art

*Work Type [link]: working drawing *Title: Plan and Sections of Concrete Foundation for the U.S. Post Office, Cedar Rapids, Iowa*Creator Display: architect: Willoughby J. Edbrooke (American, 1843-1896); draftsman: Chauncey G. Graham (American, active 1890s)* Role: architect [link]: Edbrooke, Willoughby J. * Role: draftsman [link]: Graham, Chauncey G. *Creation Date: 1892 [controlled]: Earliest: 1892 Latest: 1892*Subject [links]: architecture section plan U.S. Post Office (Cedar Rapids, Iowa, USA)Culture [link]: American*Current Location [link]: National Archives and Records Administration (Washington, DC, USA) ID:unavailable*Measurements: 59.44 x 91.44 cm (23 3/8 x 36 inches); scale: 3/4 inch = 1 foot[controlled]: Value: 59.44 Unit: cm Type: height | Value: 91.44

Unit: cm Type: width | Scale: numeric Value: .75 Unit: inch Type: base | Value: 1 Unit: foot Type: target*Materials and Techniques: ink and color washes on paperMaterial [links]: ink wash paperInscriptions: scale: 3/4 in = 1 ft.Description: The purpose of this drawing was to convey basic construction information, but the draftsman has created a thing of beauty.Related Work:Relationship Type [controlled]: depicts[link to Work Record]: U.S. Post Office (Cedar Rapids, Iowa, USA); 1890s

*Creator Display: architect: Willoughby J. Edbrooke(American, 1843-1896); draftsman: Chauncey G. Graham (American, active 1890s)

* Role: architect [link]: Edbrooke, Willoughby J. * Role: draftsman [link]: Graham, Chauncey G.

Image from : Lowry, Bates. Building a National Image: Architectural Drawings for the American Democracy, 1789-1912. Washington: National Building Museum, 1985.©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Includes multiple creators and role of each creator (e.g., architect and draftsman)



Class*: manuscriptsWork Type*: illuminationTitle or Names*: The Elephant Clock: Leaf from the Book of the

Knowledge of Ingenious Mechanical Devices*Creator Display:

illuminator: probably unknown Syrian (active 14th century CE)

author: Mamluk Abu'l Izz Isma'il al-Jazari; copyist: Farkh ibn Àbd al-Latif (Syrian, 14th century);

Role: illuminator [link]: unknown SyrianRole: copyist [link]: Farkh ibn Àbd al-LatifRole: author [link]: Mamluk Abu'l Izz Isma'il al-JazariCreation-Date*: 715 A.H. / A.D. 1315Subject Matter*: elephant, mechanical clock, timekeeping, human

male, automatonCurrent Location*: Metropolitan Museum of Art (New York, NY),

57.51.23 Measurements*: 30 cm x 19.7 cmMaterials and Techniques*: Ink, colors, and gold on paperDescriptive Note: The various parts of this clock move and make a

sound every half hour, reminiscent of the elaborate clocks found on medieval town halls in Europe...

Related Work: part of book: al-Jazari, Kitab fi ma'rifat al-hiyal al-handasiyya (The Book of Knowledge of Ingenious Mechanical Devices, also known as The Automata)

When is author included as creator? If the work is textual, and if the author is known

*Creator Display:illuminator: probably unknown

Syrian (active 14th century CE)author: Mamluk Abu'l Izz Isma'il

al-Jazari; copyist: Farkh ibn Àbd al-Latif

(Syrian, 14th century); Role: illuminator [link]: unknown SyrianRole: copyist [link]: Farkh ibn Àbd al-

LatifRole: author [link]: Mamluk Abu'l Izz

Isma'il al-Jazari


Class*: manuscriptsWork Type*: illuminationTitle or Names*: The Elephant Clock: Leaf from the Book of the

Knowledge of Ingenious Mechanical Devices*Creator Display:

illuminator: probably unknown Syrian (active 14th century CE)

author: Mamluk Abu'l Izz Isma'il al-Jazari; copyist: Farkh ibn Àbd al-Latif (Syrian, 14th century);

Role: illuminator [link]: unknown SyrianRole: copyist [link]: Farkh ibn Àbd al-LatifRole: author [link]: Mamluk Abu'l Izz Isma'il al-JazariCreation-Date*: 715 A.H. / A.D. 1315Subject Matter*: elephant, mechanical clock, timekeeping, human

male, automatonCurrent Location*: Metropolitan Museum of Art (New York, NY),

57.51.23 Measurements*: 30 cm x 19.7 cmMaterials and Techniques*: Ink, colors, and gold on paperDescriptive Note: The various parts of this clock move and make a

sound every half hour, reminiscent of the elaborate clocks found on medieval town halls in Europe...

Related Work: part of book: al-Jazari, Kitab fi ma'rifat al-hiyal al-handasiyya (The Book of Knowledge of Ingenious Mechanical Devices, also known as The Automata)

*Creator Display:illuminator: probably unknown

Syrian (active 14th century CE)author: Mamluk Abu'l Izz Isma'il

al-Jazari; copyist: Farkh ibn Àbd al-Latif

(Syrian, 14th century); Role: illuminator [link]: unknown SyrianRole: copyist [link]: Farkh ibn Àbd al-

LatifRole: author [link]: Mamluk Abu'l Izz

Isma'il al-Jazari

Author and the textual work may be included in Creator, Subject, and Related Textual References (a bib-liographic record)


When is author included as creator? If the work is textual, and if the author is known



Record Type [controlled]: volume Class [controlled]: prints and drawings European art rare books*Work Type [link]: book etchings maps plans panoramas *Title: Theatrum civitatum nec non admirandorum Neapolis et Siciliae regnorumTitle: Views of the Cities and Sights of the Realm of Naples and Sicily Title

Type: descriptive*Creator Display: Joan Blaeu (Dutch, 1596-1673), with Bastiaen Stopendaal(Dutch, 1637-before 1707)

* Roles : printmaker publisher [link]: Blaeu, Joan

* Role : printmaker [link]: Stopendaal, Bastiaen*Creation Date: 1663 [controlled]: Earliest: 1663 Latest: 1663*Subject: [links]: cityscapes landscapes Sicily (Italy) Naples (Campania,

Italy) maps *Current Location [link]: Getty Research Library, Special Collections (Los Angeles,

California, USA) ID: 92-B27718 Publication Location [link]: Amsterdam (North Holland, Netherlands)*Measurements: 78 pages, 2 folded leaves

[controlled] Extent: pages Value: 78 Type: count *Materials and Techniques: hand-colored etchings, texts are printed

Material [links]: paper Technique [links]: etching printing hand coloringDescription: With the exception of 2 double folded leaves of plates, all etchings are

on pages backed with text. There are 8 half page, 1 single and 22 double page etchings, all colored.Description Source [link]: Getty Research Library, Special Collections database.


Include printmakers and publisher in creator area, with appropriate roles

*Creator Display: Joan Blaeu (Dutch, 1596-1673), with Bastiaen Stopendaal (Dutch, 1637-before 1707) * Roles : printmaker

publisher [link]: Blaeu, Joan * Role : printmaker [link]: Stopendaal, Bastiaen

Class: prints and drawingsWork Type: screen printTitle: Vote McGovernCreator Display: Andy Warhol (American, 1928-1987)

Role: printmaker [link]: Warhol, AndyRoles: •artist collaboration • supervision •proofing

[link]: Tyler, Kenneth Role: •edition printing [link]: Wasserman, Jeffrey Role: assistant: [link]: Dressen RobertRole: assistant: [link]: Knisel, Robert

Measurements: 106.7 x 106.7 cm (42 x 42 in.)Copyright: © 2001 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York, New York; © Gemini G.E.L. and the Artist Current Location: National Gallery of Art (Washington, DC), Gemini G.E.L. collection.Catalogue Number: 54.1 Gemini Work Number AW72-5046; Old Gemini Catalogue Number 396; NGA Accession Number 1984.104.23, 1985.47.229 Creation Date: 1972 Signature Date: 1972 Publication Date: 1972 Materials: 16-color screenprint Support Arches 88 Edition: 250 plus RTP, PPII, 3 GEL, 16 CTP, CFacture: Colors or Sequence 1. blue (handmade lacquer stencil), 2. transparent yellow (handmade lacquer stencil), 3. orange (permanent emulsion photo screen), 4. magenta (permanent emulsion photo screen), 5. light orange (permanent emulsion photo screen), 6. gray (permanent emulsion photo screen), 7. yellow-orange (hand-cut lacquer stencil), 8. magenta (hand-cut lacquer stencil), 9. red (hand-cut lacquer stencil), 10. purple (hand-cut lacquer stencil), 11. yellow (hand-cut lacquer stencil), 12. transparent magenta (hand-cut lacquer stencil), 13. red/black/yellow (hand-cut lacquer stencil), 14. black (permanent emulsion photo screen). Collaboration and Supervision Kenneth Tyler. Processing and Proofing Kenneth Tyler . Edition Printing Jeffrey Wasserman assisted by Robert Dressen, Robert Knisel

You may index names not in the Creator Display; may discuss their contributions in Descriptive Note or Facture (from CDWA)

Creator Display: Andy Warhol (American, 1928-1987)Role: printmaker [link]: Warhol, AndyRoles: •artist collaboration • supervision •proofing

[link]: Tyler, Kenneth Role: edition printing [link]: Wasserman, Jeffrey Role: assistant: [link]: Dressen RobertRole: assistant: [link]: Knisel, Robert




Record Type: volumeClass: manuscriptsWork Type: book of hoursTitle: Hours of Jeanne d'ÉvreuxCreator Display: Jean Pucelle (French, active in Paris, ca. 1320–1334)Role: illuminator [link]: Jean PucelleRole: patron [link]: Jeanne d'ÉvreuxCreation Date: ca. 1324-1328Creation Location: ParisMaterials: grisaille and tempera on vellum Measurements: 209 folios; 3 1/2 x 2 5/8 inches (8.9 x 6.2 cm)Current Location: Metropolitan Museum of Art (New York, New York); The Cloisters Collection, 1954 (54.1.2) Description: The 209 folios of "The Hours of Jeanne d'Évreux" include twenty-five full-page paintings with paired images from the Infancy and Passion of Christ and scenes of the life of Saint Louis. The figures are rendered in delicate grisaille (shades of gray) that imparts an amazingly sculptural quality, and the images are accented with rich reds and blues and with touches of orange and yellow, pink, lilac, and turquoise. In the margins, close to seven hundred illustrations depict the bishops, beggars, street dancers, maidens, and musicians that peopled the streets of medieval Paris, as well as apes, rabbits, dogs, and creatures of sheer fantasy. All are brought to life by the keen observation, accomplished draftsmanship, and consummate imagination of the artist. This lavishly illustrated prayer book (Book of Hours) was created between 1324 and 1328 for Jeanne d'Évreux, queen of France, by the celebrated Parisian illuminator Jean Pucelle (active ca. 1320–34) and was intended for use by the queen during private prayer throughout the course of the day. Upon her death in 1371, Jeanne d'Évreuxleft the prayer book to King Charles V. At his death, the book entered the collection of another much lauded bibliophile, his brother Jean, duc de Berry.Conservation: nested mount.

May include clients or patrons who were not “creators” per se

Creator Display: Jean Pucelle (French, active in Paris, ca. 1320–1334)Role: illuminator [link]: Jean PucelleRole: patron [link]: Jeanne d'Évreux


Record Type: Record Type: groupClassClass: Architecture * Work TypeWork Type: • architectural documents * TitleTitle: • Architectural drawings relating primarily to residences and

commercial and public buildings in Ottawa from the Office of Werner E. Noffke, Ottawa

*Creator Display: Office of Werner E. Noffke (Ottawa, Canada)* Role: administrative origin

[link]: Noffke, Werner E., Office of * Creation DateCreation Date*: 1906-1962 (inclusive dates)

* SubjectSubject: • office buildings • churches • exhibition halls •residences

* Current LocationCurrent Location: Cartographic and Audio-Visual Archives Division; National Archives of Canada (Ottawa, Canada) ID:ID:Noffke, W.E. 77803/7

* MeasurementsMeasurements: various dimensions * Materials and TechniquesMaterials and Techniques: various materials Description:Description: This collection contains 2241 drawings representing

some 200 projects by Ottawa architect Werner E. Noffke over a period of 60 years. Residences, offices, and commercial buildings, exhibition halls, and churches appear in the collection, along with projects for buildings for foreign legations. A great deal of Noffke’s work was done for the Government of Canada.

SourcesSources: • National Archives of Canada

Image: FDA Guide, provided by National Archives of Canada.©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Origin of archival group

*Creator Display: Office of Werner E. Noffke (Ottawa, Canada)

* Role: administrative origin[link]: Noffke, Werner E., Office of



[for a box of photographs]Creator Display: photographers: Josiah Johnson Hawes (American, 1808-1901), Albert Sands Southworth (American, 1811-1894), and Joseph Pennell (American, 1866-1922)Role: photographer

[link]: Hawes, Josiah JohnsonRole: photographer[link]: Southworth, Albert Sands

Role: photographer[link]: Pennell, Joseph

For groups of works, include all of the creators, if possibleFor a large number of creators, in Creator Display list the most important or most prominent creators represented in the group

Portrait: image www.getty.edu©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

[for a box of photographs]Creator Display: photographers: Josiah Johnson Hawes (American, 1808-1901), Albert Sands Southworth (American, 1811-1894), and Joseph Pennell (American, 1866-1922)Role: photographer

[link]: Hawes, Josiah JohnsonRole: photographer[link]: Southworth, Albert Sands

Role: photographer[link]: Pennell, Joseph

In the controlled indexing fields, index all creators (not only the most important) to enhance end-user access

Portrait: image www.getty.edu©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.



Record Type: componentClass: manuscriptsTitle: Christ Carrying the CrossCreator Display: Spitz Master (French illuminator, active ca. 1415-ca. 1425)

Role: illuminator[link]: Spitz Master

Creation Date: ca. 1420 Creation Location: Paris (France)Materials: tempera colors, gold, and ink on parchment bound between pasteboard covered with red silk velvet Measurements: 7 15/16 x 5 7/8 inches Related Work: Book of HoursCurrent Location: J. Paul Getty Museum (Los Angeles, California); MS. 57

Anonymous Creator

“Anonymous” artist, appellations are devised by scholars or museumswhen the hand (style), and oeuvre (works) are identified, approximate dates known, but the name of the artist is unknown

For constructed names (i.e., for anonymous creators), use the language of the catalog record (e.g., “Master”)

Creator Display: Spitz Master (French illuminator, active ca. 1415-ca. 1425)Role: illuminator[link]: Spitz Master


Class*: TextilesWork Type*: molaTitle or Names*: Kuni MolaCreator Display: unknown KuniRole: artist [link]: unknown KuniCreation Date*: ca. 1922 Subject Matter*: squirrels in trees & cagesStyle: CubismCurrent Location*: National Museum of the American

Indian (New York); 19/8402Measurements*: 52 x 69 cm Materials and Techniques*: cotton appliquéDescriptive Note: One side depicts squirrels perched

in trees, the other side shows squirrels in cages.

ima ge from

http ://ww

w.conex us.si.ed u/index 4.htm

Unknown creators Work not attributed to an artistic personality

Unknown Creator

May be controlled by the personal name authorityOr may be constructed for display based on Culture field

Creator Display: unknown KuniRole: artist [link]: unknown Kuni




Class: European Painting before 1900Work Type: miniatureTitle: Portrait of Napoleon BonaparteCreator Display: attributed to André-Léon Larue (French, 1785 - ca. 1834)Role: painterQualifier: attributed to[link]: Larue, André-LéonCreation Date: ca. 1810Materials: watercolor on ivory; miniature is mounted in a leather portfolioMeasurements: 4 1/16 x 3 inches (10.3 x 7.6 cm)Current Location: Philadelphia Museum of Art (Philadelphia, Pennsylvania); 1952-3-1; Gift of Mrs. Jacob Riegel and Mrs. Daniel Whitney, 1952; Johnson Collection

Use Qualifer to note attribution qualifications

Creator Attributions

Creator Display: attributed to André-Léon Larue (French, 1785 - ca. 1834)Role: painterQualifier: attributed to[link]: Larue, André-Léon


Use one of the following qualifiers to express uncertainty when the attribution of a work to a known creator or architect is in question or to note a former attribution

attributed to formerly attributed to probably by possibly by

For definitions of the qualifiers, see CDWA





Class: manuscriptsWork Type: illuminationTitle: The AnnunciationCreator Display: follower of the Boucicaut MasterRole: illuminatorQualifier: follower of[link]: Boucicaut Master

Creation Location: Paris (France)Creation Date: ca. 1410 Materials: tempera colors, gold leaf, and gold paint on parchment, bound between pasteboard covered with red morocco Measurements: 7 1/2 x 5 1/2 inchesCurrent Location: J. Paul Getty Museum (Los Angeles, California); MS. LUDWIG IX 5, FOL. 27 Descriptive Note: This sumptuous page, whose border features a shimmering background of gold, music-making angels, and colorful flowers, is the most richly decorated in the entire manuscript. The reason for such a lavish display of color and gold is that this folio marks the beginning of the most important text in a book of hours, the Office of the Virgin. Appropriately, the subject matter of the miniature is the moment, as recounted in the Bible, when Mary receives the news from the archangel Gabriel that she will bear the son of God. The scene is set within a church. Mary, kneeling before an altar on which a book and two candles stand, turns toward the angel to hear his words. A lily grows from a small pot to the left, a symbol of Mary's purity. Books of hours, made especially for the private devotional practice of lay people, were one of the most important types of manuscript to be made in the later Middle Ages. Although this book is elaborately decorated with an innovative scheme of illumination and numerous marginal figures, it was illuminated not by major masters but by their followers. With the increased demand for books of hours in the early 1400s, collaborative ventures by different artists were common in the Parisian art market. This book was certainly made for a woman; in fact, she is depicted kneeling in prayer in the miniatures accompanying two prayers to the Virgin. The manuscript epitomizes the sumptuous aesthetic of the International style of painting. Characteristic features include the elongated proportions of the figures, their swaying postures, and their extravagant clothing. The borders are also classic examples of the International style in manuscripts, with richly colored acanthus leaves, brilliant touches of gold leaf, and small playful figures appearing throughout. Other illuminator in this MS is the follower of the Egerton Master, illuminator French, Paris, about 1410


Creator Display: follower of the Boucicaut MasterRole: illuminatorQualifier: follower of[link]: Boucicaut Master

Artist is unknown, but affiliation with a named artist or master is establishedLink to the named artist or master


Working with a known creatorstudio of workshop of office of atelier ofassistant topupil ofassociate ofmanufactory of

Not working directly with a known creatorfollower of circle of school of

Influenced by a known creatorstyle of after copyist ofmanner of



For definitions of the qualifiers, see CDWA



* Recording and Creating Titles* Works That Have No Title* Titles vs. Inscriptions


Record Type: itemClass: miniaturesWork Type: miniatureTitle: John Clarke Howard and Mrs. John Clarke Howard (Hepzibah Swan)Title Type: repositoryCreator: unknown American, 19th centuryMaterials: paint on ivoryDescription: two-sided miniatureCurrent Location: Museum of Fine Arts, Boston (Boston, Massachusetts); Gift of Elizabeth Howard Bartol, 1921; Accession number: 21.2553a-bOwnership History: Swan Collection


TitleTitleTitles are not controlledNot optimized for retrieval

Title:John Clarke Howard and His Wife (Hepzibah Swan)Title Type: repository

Important information in the Title (e.g., names of the sitters) should be indexed with controlled values in other elements

Side A Side B



Record Type: itemClass: miniaturesWork Type: miniatureTitle: John Clarke Howard and Mrs. John Clarke Howard (Hepzibah Swan)Title Type: repositoryCreator: unknown American, 19th centuryMaterials: paint on ivoryDescription: two-sided miniatureCurrent Location: Museum of Fine Arts, Boston (Boston, Massachusetts); Gift of Elizabeth Howard Bartol, 1921; Accession number: 21.2553a-bOwnership History: Swan Collection


TitleTitleTitle:John Clarke Howard and His Wife (Hepzibah Swan)Title Type: repository

Side A Side B

Title includes standard titles Assigned by repositories or scholars and used consistently to refer to a work

Record Type: itemClass: prints and photographs*Work Type: gelatin silver print*Title: Chez MondrianTitle: Interior View of a Room and an Open Door Title

Type: descriptive*Creator Display: André Kertész (American, 1894-1985)*Role: photographer*Creation Date*: 1926*Subject: interior view, staircase, door, light, flower, vase*Current Location: J. Paul Getty Museum, Los Angeles ID:

86.XM.706.10*Measurements: image: 10.9 x 7.9 cm (4 5/16 x 3 1/8

inches) *Materials and Techniques: gelatin silver printDescription: Characteristic of his work as “Naturalist-

Surrealist,” it combines prosaic observations of life combined with surrealistic perspective.


Always include artist titles*Title: Chez Mondrian

Title Type: artist repository

Title: Interior View of a Room and an Open Door

Title Type: descriptive



Record Type: volumeClass: prints and drawingswork type: artist book lithographsTitle: Poèmes de Charles d'Orléans

Title Type: inscribedTitle: Poems of Charles of Orléans

Title Type: translatedCreator: printmaker: Henri Matisse (French, 1869 - 1954); author: Charles, duc d' Orléans (French, 1391 - 1465); publisher: Mourlot Freres (Paris, France)Creation Date: created 1941-1943; published 1950Materials: unbound volume with 54 color lithographs and 40 poems on wove paperMeasurements: folio: 41.3 x 27.3 cm (16 1/4 x 10 3/4 in.)Current Location: National Gallery of Art (Washington DC)Repository ID: 1993.47.1 Credit: Gift of Leonard B. SchlosserDescriptive Note: Volume comprises original color lithographs, with lithographed text by the artist printed in black within colored lithographic borders. One of 1200 copies from the limited edition of 1230, signed in pencil by the artist in the justification. Printed by Mourlot Frères. From 1941 to 1944, Matisse dedicated conspicuous time and energy to book illustration. In late 1942 he selected the Poèmes de Charles d'Orléans for illustration and most of the work was completed during 1943 including the text of the poems in Matisse's own hand. …

Title includes standard titles May be derived from inscriptionsTitle Type

Record Type: volumeClass: prints and drawingswork type: artist book lithographsTitle: Poèmes de Charles d'Orléans

Title Type: inscribedTitle Type: artist

Title: Poems of Charles of OrléansTitle Type: translated


Class: architecture*Work Type: memorial*Title: Lincoln Memorial*Creator Display: architect Henry Bacon

(American, 1866-1924) and sculptor Daniel Chester French (American, 1850-1931)

*Creation Date: designed 1911-1912; constructed 1914-1922

*Subject: commemoration honor Abraham Lincoln

*Location: Washington (DC, USA)*Materials and Techniques: Exterior: Colorado

Yule marble; Tripods: Pink Tennessee marble; Interior walls and columns: Indiana limestone; Ceiling: Alabama marble saturated with paraffin for translucency; Floor and wall base: Pink Tennessee marble; Pedestal and platform for statue: Tennessee marble; Statue: White Georgia marble

*Description: Design was influenced by the Greek Parthenon. Built into the design are symbols of Union like the 36 exterior Doric columns representing the 36 states in the Union at the time of Lincoln's death…

Image: ©Encyclopedia Britannica Online, accessed 1 March 2009. Image from Authenticated News.


Title is also used to record names and other appellations for works that have no “title” per seE.g., the names of architectural works

*Work Type: memorial*Title: Lincoln Memorial



Record Type: item Class: prints and drawings American art

*Work Type: design drawing competition drawing

*Title: Temple Design for the Lincoln Memorial

Title Types: descriptiveconstructed

*Creator Display: architect: Henry Bacon (American, 1866-1924); draftsman: Jules Guéren (French, 19th-20th century)

* Role [link]: architect [link]: Bacon, Henry* Role [link]: draftsman [link]: Guéren,

Jules *Creation Date: 1912 [controlled]:

Earliest: 1912 Latest: 1912*Subject [links]: architecture Lincoln

Memorial (Washington, DC, USA) elevation

Culture [link]: American*Current Location [link]: National Archives

and Record Administration (Washington, DC, USA) ID:unavailable

*Measurements: unavailable*Materials and Techniques: ink and

watercolor on paperMaterial [links]: ink watercolor paper

Related Work:Relationship Type [controlled]: depicts[link to Work Record]: Lincoln Memorial

(Washington, DC, USA); Henry Bacon (American architect, 1866-1924) and Daniel Chester French (American sculptor, 1850-1931), 1915-1922

*Title: Temple Design for the Lincoln Memorial

Title Types: descriptiveconstructed


Title is also used to record names and other appellations for works that have no “title” per seE.g., cataloger-constructed titles for drawings

Record Type: itemClass*: tools and implements Pre-Columbian art *Work Type: bannerstone*Title: BannerstoneCreator Display*: unknown Woodland IndianCreation Date*: Late Archaic Period Subject*: object (utilitarian) prestige hunting warCurrent Location*: Gordon Hart Collection (Bluffton, Indiana)Measurements*: 9.7 x 5 cm (3 7/8 x 2 inches)Materials and Techniques*: banded slateDescription: Bannerstones formed part of an atlatl (spear-

thrower). This one is carefully made and of decorative material and thus was probably a status symbol.

*Work Type: bannerstone*Title: Bannerstone

Image from Brose, D., et al. Ancient Art of the American Woodland Indians. New York: Harry N. Abrams, Inc., 1985

Title is also used to record names and other appellations for works that have no “title” per seE.g., when work type is repeated for a title/name




Record Type [controlled]: item Class [controlled]: painting European art *Work Type [link]:painting

*Title: Portrait of a Halberdier (Francesco Guardi?) Title Type: repository

Title: Portrait of Cosimo I de’MediciTitle Type: former

*Creator Display: Pontormo (Italian painter, 1494-1557)* Role [link]: painter [link]: Pontormo*Creation Date: ca. 1528/1530 [controlled]: Earliest: 1523

Latest: 1535*Subject [links]: portrait halberdier nobleman Francesco

GuardiStyle [link]: ManneristCulture [link]: Italian *Current Location [link]: J. Paul Getty Museum, California,

USA) ID:89.PA.49Creation Location[link]:: Montmartre (Paris, France)*Measurements: 123 x 161 cm (36 1/4 x 28 3/8 inches)[controlled]: Value: 123 Unit: cm Type: height | Value: 161

Unit: cm Type: width *Materials and Techniques: Oil (or oil and tempera) on panel

transferred to canvas Material [links]: oil paint tempera wood panel canvas

Technique [links]: painting transferring Description: Pontormo’s elongated, oval forms and refined play

of color is prototypical of Mannerist portraiture. The sitter's identity has been much discussed. The Florentine painter Giorgio Vasari noted that during the siege of Florence in about 1528 Pontormo painted a "most beautiful work," a portrait of young nobleman Francesco Guardi as a soldier. Francesco's birthdate of 1514 would make him about the age of Pontormo's teenage sitter. Based on a Florentine inventory, Cosimo de' Medici himself has also been suggested as the painting's subject.

*Title: Portrait of a Halberdier (Francesco Guardi?) Title Type: repository

Title: Portrait of Cosimo I de’MediciTitle Type: former

When titles have changed over time, include former titles


Record Type: volumeClass: manuscriptsObject Type: illuminated manuscript sacramentaryTitle: Sacramentary of Charles le ChauveSacramentary of MetzMs. Latinus 1141Creator: School of the Palais de Charles le ChauveCreation Date: second half 9th centuryStyle: CarolingianGiven in honor of his coronation as king of Lotharingie in Metz 9 September 869.Current Location: Biblioteque Nationale de France (Paris, France)Description: Sakramentar von Metz. Fragment. Ms. Lat. 1141. This fragment is a jewel due to its rich ornamental and miniature decoration, a testimony to Late Carolingian illustration of the 9 th century. While the codex is a complete sacramentary which integrates the whole ecclesiastical year, it may be just the beginning of a manuscript that was never finished. It was made in the second half of the 9th century for a king, probably for Charles the Bald, king of an area then called FranciaOccidentalis. The script is mainly executed in golden letters, and at the beginning the miniatures depict a portrait of Charles the Bald's coronation. The ornamental art around the text is particularly striking. The Sacramentary of Metz resides in the BibliothequeNationale de France.Related Work: part ofRelationship number: 6v-7Crucifixion

Title: Sacramentary of Charles le ChauveTitle Type: translated

Title: Le Sacramentaire de Charles le ChauveTitle Type: repository

Title: Sacramentary of MetzTitle Type: alternate

Title: Ms. Latinus 1141Title Type: manuscript designation

Shelf numbers and other codes may be recorded as a title, if used like a title/name to refer to the workAlso record as a repository number



Record Type [controlled]: item Class [controlled]: prints and drawings European art*Work Type [link]: poster lithograph*Title: Chat NoirTitle: Poster of a Black Cat, for the Reopening of the

Chat Noir Cabaret Title Type: descriptive*Creator Display: Théophile-Alexandre Steinlen (Swiss,

1859-1923)* Role [link]: printmaker [link]: Steinlen,

Théophile-Alexandre*Creation Date: 1896 [controlled]:

Earliest: 1896 Latest: 1896*Subject [links]: advertising/commercial animal Chat

Noir (cabaret) Rodolphe Salis (French performer, 1851-1897) shadow theater guignols domestic cat

Style [link]: fin-de-siecleCulture [link]: French *Current Location [link]: Santa Barbara Museum of Art

(Santa Barbara, California, USA) ID:1991.17Creation Location[link]:: Montmartre (Paris, France)*Measurements: 61.6 x 39.62 cm (24 1/4 x 15 5/8

inches)[controlled]: Value: 61.6 Unit: cm Type: height |

Value: 39.62 Unit: cm Type: width *Materials and Techniques: lithograph

Material [links]: paper Technique [links]: lithograph Inscriptions: along right side and bottom: Prochainement /

la très illustre Compagnie du / Chat / Noir / avec / sesPièces d'Ombres / Célèbres, ses Poëtes / sesCompositeurs / Avec / Rodolphe Salis / Steinlen

Description: Steinlen’s poster advertises the reopening of a

*Title: Chat Noir Title Type: repositoryTitle: Poster of a Black Cat, for the Reopening of the Chat Noir Cabaret Title Type: descriptive

Inscriptions: along right side and bottom: Prochainement / la très illustreCompagnie du / Chat / Noir / avec / ses Piècesd'Ombres / Célèbres, ses Poëtes / sesCompositeurs / Avec / Rodolphe Salis / Steinlen


For the preferred title, use a concise descriptive title in the language of the catalog record (English in the United States)Should be a recent title provided by the owning institution, a concise inscribed title, or a title provided by the artistif it is sufficiently descriptive

Do not put a long inscription in the Title field

Record Type [controlled]: item Class [controlled]: prints and drawings European art*Work Type [link]: poster lithograph*Title: Chat NoirTitle: Poster of a Black Cat, for the Reopening of the

Chat Noir Cabaret Title Type: descriptive*Creator Display: Théophile-Alexandre Steinlen (Swiss,

1859-1923)* Role [link]: printmaker [link]: Steinlen,

Théophile-Alexandre*Creation Date: 1896 [controlled]:

Earliest: 1896 Latest: 1896*Subject [links]: advertising/commercial animal Chat

Noir (cabaret) Rodolphe Salis (French performer, 1851-1897) shadow theater guignols domestic cat

Style [link]: fin-de-siecleCulture [link]: French *Current Location [link]: Santa Barbara Museum of Art

(Santa Barbara, California, USA) ID:1991.17Creation Location[link]:: Montmartre (Paris, France)*Measurements: 61.6 x 39.62 cm (24 1/4 x 15 5/8

inches)[controlled]: Value: 61.6 Unit: cm Type: height |

Value: 39.62 Unit: cm Type: width *Materials and Techniques: lithograph

Material [links]: paper Technique [links]: lithograph Inscriptions: along right side and bottom: Prochainement /

la très illustre Compagnie du / Chat / Noir / avec / sesPièces d'Ombres / Célèbres, ses Poëtes / sesCompositeurs / Avec / Rodolphe Salis / Steinlen

Description: Steinlen’s poster advertises the reopening of a cabaret, the Chat Noir in Montmartre. Here the artist ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Inscribed title is an inscription that was applied by the creator with the apparent purpose of giving it a titleFor prints and books, record any obvious title inscribed in the printing plate or on the title pageInscriptions that are not titles should be recorded in the Inscription element

Do not put a long inscription in the Title field

*Title: Chat Noir Title Type: repositoryTitle: Poster of a Black Cat, for the Reopening of the Chat Noir Cabaret Title Type: descriptive

Inscriptions: along right side and bottom: Prochainement / la très illustreCompagnie du / Chat / Noir / avec / ses Piècesd'Ombres / Célèbres, ses Poëtes / sesCompositeurs / Avec / Rodolphe Salis / Steinlen



Record Type [controlled]: item Class [controlled]: prints and drawings American art*Work Type [link]: etching

* Title: Le Menuet de la MariéeTitle Type: inscribed

Title: Minuet of the Bride Title Type: translated

*Creator Display: Philibert-Louis Debucourt(French, 1755-1832)*Current Location [link]: National Gallery of Art

(Washington, DC, USA) ID: 1942.9.2261*Measurements: plate mark: 30.1 x 22.7 cm (11

7/8 x 8 15/16 inches) sheet: 38.2 x 27.cm (15 1/16 x 10 5/8 inches) [controlled]: Extent: plate mark Value: 30.1 Unit: cm Type: height | Value: 22.7 Unit: cm Type: width || Extent: image Value: 38.2 Unit: cm Type: height | Value: 27 Unit: cm Type:width*Materials and Techniques: etching and engraving

printed in yellow, red, blue, pink, and black inks from five platesMaterial [links]: paper Technique [links]: etching engraving color printing

Inscriptions: lower center: Menuet de la MariéePhilibert-Louis DebucourtFrench, 1755 - 1832Le Menuet de la mariée (The Bride's Minuet), 1786etching and wash manner printed in yellow, red, blue, pink, and black inksOverall (outer framing line): 30.7 x 23.4 cm (12 1/16 x 9 3/16 in.) sheet (trimmed within the platemark): 38.3 x 27 cm (15 1/16 x 10 5/8 in.)Rosenwald Collection1958.8.87


Part of the inscription may be a titleRecord the full citation – e.g., dedication - in Inscriptions

* Title: Le Menuet de la MariéeTitle Type: inscribed

Title: Minuet of the Bride Title Type: translated

Record Type: itemClassification: prints and drawingsWork Type: etchingCreator: Jacques CallotTitle: The Fair at ImprunetaTitle Type: repositoryCreation Date: 1620Current Location: National Gallery of Art (Washington, DC); R.L. Baumfeld Collection; 1969.15.60Measurements: plate 39.3 x 65.7, sheet 16 3/4 x 16 3/8 inches (42.5 x 67 cm)Edition: first version, L.478, LieureDescription: The fair of Saint Luke is the subject of one of the most famous engravings by the French engraver Jacques Callot. This work, carried out in 1620, is one of the largest engravings (424X670 mm) made by Callot and is not only important by its spatial structure, the richness of its details, the abundance of characters (over 1100 figures) and scenes but also because it is a sociological testimony of Tuscany at that time. The church depicted is the what became a baroque structure that was destroyed by bombing during the war and replaced by a reconstruction of the pre-renaissance building.

In this case, inscription was considered a dedication, but not a titleRepository used a constructed title, well-known for this print

Title: The Fair at ImprunetaTitle Type: repository




Constructing a Descriptive Title

Each work should have a title that conveys to the user what the work is or what its subject is about in the language of the catalog record If the repository title, inscribed title, or another title in the language of the catalog record is sufficiently descriptive, the cataloger need not construct one

If an inscribed or repository title is overly long, in a foreign language, or does not describe the work, construct a concise descriptive title in the language of the catalog record

Constructing a Descriptive TitleConstructed titles may refer to the subject, the materials, the form, or the function of the work

If a title must be constructed, guidelines are found in CDWA



* Physical Characteristics * Display vs. Indexing


Record Type: itemClass: prints and drawingsWork Type: printCreator: Rembrandt van Rijn (Dutch, 1606 – 1669)Title: Adam and Eve

Inscriptions: signed and dated, lower center in plate: Rembrandt. f. 1638Creation Date: 1638Materials: etching on laid paperMeasurements: sheet (trimmed within plate mark): 16 x 11.7 cm (6 5/16 x 4 5/8 in.)Current Location: National Gallery of Art (Washington, DC); RosenwaldCollection; 1943.3.7102

Transcribe or describe, with indication of type of inscription and location on the workRecord signatures, dates, text inscribed on the work

InscriptionsInscriptions




Record Type: itemClass: prints and drawingsWork Type: engravingCreator: Albrecht Dürer (German, 1471-1528)Creation Date” 1504Materials: engraving on laid paperMeasurements: sheet (trimmed to plate mark): 24.9 x 19.3 cm (9 13/16 x 7 5/8 in.)Title: Adam and EveInscription: signed and dated in plate, above Adam’s shoulder: ALBERTUS / DVRER / NORICVS / FACIEBAT / AD 1504; translation: [Albrecht Durer of Nuremberg made this in 1504].Current Location: National Gallery of Art (Washington, DC); Gift of R. Horace Gallatin; 1949.1.18 Description: Among the first results of Dürer'sstudies, which were to engage him throughout his life, was the engraving of Adam and Eve, in which he embodied all his new ideas of beauty and harmony, and which he proudly signed with his full name in Latin.

Accurately indicate case, line breaks, punctuation, missing texts, abbreviations, etc. in transcriptions


Record Type: itemClassification: paintingsWork Type: iconTitle: Icon with the Presentation of Christ in the TempleCreation Date: 15th centuryCreator: unknown ByzantineMaterials: wood, painted, with gold groundMeasurements: 17 1/2 x 16 5/8 in. (44.5 x 42.2 cm)Inscription: inscribed in Greek on the scroll held by Anna: [This Child created Heaven and Earth]; above the Virgin: [Mary, Mother of God]; upper left: [Purification]; upper right, part of a partially legible older inscription: [Purification].Current Location: Metropolitan Museum of Art (New York, New York). Bequest of Lillie P. Bliss, 1931 (31.67.8)Description: Icons painted on wood were the principal objects of religious devotion in the last centuries of Byzantium. Identified by a Greek inscription as "the Purification," this icon shows the Virgin presenting the Christ Child to Simeon for the customary rite of purification at the temple. Like Simeon, the prophet Anna (between Joseph and Mary) recognized the child's divinity, as indicated by the Greek text on the scroll in her hand: "This child created Heaven and Earth."

Inscription: inscribed in Greek on the scroll held by Anna: [This Child created Heaven and Earth]; above the Virgin: [Mary, Mother of God]; upper left: [Purification]; upper right, part of a partially legible older inscription: [Purification].

May include a translation or description instead of a transcriptionIndicated through brackets, etc.




Record Type: itemClass: photographs American artWork Type: photographDisplay Creator: Walker Evans (American, 1903–1975)Title: Floyd and Lucille Burroughs on Porch, Hale County, AlabamaInscription: signed and inscribed in pencil on mount, recto, bottom right: Walker Evans; bottom left: Alabama, 1936

Type: signedAuthor: Walker EvensLocation: mount

Type: dated Author: unknown later hand

Creation Date: 1936Material and Technique: gelatin silver print;Measurements: 18.9 x 23.7 cm (7 7/16 x 9 5/16 inches)Subject: portraits male female home Current Location: Metropolitan Museum of Art (New York, New York) 1999.237.4 Credit Line: Purchase, Marlene Nathan Meyerson Family Foundation Gift, in memory of David Nathan Meyerson; and Pat and John Rosenwald and Lila Acheson Wallace Gifts, 1999. © Walker Evans Archive, The Metropolitan Museum of Art

Image from metmuseum online ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Inscription: signed and inscribed in pencil on mount, recto, bottom right: Walker Evans; bottom left: Alabama, 1936

Type: signedAuthor: Walker EvensLocation: mount

Type: dated Author: unknown later hand

CDWA includes fields to index the inscription

Transcription or DescriptionType AuthorLocationLanguageTypeface/LetterformMark IdentificationDate

Earliest DateLatest Date

RemarksCitations

Page

Fields in the Inscription Category




Record Type: componentClass: manuscriptsWork Type: illuminated manuscriptTitle: De consolatione philosophiaeCreator: unknown German scribe; author: Boethius Creation Location: Germany Creation: Date 11th century

Language:Latin

Typeface/Letterform:Caroline miniscule

Materials: ink on parchment, decorated with small brown initials Measurements: 200 x 130 mm (165 x 100) Current Location: British Library (London, England)Relationship Type: part ofRelated Work: Arundel 514Relationship Number: Part 2 ff. 145-160v

May use fields such as Language and Letterform, even if you are not transcribing an inscription


Record Type: itemClass: decorative arts European artTitle: Ewer and Basin, Sèvres Porcelain ManufactoryDisplay Creator: models attributed to Jean-Claude Duplessis, designer unknown French, Sèvres Porcelain ManufactoryCreation Date: 1757Material and Technique: soft-paste porcelain, pink ground color, polychrome enamel decoration, gildingInscription: The basin is painted in blue underneath with the factory mark of crossed L's for the Sèvres Manufactory enclosing the date letter "E" for 1757 and an unidentified painter's mark of a branch with leavesMark Identification: Sèvres ESubject: utilitarian object washing flowersCurrent Location: J. Paul Getty Museum (Los Angeles, California) ID 84.DE.88

Inscription: The basin is painted in blue underneath with the factory mark of crossed L's for the SèvresManufactory enclosing the date letter "E" for 1757 and an unidentified painter's mark of a branch with leavesMark Identification: Sèvres E


Inscription may be a mark or stamp(Watermarks are recorded with materials)



Class: paintings*Work Type: painting*Title: Irises*Creator Display: Vincent van Gogh (Dutch painter, 1853-

1890) Role: painterName [link to authority]: Gogh, Vincent van

*Creation Date:1889*Subject: irises regeneration soil nature *Current Location: J. Paul Getty Museum (Los Angeles,

California, USA) ID: 90.PA.20 Creation Location : Saint-Rémy (Provence-Alpes-Côte

d'Azur, France)*Measurements: 71 x 93 cm (28 x 36 5/8 inches)

Value: 71 Unit: cm Type: heightValue: 93 Unit: cm Type: width

*Materials and Techniques: oil on canvas, applied with brush and palette knife

Material: oil paintcanvas

Technique: palette knifebrush

Inscription: signed, lower right: VincentDescription: This work was painted when the artist was

recuperating from a severe attack of mental illness, and it depicts the garden at the asylum at Saint-Rémy. It is influenced by the work of Gauguin and Hokusai, and is remarkable for the contrasts of

Format is controlled

MeasurementsMeasurementsMeasurements require controlled format and controlled lists to allow retrievalDisplay field allows expression of nuance

*Measurements: 71 x 93 cm (28 x 36 5/8 inches)



Covered by CCO, expanded in big CDWA:How to record measurements and how to measure works

After Sir Anthony Van Dyck (Flemish 1599- 1641), By Thomas Sabaudus. Christie's Sales online. Works of Art from the Collection of S.A.R. La Principessa Reale Maria Gabriella Di Savoia. Sale 7526. 27 Jun 2009. London, King Street


left and bottom for rectangles, largest dimensions for irregular shapes, diameter for circular objects, circumference of vessels, how to take “sight measurements,” measure plate and sheet, how to round numerical values, etc.



Record Type: itemClass: Indian and Himalayan ArtWork Type: manuscriptTitle: Manuscript Invoking the Protective Goddess Paldan LhamoCreation Place: MongoliaCreation Date: ca. 18th centuryCreator Display: Text composed by ShakyaGelong Changra Tulku Choje Gewang of the Lhadan Choskhor Thubstan Ling MonasteryMaterials: black, red, and yellow inks on paper; silk coverMeasurements: book (closed, without blue wrapping textile): 7.9 x 20 x 1.6 cm (3 1/8 x 7 7/8 x 5/8 inches)Extent: leaves

Value: 2 Unit: N/A Type: countExtent: item

Value: 7.9 Unit: cm Type: heightValue: 2.0 Unit: cm Type: widthValue: 1.6 Unit: cm Type: depth

Current Location: Philadelphia Museum of Art (Philadelphia, Pennsylvania); 2003-144-3a,b; Gift of Janet M. Roberts, 2003Description: Mongolian-Buddhist books, like this hand-written example, frequently use a combination of the Tibetan and Sanskrit languages written in Tibetan dbU chen script. Here the size of the writing and the ink colors are intentionally varied to emphasize portions of the text that should be spoken louder or in unison, or to indicate when particular ritual actions accompany the recitation. The text of this manuscript invokes the goddess PaldanLhamo.

Record height by width by depth (if applicable)Metric and inches displayMay record counts, e.g., leaves or pagesUsing Extent

Measurements: book (closed, without blue wrapping textile): 7.9 x 20 x 1.6 cm (3 1/8 x 7 7/8 x 5/8 inches)Extent: leaves Value: 2 Unit: N/A Type: count

Extent: item Value: 7.9 Unit: cm Type: heightValue: 2.0 Unit: cm Type: widthValue: 1.6 Unit: cm Type: depth


Record Type: itemClass: prints and drawingsWork Type: screen printCreator: Roy Lichtenstein (American, 1923 – 1997)Title: BrushstrokeCreation Date: 1965Measurements:sheet: 58.4 x 73.6 cm (23 x 29 inches) image: 56.4 x 72.4 cm (22 3/16 x 28 1/2 inches) framed: 76.7 x 92.2 x 4.4 cm (30 3/16 x 36 5/16 x 1 3/4 inches)Extent: sheet

Value: 58.4 Unit: cm Type: heightValue: 73.6 Unit: cm Type: width

Extent: image Value: 56.4 Unit: cm Type: heightValue: 72.4 Unit: cm Type: width

Extent: framed Value: 76.7 Unit: cm Type: heightValue: 92.2 Unit: cm Type: widthValue: 4.4 Unit: cm Type: depth Materials: color screen print

on heavy, white wove paperInscriptions: lower right in graphite: rf Lichtenstein H.C. G Current Location: National Gallery of Art (Washington, DC); Giftof Roy and Dorothy Lichtenstein; 1996.56.139 Leo Castelli GalleryChiron Press

Measurements:sheet: 58.4 x 73.6 cm (23 x 29 inches) image: 56.4 x 72.4 cm (22 3/16 x 28 1/2 inches) framed: 76.7 x 92.2 x 4.4 cm (30 3/16 x 36 5/16 x 1 3/4 inches)

Explain what is being measured, as necessary in the display field




Record Type: itemClass: prints and drawingsWork Type: screen printCreator: Roy Lichtenstein (American, 1923 – 1997)Title: BrushstrokeCreation Date: 1965Measurements:sheet: 58.4 x 73.6 cm (23 x 29 inches) image: 56.4 x 72.4 cm (22 3/16 x 28 1/2 inches) framed: 76.7 x 92.2 x 4.4 cm (30 3/16 x 36 5/16 x 1 3/4 inches)Extent: sheet

Value: 58.4 Unit: cm Type: heightValue: 73.6 Unit: cm Type: width


Extent: framed Value: 76.7 Unit: cm Type: heightValue: 92.2 Unit: cm Type: widthValue: 4.4 Unit: cm Type: depth Materials: color screen print

on heavy, white wove paperInscriptions: lower right in graphite: rf Lichtenstein H.C. G Current Location: National Gallery of Art (Washington, DC); Giftof Roy and Dorothy Lichtenstein; 1996.56.139 Leo Castelli GalleryChiron Press


Extent: sheet Value: 58.4 Unit: cm Type: heightValue: 73.6 Unit: cm Type: width


Extent: framed Value: 76.7 Unit: cm Type: heightValue: 92.2 Unit: cm Type: widthValue: 4.4 Unit: cm Type: depth

Measurements:sheet: 58.4 x 73.6 cm (23 x 29 inches) image: 56.4 x 72.4 cm (22 3/16 x 28 1/2 inches) framed: 76.7 x 92.2 x 4.4 cm (30 3/16 x 36 5/16 x 1 3/4 inches)

Use controlled fields to allow retrieval

Record Type [controlled]: item Class [controlled]: film and animation American art

*Work Type [link]: black-and-white film*Title: Inauguration Ceremony*Creator Display: unknown American production

company* Role [link]: creator [link]: unknown American

(production company)*Creation Date: 1905 [controlled]: Earliest: 1905

Latest: 1905*Subject [links]: history/legend presidential

inauguration Washington (DC, USA) Theodore Roosevelt (American president, 1858-1919)

Culture [link]: American*Current Location [link]: Library of Congress

(Washington, DC, USA) ID:FEA 6695 (ref-print)*Measurements: 35 mm, 176.78 m (580 feet); 28

minutes at 16 frames per secondFormat: 35 mmValue: 176.78 Unit: m Type: length Value: 28 Unit: minutes Type: running time Value: 16 Unit: frames per second Type: running

time*Materials and Techniques: black-and-white film

Material [links]: black-and-white filmDescription: 1 reel (580 ft.) : black-and-whte; 35 mm.

ref print.; duration: 0:28 at 16 fps. Theodore Roosevelt's inauguration.

*Measurements: 35 mm, 176.78 m (580 feet); 28 minutes at 16 frames per second

Format: 35 mmValue: 176.78 Unit: m Type: length Value: 28 Unit: minutes Type: running time Value: 16 Unit: frames per second Type: running time


Example of a record for a reel of film Running time, format



Record Type [controlled]: item Class [controlled]: prints and drawings European art

*Work Type [link]: measured drawing record drawing

*Title: Sections and Details of the Barn at DaringtonCourt, Faversham, Kent

*Creator Display: W. G. Prosser (British, contemporary)* Role [link]: draftsman [link]: Prosser, W. G.

*Creation Date: mid-20th century [controlled]:Earliest: 1930 Latest: 1970

*Subject [links]: architecture section barn Darington Court (Faversham, Kent, England)

Culture [link]: British*Materials and Techniques: pen and black ink on paper

Material [links]: ink paperInscriptions: scale: 2 1/2 in. = 10 feet; various other text

*Measurements: 240 x 260 cm (94 1/2 x 102 3/8 inches); scale: 2 1/2 inches = 10 feet


Scale: numeric Value: 2.5 Unit: inches Type: baseValue: 10 Unit: feet Type: target

*Current Location [link]: Royal Commission of Historic Monuments (London, England) ID:unavailable

Description: Commissioned by the Royal Commission on Historical Monuments (RCHM) to record this threatened building.

*Measurements: 240 x 260 cm (94 1/2 x 102 3/8 inches); scale: 2 1/2 inches = 10 feet


Scale: numeric Value: 2.5 Unit: inches Type: baseValue: 10 Unit: feet Type: target


Record the scale, shape, etc.

Record Type: itemClass: prints and drawingsWork Type: engravingTitle: The Second Wise Virgin Artist: Martin Schongauer (Alsatian, ca. 1430-1491)Creation Location: Germany Date of Creation: before 1483 AD Materials: copper engravingMeasurements: 11.8 x 17.7 cm (4 5/8 x 7 inches) chain lines: 25 mm apart (15/16 inch) (chain lines); laid lines: 14 per 20 mm (7/8 inch) Extent: sheet Value: 13.3 Unit: cm Type: height Value: 20.6 Unit: cm Type: widthExtent: chain lines Value: 25 Unit: mm Type: distance betweenExtent: laid lines per 20 mm Value: 14 Unit: N/A Type: countCurrent Location: Museum of Fine Arts (Budapest, Hungary)

Measurements: 11.8 x 17.7 cm (4 5/8 x 7 inches) chain lines: 25 mm apart (15/16 inch); laid lines: 14 per 20 mm (7/8 inch) Extent: sheet Value: 13.3 Unit: cm Type: height Value: 20.6 Unit: cm Type: width

Extent: chain lines Value: 25 Unit: mm Type: distance

betweenExtent: laid lines per 20 mm Value: 14 Unit: N/A Type: count

Record chain and laid lines




Class: paintings*Work Type: altarpiece*Title: Adoration of the Magi*Creator Display: Bartolo di Fredi (Sienese painter, active by

1353, died 1410)Role: painterName [link to authority]: Bartolo di Fredi

*Creation Date: ca. 1395/1409*Subject: Adoration of the Magi Journey of the Magi

*Current Location: Pinacoteca Nazionale (Siena (Italy)) Original Location: possibly Duomo (Siena (Italy))*Materials Display: tempera and gilding on panelMaterials: tempera gold panel*Measurements: 195 x 158 cm (76 x 61 5/8 inches)


Description: This work was painted late in the artist’s career. Judging from works that are copied from or influenced by it, this altarpiece may have been originally positioned in the Duomo of Siena, which had an Adoration altar as late as 1429 ...


Materials and TechniqueMaterials and Technique

*Materials Display: tempera and gilding on panel

Materials: tempera gold panel

Free-text and terminology controlled by an authority

Class*: graphic artsWork Type*: drawing, preparatory studyTitle*: Korean Man Creator*: artist: Peter Paul Rubens (1577-1640, active

in Flanders and Italy)Creation Date*: ca. 1617-1618 Measurements*: 38.4 x 23.5 cm*Materials Display: black chalk with touches of red chalk

in the face on ivory laid paperRole: medium

Materials: black chalk laid paper Role: support

Material: wood panelTechnique: painting | gold toolingSubject Matter*: Korean man, costumeCurrent Location*: J. Paul Getty Museum (Los Angeles,

CA), 83.B.384Descriptive Note: This is one of several studies of

persons in exotic costumes that Rubens did during ...

Context-Historical/Cultural: Man is portrayed in formal costume; is one of the first portrayals of a Korean on European soil ...

You may index support separately from media using a Role

*Materials Display: black chalk with touches of red chalk in the face on ivory laid paperRole: medium

Materials: chalk Role: support

Material: laid paper




Record Type: volumeClass: manuscripts and rare booksWork Type: codexTitle: Anaphora of the Virgin MaryCreator: unknown Egyptian; author: attributed to Abba Heryagos (Cyriacus) of Behensa (Egyptian bishop, 5th-6th century)Creation Date: 17th centuryMaterials Display:ink on parchmentExtent: leavesRole: medium

Materials: inkRole: support

Material: parchment Extent: binding

Technique: Coptic bindingMeasurements: 17.5 x 11.5 cm Description: Manuscript copy of the "Qeddase Maryam"Current Location: Princeton University Library (Princeton, New Jersey) Manuscripts Division: Robert Garrett Collection Call number: Garrett Ethiopic 32

Materials Display: ink on parchmentExtent: leavesRole: medium

Materials: inkRole: support

Material: parchment Extent: binding

Technique: Coptic binding

You may index technique separately from materials


Record Type: itemClass: prints and drawingsWork Type: etchingCreator: James McNeill WhistlerTitle: The "Adam and Eve," Old ChelseaCreation Date: 1879Materials Display: etching and drypoint; watermark: Strasburg lilyMaterials: ink laid paperTechniques: etching drypointWatermark: Strasburg lily

Measurements: 6.9 x 11.9 inches (17.5 x 30.2 cm)Description: A fine example of the 'Strasburg lily' watermark can be seen in the paper used for Whistler’s 1879-1880 etchings. There are many variations of the 'Strasburg lily' watermark. It has also been known, more prosaically, as the Fleur-de-Lis on a Crowned Shield, or simply as the Fleur-de-Lis, (a term derived from the central element of the design). The watermark in Whistler’s print bears the date ‘1814’ below the design. This date can only be used to verify the initial year of the watermark’s use. Under transmitted light the image shows flocking of pulp along the chain lines, which occurred when the sheet was still in the wet state on the mold. Current Location: National Gallery of Art (Washington, DC). Rosenwald Collection; 1943.3.8510

Record watermarks with materials

Materials Display: etching and drypoint; watermark: Strasburg lilyMaterials: ink laid paperTechniques: etching drypointWatermark: Strasburg lily




Record Type: itemClass: prints and drawingsWork Type: drypointTitle: Christ Presented to the PeopleCreator: Rembrandt van Rijn) (Dutch, 1606–1669)Materials: drypointState: second state of eightCurrent Location: Metropolitan Museum of Art (New York, New York); Gift of Felix M. Warburg and his family, 1941 (41.1.34).Description: The Roman governor Pontius Pilate on the dais points to Christ at his side as he asks the people whether he should release Barrabas or Christ (Matthew 27:21–23). Just as fascinating as the riveting central subject of this powerful print are the varied characters, attitudes, and poses to be found within the crowd of spectators witnessing the event from the street below and the surrounding windows. Rembrandt composed this print entirely in drypoint, which accounts for the velvety quality of many of the lines. With drypoint, Rembrandt could combine the immediacy of drawing with the ability to print many impressions of a single image. This impression was printed on Japan paper, whose yellow tone bathes the scene in a warm light. The standard-size Japan sheet was smaller than Rembrandt's printing plate, but the printmaker solved this dilemma by adding an extra strip of paper to the top of the sheet.

Record Type: itemClass: prints and drawingsWork Type: drypoint Christ Presented to the PeopleCreator: Rembrandt van Rijn (Dutch, 1606–1669)Materials: drypoint;State: eighth (final) stateMeasurements: 13 3/4 x 17 15/16 in. (34.9 x 45.6 cm)Current Location: Metropolitan Museum of Art (New York, New York); Gift of Felix M. Warburg and his family, 1941 (41.1.36)Description: Rembrandt treated this large drypoint almost as a painting, making marked changes to the composition as he reconceived the scene over and over. In the sixth state of the print, he removed much of the original crowd that stood directly below the main event and replaced it with two brick arches over an unidentified chasm. Between the arches he also added a sculpted male figure, lightly covered over in this, the final, state. The iconographic significance of these changes remains a mystery, but compositionally they serve to thrust the viewer into direct confrontation with Christ's fat

State Description:2nd of 8 states

State Identification: 2Known States: 8

State Description:8th of 8 states

State Identification: 8Known States: 8

State of prints and other multiples, display and index


State and EditionState and Edition

Record Type: itemClass: special collectionswork Type: rare bookCreator: Giorgio Vasari (Italian, 1511-1574) Publisher: I GiuntiTitle: Vite de’ piu eccellenti pittori, scultori et architettoriTitle: Le vite de’ piv eccellenti pittori, scvltori, et architettori / scritte, & di nuouo ampliate da M. Giorgio Vasari, pit. et archit. aretino ; co’ ritrattiloro, et con le nuoue vite dal 1550. insino al 1567 ; con tauole copiosissime de’nomi, dell’opere, e de’luoghi ou’ elle sono. Publication Place: FlorencePublication Date: 1568. Description: 3 pts. in 3 v. : ports. ; 25 cm. (4to) evised, expanded and illustrated version of the 1st ed. (Florence : Lorenzo Torrentino, 1550).Sources: Mortimer, R. Italian 16th cent., 515 Notes: R Current Location: Getty Research Library (Los Angeles, California) 85-B23279

Record Type: itemClass: prints and drawingsWork Type: lithographCreator: Claes Oldenburg Title: Typewriter EraserCreation Date: 1970Measurements: 31.1 x 24.1 cm (12 1/4 x 9 1/2 inches)Materials: 3-color lithograph on Rives BFK paperEdition Description: 3/20Impression Number: 3Edition Size: 20Facture: Colors or Sequence 1. pink (aluminum), 2. transparent red-brown (stone), 3. green-black (stone) Current Location: National Gallery of Art (Washington, DC); NGA Accession Number 1991.74.182; 38.18; © Gemini G.E.L. and the Artist; Catalogue Number 38.18; Gemini Work Number CO70-310; Old Gemini Catalogue Number 182Description: Edition 100 plus 20 AP, RTP, PP II, 3 GEL, C. Collaboration and Supervision Kenneth Tyler; Processing and Proofing Kenneth Tyler; Edition Printing Charles Ritt assisted by Andrew Vlady, Richard Wilke

Edition Description:100/100

Impression Number: 100Edition Size: 100

Edition Description:2nd edition

Edition Number: 2Edition of prints or books




DescriptionTypeAgentDate


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Record Type: volume Class: manuscriptsWork Type: manuscript Title: Archimedes Palimpsest Title: CODEX ARMENICUS RESCRIPTUSTitle: MS 575Relationship Number: 81rCondition/Examination History: Conserved by the Walters Art Gallery,

Baltimore; multispectral imaging, x-ray florescence, and synchrotron x-ray examinations were undertaken to reveal the Archimedes undertexton 81vType: synchrotron x-ray beam

Agent: Stanford Linear Accelerator Center (Stanford, California)Date: 2004

Type: multispectral imagingAgent: Rochester Institute of Technology and Johns Hopkins

UniversityDate: 2005

Type: x-ray florescence imaging Agent: EDAX Company (New Jersey)Date: April 2005

Description: Archimedes lived in the third century BC. In the tenth century AD, his works were copied by a scribe. This book of 90 pages was then reused in the twelfth century to produce a volume of 174 pages on which Christian prayers were inscribed. Forgers added religious images sometime after 1930. Today, much of the text has already been read, but ca. 15% of it remains undeciphered. From Walters, Baltimore: The Archimedes Palimpsest is considered by many to be the most important scientific manuscript ever sold atauction. It was purchased at a Christie's sale on Oct. 28, 1998, by an anonymous collector for $2,000,000. The collector deposited the Palimpsest at the Walters Art Museum, Baltimore, for exhibition,conservation, imaging and scholarly study in 1999. Work has beenongoing ever since. The Archimedes Palimpsest contains seven of the Greek mathematician's treatises. Most importantly, it is the only surviving copy of On Floating Bodies in the original Greek, and the unique source for the Method of Mechanical Theorems and Stomachion. The manuscript was written in Constantinople (present day Istanbul) in the 10th century. In the 13th century, the manuscript was taken apart, and the Archimedes text was scraped off. The parchment was reused by a monk who created a prayer book. This process is called palimpsesting. The Archimedes manuscript then effectively disappeared. In 1906, the undertext was recognized by J. L. Heiberg, professor of classics at the University of Copenhagen, Denmark, as containing previously unknown works by Archimedes. Since 1999, intense efforts have been made to retrieve the Archimedes text. Many techniques have been employed. Multispectral imaging, undertaken by researchers at the Rochester Institute ofTechnology and Johns Hopkins University, has been successful in retrieving about 80% of the text. More recently the project has focused

Condition/Examination History:Conserved by the Walters Art Gallery, Baltimore; multispectral imaging, x-ray florescence, and synchrotron x-ray examinations were undertaken to reveal the Archimedes undertext

Type: synchrotron x-ray beamAgent: Stanford Linear Accelerator Center (Stanford, California)

Date: 2004Type: multispectral imaging

Agent: Rochester Institute of Technology and Johns Hopkins UniversityDate: 2005

Type: x-ray florescence imaging Agent: EDAX Company (New Jersey)

Date: April 2005

Condition description and indexing fields




DescriptionTypeAgentDate


PlaceRemarksCitations

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• Conservation info is included in CDWA

• Description and indexing fields


Record Type: itemClass: prints and drawingsWork Type: collageCreator: Robert RauschenbergTitle: 7 Characters, Red HeartCreation Date: 1982Measurements: 77.5 x 67.3 cm (30 1/2 x 26 1/2 in.); framed size including medallion and mirror: 43 x 31 x 2 3/8 inMaterials: print and multimedia on Chinese Xuan 30-ply Fabrication Description: Each piece started with a special handmade sheet of 30-ply Xuan paper measuring approximately 30 1/2 x 26 1/2". A piece of thin white silk fabric measuring 26 x 21 1/2" was laminated to the surface. Various collage elements consisting of cut posters, fabric swatches, and silk ribbons were arranged in unique configurations and glued to the surface. Seven different Chinese characters selected by the artist were carved into cherry wood, cast in paper and adhered to each piece. A thin, transparent piece of Xuan paper was laid over the entire collage, sealing in all of the elements. A randomly selected, two-sided medallion was suspended from each collage with a brightly colored ribbon. Each 5 1/2" diameter medallion was cut from authentic silk wedding bed covers and edge-stitched. The deckled paper edge of each collage was gold-leafed. A 12 x 7 1/4" mirror was mounted to the silk-lined backing board and reflects the design on the reverse side of the embroidered hanging medallion. Each piece was framed in a clear acrylic sheet box . Current Location: National Gallery of Art (Washington, DC). 41.145; ©Robert Rauschenberg and Gemini G.E.L./ VAGA, New York, NY; Catalogue Number 41.145; Gemini Work Number RR82-13 Old Gemini Catalogue Number 1038; NGA Accession Number 1988.74.125 Description: Series of 70 unique paper and fabric collages. In June of 1982 Robert Rauschenberg and Gemini G.E.L. traveled to the city of Jingxian, in the Anhui Province of the People's Republic of China, where the China Collage series was conceived and fabricated. The following characters were chosen for their meaning, as well as their aesthetic form: Individual, Change, Howl, Light, Trunk, Red Heart, and Truth. The NGA print is one of 70 unique works. The Chinese symbols stamped in red represent the paper mill, Robert Rauschenberg, and Gemini G.E.L. The mill stamp stating "XuanPaper, Jing County, Anhui Province" was applied in China. The artist's and publisher's stamps were applied in Los Angeles. Each collage also bears the artist's signature and year date. The working series title for this group was the "China Collage" series. Edition Production Mari Andrews, Terry Van Brunt, Chun-Wuei Su Chien, Elyse Grinstein, Stanley Grinstein, Edward Koterba, Shi Song Lin, Elizabeth Mahoney, Bill Padien, Brad Read, Donald Saff, Ruth Saff, Sarah Todd Remarks

FactureDescriptionRemarksCitations

Page

Facture Description: Each piece started with a special handmade sheet of 30-ply Xuan paper measuring approximately 30 1/2 x 26 1/2". A piece of thin white silk fabric measuring 26 x 21 1/2" was laminated to the surface. Various collage elements consisting of cut posters, fabric swatches, and silk ribbons were arranged in unique configurations and glued to the surface. Seven different Chinese characters selected by Rauschenberg were carved into ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.



Record Type: itemClass: prints and drawingsWork Type: lithographCreator: Jasper JohnsTitle: FaceCreation Date: 1973Publication Date: 1974Inscription Type: signed Date: 1974Measurements: 78.1 x 57.8 cm (30 3/4 x 22 3/4 in.)Current Location: National Gallery of Art (Washington, DC, USA)Repository Identification: 1981.5.191 26.64Creation Number: JJ73-627Number Type: Gemini Work Number Creation Number: 500Number Type: Old Gemini Catalogue Number © Jasper Johns and Gemini G.E.L./VAGA, New York, NYCatalogue Number 26.64; Artist Jasper Johns; Gemini Work Number JJ73-627; Old Gemini Catalogue Number 500 NGA Accession Number 1981.5.191 Related Work: Series Casts from Untitled Materials: 3-color lithograph on Richard de Bas NarcisseFacture: 1. red (stone), 2. transparent red (aluminum), 3. white (aluminum) Dimensions 78.1 x 57.8 cm (30 3/4 x 22 3/4 in.) Description: Edition 49 plus 10 AP, 4 TP, RTP, PPII, 3 GEL, 8 OP, C; Collaboration and Supervision Ronald McPherson, Kenneth Tyler; Processing and Proofing Charles Ritt, Kenneth Tyler; Edition Printing Charles Rittassisted by Barbara Thomason. The same stone and plates were used for printing edition JJ73-627A, a state edition of 15 with 3 trial proofs, which was printed before the cancellation proof was pulled. 2 trial proofs representing the discarded first drawing for Face were pulled on Laurence Barker handmade paper. 2 other trial proofs were pulled,

L N i d h A i l

Current Location: National Galleryof Art (Washington, DC, USA)

Repository Identification:1981.5.191 26.64

Creation Number: JJ73-627Number Type: Gemini Work

Creation Number: 500Number Type: Old Gemini

• Creation Numbers, etc.


• Exhibition/Loan History• Ownership/Collecting History• Orientation/Arrangement• Copyright Restrictions• Cataloging History• Related Visual Documentation• Related Textual Documentation• Context

(Events, Archaeological, Architectural, Historical)


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* Date of Creation * When Date Is Uncertain


DateDate

Class: prints and drawingsWork Type: architectural drawing

design drawingDescriptive Title: Design for the addition of porticoes on the north and south fronts of the President’s HouseCreator: Benjamin H. LatrobeDocument Type: design drawingCreation Date: 1807Earliest: 1807 Latest:1807

Materials: ink and watercolor on paperMeasurements: 15 3/8 x 20 inchesType, Purpose, Method of Representaton: conceptual drawing; elevationCurrent Location: Library of Congress (Washington, DC)Descriptive Note: Latrobe worked with President Jefferson to transform the modest President’s House …Subject: White House

Display DateEarliest and Latest for retrievalDate may be simple –a particular year

Image of drawing from : Lowry, Bates. Building a National Image: Architectural Drawings for the American Democracy, 1789-1912. Washington: National Building Museum, 1985.

Creation Date: 1807Earliest: 1807 Latest: 1807



Record Type: itemClass: prints and drawingsWork Type: drawingTitle: Pennsylvania German DishCreator: rendered by Albert LevoneCreation Date: ca. 1935Materials: watercolor, graphite, and gouache on paperboardMeasurements: overall: 34 x 28 cm (13 3/8 x 11 in.) Original IAD Object: om(?) 237Current Location: National Gallery of Art (Washington, DC). Index of American Design; 1943.8.8102 Description: Pennsylvania German Folk Art from the Index of American Design. Dishes made by Pennsylvania German potters came in a variety of sizes and shapes. This oval one with scalloped edges was elaborately decorated by the sgraffitotechnique. Notice the bold floral design that contrasts with the light strokes of lettering that form a delicate border. Splashes of green worked into the glaze heighten the color of the red clay that is exposed. The dish was made by Samuel Troxel. The inscription reads: "From clay and many skills, the potter fashions what he will, July the 19th 1823.“Related Work: Pennsylvania German Dish

Range of datesUncertainty, nuance, “ca.”Index for retrieval

Creation Date: ca. 1935Earliest: 1930Latest: 1940


Rules for estimating Earliest and Latest Dates are in CCO and expanded in CDWA

*Work Type *Work Type [link][link]:: screen *Title*Title:: Eight-Planked Bridge (Yatsuhashi)*Creator Display*Creator Display:: Ogata Korin (Japanese, 1658-1716)*Role *Role [link][link]:: painter [link][link]:: Ogata Korin*Creation Date: : probably done sometime between 1711 and 1716

Earliest: 1711 Latest: 1716Style [link]: Edo (Japanese)*Subject [links]: landscape bridge irises love longing journeying Ise Monogatari (Japanese literature, poems) *Current Location [link]: Metropolitan Museum of Art (New York; New York, USA ) ID :53.7.1-2*Measurements: pair of six-panel folding screens; each 179.1 x 371.5 cm (5 feet 1 1/2 inches x 12 feet 2 1/4 inches)[controlled] Extent: parts Value: 2 Type: count | Extent: each part Value: 179.1 Unit: cm Type: height | Value: 371.5 Unit: cm Type: width | Extent: components Value: 2 Type: count *Materials and Techniques: ink, color, and gold-leaf on paper, using tarashikomi (color blending technique)Material [links]: ink paint gold leaf paper Technique [links]: tarashikomiInscriptions: right hand screen: Korin's signature with honorary title "hokkyo“; round seals read "Masatoki"Culture [link]: JapaneseDescription: Represents a popular episode in the 10th-century "Ise Monogatari" (The Tales of Ise) series of poems on love and journeying; in this episode, a young aristocrat comes to a place called Eight Bridges (Yatsuhashi) where a river branched into eight channels, each spanned by a bridge. He writes a poem of five lines about irises growing there. The poem expresses his longing for his wife left behind in the capital city.Description Source [link] : Metropolitan Museum of Art online. www.metmuseum.org (accessed 1 February 2004)


*Creation Date:probably 1711/1716 Earliest: 1709 Latest: 1718

Range of datesUncertainty, nuance, “ca.”Index for retrieval



Record Type: volumeClass: Indian and Himalayan ArtWork Type: bookTitle: A Volume of the Manjushri Namasamgiti (Hymn to Manjushri, Bodhisattva of Wisdom)Creation Place: China or MongoliaCreation Date: 18th centuryEarliest: 1700 Latest: 1799Style: Qing Dynasty (1644-1911), Creator: unknown, Tibetan, Chinese, Mongolian, and ManchurianMaterials: colors on paper with silkMeasurements: 4 1/2 x 28 x 7 3/4 inches (11.4 x 71.1 x 19.7 cm) Cover: 1/2 x 28 x 7 3/4 inches (1.3 x 71.1 x 19.7 cm)Current Location: Philadelphia Museum of Art (Philadelphia, Pennsylvania); 1923-21-464; Gift of Charles H. Ludington from the George Crofts Collection, 1923Description: Printing Buddhist books is an expensive but popular method of earning religious merit-the spiritual currency believed to increase one's chances for a better rebirth in the next lifetime. A wealthy, multi-lingual patron commissioned this large looseleaf book, annotated in Tibetan, Chinese, Manchurian, and Mongolian scripts. The red ink, possibly made from cinnabar, costs more than black. Golden yellow silk brocade, a color reserved in China for members of the imperial family, covers the bookends. Printing or donating lavish Buddhist texts like this one is one method for paying for monastic rituals.

Dates expressed by century

Creation Date: 18th centuryEarliest: 1700 Latest: 1799


Record Type: itemClass: sculptureWork Type: modelTitle: Wooden model for the façade of San Lorenzo, FlorenceCreator: MichelangeloCreation Date:

completed by 1555Earliest: 1550 Latest: 1555Medium: poplar, cypress, pine and other wood; traces of white lead paint and gessoMeasurements: 216 x 283 x 50 cmScale: 1:12Subject: façade; modelCurrent Location: Casa Buonarroti(Florence, Italy)Descriptive Note: This is probably one of the two models described by Michelangelo in a letter to his brother, Lionardo, in September 1555. It was ...

image frrom Millon, Henry & Craig Hugh Smyth, Michelangelo Architetto, Milan: Olivetti, 1988

Creation Date:completed by 1555

Earliest: 1550 Latest: 1555

When range is uncertain, express what you know, e.g., “completed by”




Classification*: manuscriptObject/Work Type*: decorated text, KoranTitle or Names*: Leaf from a Qur'an ManuscriptCreation-Creator/Role*: callligrapher: Ahmad ibn

al-Suhrawardi al-Bakri; illuminator: Muhammad ibn Aybak

Creation-Date*: text was finished in the year A.H. 707 / A.D. 1307-1308

Subject Matter*: Koran, Inscription: Inscriptions: (In Arabic; text in

muhaqqaq script): "Ahmad ibn al-Suhrawardial-Bakri, praising Allah and blessing His prophet Muhammad and his family and his companion and saluting"; (in kufic script, on upper and lower bands): "Baghdad may Allah the Exalted honor it, in the months of the year 707" (H. McAllister, trans.)

Current Location*: National Museum of the American Indian (New York); 19/8402

Measurements*: 52 x 69 cm Materials and Techniques*: cotton appliquéDescriptive Note: This folio, the left half of the

double end-page of a Qur'an, was signed by Ibn al-Suhrawardi in a splendid muhaqqaqcalligraphy (the three lines of text). In addition, the kufic script inside the cartouches, which were illuminated by the famous artist Muhammad ibn Aybak

Dates may be recorded according to various dating systemsIndexed per the Gregorian calendar

image from http://www.conexus.si.edu/index4.htm

Creation Date: text was finished inA.H. 707 (1307/1308 CE)Earliest: 1307 Latest: 1308


Record Type [controlled]: volume Class [controlled]: �manuscripts �European art *Work Type [link]: sacramentary �illuminated manuscript*Title: Sacramentary*Creator Display: illuminated by unknown German active in Mainz or Fulda, binding by unknown Mosan artist* Role [link]: illuminator Extent [cont.]: illuminations � [link]: unknown German * Role [link]: artist Extent [cont.]: binding � [link]: unknown Mosan*Creation Date: illuminated in 2nd quarter of 11th century, binding from 12th century, with later additions [controlled]: Qualifier: illuminations �Earliest: 1025 � Latest: 1060 | Qualifier: binding �Earliest: 1100 � Latest: 1199 *Subject [links]: Extent: overall Terms:� service book � sacramentary � prayers �Mass | Extent: cover Terms:� Christ in Majesty � Ascension Culture [link]: Ottonian*Current Location [link]: J. Paul Getty Museum (Los Angeles, California, USA) IDs: �MS. LUDWIG V 2 �Creation Locations [links]: �Fulda (Hessen, Germany) | �Mainz (Rheinland Pfalz, Germany) | Mosan (Europe) �Liège province (Belgium) *Measurements: 179 leaves; text block: 26.6 x 19.1 cm (10 1/2 x 7 1/2 inches); text area: 17 x 13 cm (6 3/4 x 5 1/8 inches); oak covers: 27.3 x 19.8 cm (10 3/4 x 7 7/8 inches)[controlled] Extent: leaves �Value: 179 Unit: N/A Type: count | �Extent: text block �Value: 26.6 Unit: cm Type: height | �Value: 19.1 Unit: cm Type: width�Extent: text area �Value: 17 Unit: cm Type: height | �Value: 13 Unit: cm Type: width �Extent: cover �Value: 27.3 Unit: cm Type: height | �Value: 19.8 Unit: cm Type: width *Materials and Techniques: tempera colors, gold, silver, and ink on parchment, with hammered and engraved binding of gilt silver, brass, and nielloExtent: illuminations Material [links]: � tempera �ink �parchment | �Extent: binding Material [links]: �gilt silver �brass �oak Technique [links]: �nielloDescription: Although the Ottonian book was written and illuminated in Germany binding (Mainz or Fulda, in modern Germany), the binding was produced in Mosan, a region in present day Belgium noted for medieval metalwork and enamel traditions. The subject of the binding includes a gilt silver Christ in Majesty. Christ sits on a throne, blessing with his right hand while holding a book in his left. The letters alpha and omega appear to either side of him. The first and last letters of the Greek alphabet, they refer to a figure from the text of the Apocalypse, traditionally interpreted as Christ, who says, "I am the Alpha and Omega; the beginning and the end.Description Source [link]: J. Paul Getty Museum online. www.getty.edu (accessed 10 February 2004)

Work created in stages over a period of time Or different parts created at different datesMultiple dates, repeating fields

*Creation Date: illuminated in 2nd quarter of 11th century, binding from 12th century, with later additions Qualifier: illuminations Earliest: 1025 Latest: 1060

Qualifier: binding Earliest: 1100 Latest: 1199




Record Type: itemClass: photographs American Artwork type: photographCreator: Alfred Stieglitz Title: Self PortraitCurrent Location: J. Paul Getty Museum (Los Angeles, California) 93.XM.25.38Copyright: Estate of Georgia O'Keeffe Creation Date: negative 1907, print 1930Qualifier: negativeEarliest: 1907 Latest: 1907Qualifier: printEarliest: 1930 Latest: 1930Material and Technique: gelatin silver print Measurements: 24.7 x 18.4 cm (9 3/4 x 7 1/4 inches)Subject: Alfred Stieglitz, self-portrait, bust


Work created in stages over a period of time Or different parts created at different datesMultiple dates, repeating fields

Creation Date: negative 1907, print 1930

Qualifier: negativeEarliest: 1907 Latest: 1907

Qualifier: printEarliest: 1930 Latest: 1930

Record Type [controlled]: collection Class [controlled]: photographs European art *Work Type [link]: albumen prints *Title: Views of Paris and Environs and the Exposition Universelle*Creator Display: Neurdein Frères (French, active late 19th-early 20th centuries)

* Role [link]: photographers [link]: Neurdein Frères*Creation Date: 1888-1894 (inclusive dates)

Qualifier: inclusive Earliest: 1888 Latest: 1894*Subject [links]: architecture views Paris (France) International Exposition of 1889 (Paris, France) Versailles Palace (Versailles, France) Parc de Saint-Cloud (Paris, France) Parc du Champ de Mars (Paris, France) travel *Current Location [link]: Getty Research Institute, Research Library, Special Collections (Los Angeles, California, USA) ID: 93-F101

*Materials and Techniques: albumen prints Technique [links]: albumen prints

* Measurements: 37 photographic prints; images 13 x 19 cm (5 1/8 x 7 1/2 inches), on sheets 19 x 25 cm (7 1/2 x 9 7/8 inches)

[controlled] Extent items Value: 37 Type: count || Extent: image Value: 13 Unit: cm Type: height | Value: 19 Unit: cm Type: width || Extent: sheet Value: 19 Unit: cm Type: height | Value: 25 Unit: cm

Type: widthInscriptions: captions in French, printed on mount above and below image.Description Note: Mounted souvenir views of Paris and environs issued by Neurdein Frères for visitors to the 1889 Exposition universelle. Collection includes panoramas of Paris and views of its main avenues and monuments as well as views of Versailles and the Parc de Saint-Cloud. These images were probably printed from existing ones in the Neurdein Frères inventory. Six views of the Exposition universelle include a panoramic view taken from the Trocadero, a view of the Parc du Champ de Mars, and an exterior view of the Algerian pavilion.


*Creation Date: 1888-1894 (inclusive dates) Qualifier: inclusive Earliest: 1888 Latest: 1894 For a collection or group

Bulk or inclusive dates



Record Type: itemClass: prints and drawingsWork Type: printCreator: David HockneyTitle: Snow Creation Date: 1973Measurements: 101.6 x 85.1 cm (40 x 33 1/2 in.)Current Location: National Gallery of Art (Washington, DC); 23.14; NGA Accession Number 1976.56.53; ©David Hockney and Gemini G.E.L.; Catalogue Number 23.14; Gemini Work Number DH73-506; Old Gemini Catalogue Number 445 Materials: 9-color lithograph and screen print on Arjomari paperFacture: 1. light blue-gray (stone), 2. light mauve (stone), 3. medium gray (stone), 4. dark mauve (stone), 5. medium brown (stone), 6. green (aluminum), 7. dark gray (stone), 8. blue-white (screen), 9. white (screen) Dimensions 101.6 x 85.1 cm (40 x 33 1/2 in.) Description: Cancellation was documented with printing of this edition in 1973... Edition 98 plus 12 AP, RTP, PPII, 3 GEL, 3 CTP, SP; Collaboration and Supervision Kenneth Tyler ; Processing and Proofing Kenneth Tyler; Edition Printing James Webb assisted by Robert Knisel, Donna Rae Hirt; Remarks The stones, plate, and screens were used for edition printing of DH73-506A .

Cancellation of a plate would be indexed in the Date area for the plate or a “multiples” group recordDate of destruction of a work could be included

Description (Descriptive Note):Cancellation was documented with printing of this edition in 1973...

May refer to cancellation of the plate in the Description for this print


Class: Asian art calligraphy painting Work Type: handscroll*Title: Viewing the Waterfall at Longiu*Creator Display:* primary painter and calligrapher was Dai

Xi, with additional inscriptions and colophons added by other officials

*Creation Date: probably between 1847 and 1849 Earliest: 1847 Latest: 1849

Style: Wen ren*Subject: waterfalls landscape pine trees clouds

pavilions, poetry Longqiu/Lung-ch'iu (Dragon Pool) Yentang shan (Mount Yentang) mountains Mountain of Myriad Geese

*Current Location: Department of Asian Arts, The Saint Louis Art Museum ( Saint Louis, Missouri, USA) ID: 7:1985

Creation Location: Beijing (China) *Measurements: 31.9 cm x 133.9 cm *Materials and Techniques: ink on paper, in a brocade

cover with calligraphies written on separate sheets Inscriptions: inscribed with the colophons and encomia of

the artist and several other collaborators: Dai Xi, Luchuang Juren , Lun An, Meng Xin, Shun Qi, Shun Shi, Shun Si, Song Ping, Yu An, Jing Dong Juren, and WenJie

Description: This is an example of the Wen re style, where the work, comprising painting, poetry, and calligraphy, was created by scholars and gentlemen, rather than professional painters or craftsmen. Dai Xi and the others involved with the creation were scholar-officials at the imperial court or its offices in the provinces...

Image © The Saint Louis Art Museum 2009

Style, period, group, movement, e.g.,

AncientOp-artFauveMedievalNeo-RomanticistPre-RaphaeliteHellenisticFeministClassicistOld Kingdom


Style/CultureStyle/Culture

Style/Period/Group/Movement:Wen ren

MingRenaissanceSurrealistLouis XVIManneristWen renPostmodernNayaritHuariInsular

May record all terms in one repeating field



Record Type: componentClass: manuscriptsWork Type: illuminated manuscriptTitle: Lindisfarne Gospels: Initial page to St John's Gospel Creator: probably Eadfrith (British, late 7th-early 8th century)Creation Date: late 7th or early 8th centuryStyle: InsularTypeface/Letterform: Insular scriptCurrent Location: British Library (London, England). Cotton MS Nero D.IV; Copyright ©The British Library BoardRelated Work: Lindisfarne GospelsRelationship Type: part ofDescription: Lindisfarne Gospels: Initial page to St John's Gospel. This is the opening page of the text of St John's gospel, from the Lindisfarne Gospels which was made around 698AD at the Abbey of Lindisfarne. The small lines of text you can see under the decorated words are a translation into Anglo-Saxon that was added in the tenth century. Further information about The Lindisfarne Gospels is available on the British Library web site. ©The British Library, used with permission. The term insular is used to refer to manuscripts produced in monastic centres in the British Isles in the seventh and eighth centuries. Insular manuscripts were written in uncial or half uncial scripts and were the first manuscripts to introduce spaces between words to make it easier to read.Theywere decorated in abstract linear patterns adapted from Anglo-Saxon and Celtic metalwork and where zoomorphic forms were included these were stylised and either copied from earlier art or drawn from the imagination. Three forms of decoration are commonly found in insular manuscripts: ornamented borders enclosing full page illustrations; ornate initials used for beginning of gospels and important passages; and carpet pages, which are full pages of decorative designs. Well known examples of Insular manuscripts are the Lindisfarne Gospels (c.698AD), the Book of Durrow (c.680AD) and the Book of Kells (c.800AD). According to a note added at the end of the manuscript less than a century after its making, that artist was a monk called Eadfrith, Bishop of Lindisfarne between 698 and 721. This legacy of an artist monk living in Northumbria in the early eighth century is a precious testament to the tenacity of Christian belief during one of the most turbulent periods of British history. Costly in time and materials, superb in design, the manuscript is among our greatest artistic and religious treasures. It was made and used at Lindisfarne Priory on Holy Island, a major religious community that housed the shrine of St Cuthbert, who died in 687. Because the Christian faith was spread by the Roman Empire, its sacred texts and rituals were written and performed in Latin a language understood by

Style/Period/Group/Movement:Insular

Qualifier: style

Typeface/Letterform:Insular script

May also record script style in Inscriptions –Typeface/Letterform

Use Qualifier to distinguish the type of term:styleperiodgroupmovementdynasty


Record Type: componentClass: manuscriptsWork Type: illuminationTitle: A Crowd Watches a Flying Pelican Luring Smaller Birds into Its Large BeakCreator: Shaykh AzariCreation Date: 1613Materials: tempera and gold on paperMeasurements: 11 13/16 x 6 3/4 in. (30 x 17.2 cm)Relationship Number: folio 162AInscriptions: [Date] 22 Rajab 1022 [8 September 1613]Culture: IslamicDynasty: SafavidReign: Shah Abbas (1585-1628)Creation Location: AfghanistanCurrent Location: Walters Art Museum (Baltimore, Maryland) Accession No. W.652.162ACredit Line: Acquired by Henry WaltersOwnership/Collection History: Henry Walters, Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.

May also use Creation – Culture

Styles/Periods/Groups/Movements:SafavidQualifier: dynasty

Culture: Islamic




* Locations re. the Work Record


Class: Sculpture*Work Type: hacha*Title: Hacha (Ceremonial Ax)* Creator Display: unknown Veracruz* Creation Date: Late Classic Veracruz (600-900 CE)* Current Location: Dumbarton Oaks (Washington DC,

USA) ID: B38 VCSDiscovery Location: Veracruz (Mexico)Subject: religion/mythology human figure face

game sacrifice ceremonial object Inca ballgame

* Measurements: 35 x 22.2 cm (height) (13 3/4 x 8 3/4 inches)

* Materials and Techniques: marble Descriptive Note: The hacha had ritualistic significance

and likely served as an actual ballcourt marker.

Location may be a repository, building, city, or nation

Unknown Veracruz. Hacha. Late Classic Veracruz. © Dumbarton Oaks, Washington DC 2009.©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

LOCATION* Current Location:Dumbarton Oaks (Washington DC, USA)ID: B38 VCS

Discovery Location: Veracruz (Mexico)

Authority-controlledGeographic Place AuthorityRepositories as corporate bodies in Personal & Corp Body Names



Record Type [controlled]: item Class [controlled]: photographs American art

*Work Type [link]: albumen print *Title: Naiche, Youngest Son of Cochise*Creator Display: A. F. Randall (American, 19th

century)*Role [link]: photographer [link]: Randall, A. F.

*Creation Date: 1884 [controlled]:Earliest: 1884 Latest: 1884

*Subject [links]: portrait Naiche (ChiricahuaApache, 1856/1858-1919) Indian Wars (US history)

Culture [link]: American*Current Location [link]: private collection ID: N/ACreation Location: San Carlos Indian Reservation

(Graham county, Arizona, USA)*Measurements: 14 x 22 cm ( 5 1/2 x 8 5/8 inches)

[controlled]: Value: 14 Unit: cm Type: height | Value: 22 Unit: cm Type: width *Materials and Techniques: albumen print

Technique [links]: albumen print


Current location may be unknown or private collectionCreation location

*Current Location: private collection

Creation Location: San Carlos Indian Reservation (Graham county, Arizona, USA)

Record Type [controlled]: item Class [controlled]: paintings European art*Work Type [link]: painting*Title: Maude Adams as Joan of Arc*Creator Display: Alphonse Mucha (Czech, 1860-1939)* Role [link]: painter [link]: Mucha, Alphonse *Creation Date: 1909 [controlled]: Earliest: 1909 Latest: 1909*Subject [links]: portrait Maude Adams (American actress, 1872-1953) Friedrich von Schiller, German 1759-1805), Die Jungfrau von Orleans Joan of Arc (French saint, 1412-1421) actress human figure female woods flowers design

advertising/commercialStyle [link]: Art NouveauCulture [link]: French*Current Location [link]: Metropolitan Museum of Art (New York, New York, USA) ID:20.33

Creation Location: Chicago (Illinois, USA)Former Location [link]: Empire Theater (New York, New York, USA)Former Location [link]: Harvard University (Cambridge, Massachusetts, USA)*Measurements: 208.9 x 76.2 cm (82 1/4 x 30 inches)[controlled]: Value: 208.9 Unit: cm

Type: height | Value: 76.2 Unit: cm Type: width *Materials and Techniques: oil on canvasMaterial [links]: oil paint canvasDescription: The painting was created as a poster design for the performance of American actress Maude Adams in Schiller's

*Current Location: Metropolitan Museum of Art (New York, New York, USA) ID:20.33

Creation Location: Chicago (Illinois, USA)

Former Location: Empire Theater (New York, New York, USA)

Former Location: Harvard University (Cambridge, Massachusetts, USA)

May have many kinds of locations associated with a workE.g., places where the work was displayed




Record Type: itemClass: Indian and Himalayan ArtWork Type: manuscriptTitle: Double Folio from a Qur'anCreator Display: unknown Central Asia or Turkey, possibly AnatoliaCreation Date: ca. 1330-1350Creation Place: AnatoliaPlace Qualifier: bookCreation Place: IndiaPlace Qualifier: decorationMaterials: opaque watercolor, ink, and gold on paperMeasurements: 11 3/8 x 14 11/16 inches (28.9 x 37.3 cm)Subject: Double Folio from a Qur'an; Chapter 5, "The Table" (al-Ma'ida), Verses 72-74Current Location: Philadelphia Museum of Art (Philadelphia, Pennsylvania); 2004-149-4; Alvin O. Bellak Collection, 2004Description: possibly made in Anatolia (modern Turkey); decorated in India. As in the western tradition, Islamic books have a vertical format with paper pages sewn together into a binding. Early Muslim settlers from central and western Asia carried Islamic book traditions into India, especially in the form of Qur'ans, such as the one from which these pages come. Since the Qur'an, the holy scripture of Islam, was communicated in Arabic to the Prophet Muhammad by God in the seventh century, its words are venerated, as is the writing thatcommunicates them. Three distinct calligraphic scripts appear on this page. Large, bold lines give the Qur'an verses in the original Arabic; zigzag bands of smaller letters translate the verses into Persian; and red, blockish characters with verses from the Hadith (Traditions of the Prophet Muhammad) serve as a decorative frame.

Creation Place: AnatoliaPlace Qualifier: book

Creation Place: IndiaPlace Qualifier: decoration

Description (Descriptive Note):Possibly made in Anatolia (modern Turkey); decorated in India ....

Use qualifiers to index places associated with different creative activitiesExplain distinctions and nuance or uncertainty in Description


Record Type: itemClass: AsianWork Type: tabletTitle: The Flood Tablet, relating part of the Epic of GilgameshTitle: ME K3375Creator: unknown Neo-AssyrianCreation Date: 7th century BCEMeasurements: 15.240 x 13.330 x 3.170 cmMaterials: stoneCreation Location: Nineveh, northern IraqDiscovery location: Kuyunjik (Ninevah, Iraq)Excavated by A. H. LayardExcavation Date: 1847/1851Current Location: British Museum (London, England).

Script: cuneiformDescription: The most famous cuneiform tablet from Mesopotamia : The Assyrian King Ashurbanipal (reigned 669-631 BC) collected a library of thousands of cuneiform tablets in his palace at Nineveh. They recorded myths, legends and scientific information. Among them was the story of the adventures of Gilgamesh, a legendary ruler of Uruk, and his search for immortality. The Epic of Gilgamesh is a huge work, the longest literary work in Akkadian (the language of Babylonia and Assyria). It was widely known, with versions also found at Hattusas, capital of the Hittites, and Megiddo in the Levant. This, the eleventh tablet of the epic, describes the meeting of Gilgamesh with Utnapishtim. Like Noah in the Hebrew Bible, Utnapishtim had been forewarned of a plan by the gods to send a great flood. He built a boat and loaded it with everything he could find. Utnapishtim survived the flood for six days while mankind was destroyed, before landing on a mountain called Nimush. He released a dove and a swallow but they did not find dry land to rest on, and returned. Finally a raven that he released did not return, showing that the waters must have receded. The materials were found in the archaeological site of

Current Location: British Museum (London, England)Creation Location: Nineveh (Iraq)

Discovery Location:Kuyunjik (Nineveh, Iraq)

Excavator: A. H. LayardExcavation Date: 1847/1851Earliest: 1847 Latest: 1851


Supplement Discovery Location with information as needed from fields in Context-Archaeological in CDWA



* Description (Descriptive Note)


Record Type: itemClass: Indian and Himalayan ArtWork Type: copper grantTitle: Tamrashasana (Copper Grant)Creator: unknown, India, probably Karnataka or Andhra PradeshCreation Date: ca. late 6th to 7th century Creation Location: IndiaMaterials: copper alloyMeasurements: 10 x 4 x 4 inches (25.4 x 10.2 x 10.2 cm)Current Location: Philadelphia Museum of Art (Philadelphia, Pennsylvania); 2003-186-1; Purchased with the Stella Kramrisch Fund, 2003Description (Descriptive Note):Made in Karnataka or Andhra Pradesh, India. In ancient India, texts were written on cloth, bark, or palm leaves. When a more permanent record was required, writing was carved into stone or metal. From at least the fourth century, permanent records of royal gifts and property transactions were inscribed on flat sheets of copper called a tamrashasana (literally copper grant or edict). A tamrashasana can be a single sheet or multiple sheets held together with a ring to which a cast royal seal is often affixed. Especially in southern India, the pages of these copper "books" were long and narrow, imitating the horizontal, palm leaf pages of a pothi. Like the covers of a pothi, the front and back pages of the tamrashasana were free of text. These permanent copper records were usually given to the grantee and buried at a relevant spot, such as on the boundary of the granted land. The original impermanent record, from which the copper sheets were copied, was kept in the royal archive. Source: Philadelphia Museum of Art online

Description (Descriptive Note):Made in Karnataka or Andhra Pradesh, India. A tamrashasana(literally copper grant or edict) is a document inscribed on flat sheets of copper (instead of on paper) with the intention of creating apermanent record of a certain royal gift and property transaction. Multiple sheets are held together with a ring to which a cast royal seal is affixed. Such permanent copper records were usually given to the grantee and buried on the boundary of the granted land. The original impermanent record, from which the copper sheets were copied, would have been kept in the royal archive. Source: Philadelphia Museum of Art online

DESCRIPTIVE NOTE

Description is a brief descriptive note about the workSources should be listed

Description is free text, not optimized for retrievalIndex important information in other relevant fields




Record Type: itemClass: Indian and Himalayan ArtWork Type: copper grantTitle: Tamrashasana (Copper Grant)Creator: unknown, India, probably Karnataka or Andhra PradeshCreation Date: ca. late 6th to 7th century Creation Location: IndiaMaterials: copper alloyMeasurements: 10 x 4 x 4 inches (25.4 x 10.2 x 10.2 cm)Current Location: Philadelphia Museum of Art (Philadelphia, Pennsylvania); 2003-186-1; Purchased with the Stella Kramrisch Fund, 2003Description (Descriptive Note):Made in Karnataka or Andhra Pradesh, India. In ancient India, texts were written on cloth, bark, or palm leaves. When a more permanent record was required, writing was carved into stone or metal. From at least the fourth century, permanent records of royal gifts and property transactions were inscribed on flat sheets of copper called a tamrashasana (literally copper grant or edict). A tamrashasana can be a single sheet or multiple sheets held together with a ring to which a cast royal seal is often affixed. Especially in southern India, the pages of these copper "books" were long and narrow, imitating the horizontal, palm leaf pages of a pothi. Like the covers of a pothi, the front and back pages of the tamrashasana were free of text. These permanent copper records were usually given to the grantee and buried at a relevant spot, such as on the boundary of the granted land. The original impermanent record, from which the copper sheets were copied, was kept in the royal archive. Source: Philadelphia Museum of Art online

Description (Descriptive Note):Made in Karnataka or Andhra Pradesh, India. A tamrashasana(literally copper grant or edict) is a document inscribed on flat sheets of copper (instead of on paper) with the intention of creating apermanent record of a certain royal gift and property transaction. Multiple sheets are held together with a ring to which a cast royal seal is affixed. Such permanent copper records were usually given to the grantee and buried on the boundary of the granted land. The original impermanent record, from which the copper sheets were copied, would have been kept in the royal archive.Source: Philadelphia Museum of Art online

Discuss some or all of the salient characteristics and historical significance of the workIncluding uncertain info, function, historical context, physical form


Record Type: itemClass: prints and drawingsWork Type: drawingTitle; Manuscript and Miniature of FracturCreator: rendered by Albert LevoneMaterials: watercolor, colored pencil, pen and ink, and graphite on paperboardMeasurements: overall: 30.6 x 24.2 cm (12 1/16 x 9 1/2 in.) Original IAD Object: L. OM 412; W OM 198 (?)Current Location: National Gallery of Art (Washington, DC); Index of American Design; 1943.8.3364 Description (Descriptive Note):This fractur is a hymnbook illustration that refers to the 100th Psalm. Bold lettering contrasts with lighter, more graceful forms. The decorative motifs of angels, tulips, and stars were hand-drawn and colored. Fractur refers to the style of writing as well at to the illuminated documents itself. It was brought to Pennsylvania by German scribes and is an art form peculiar to the Pennsylvania Germans. It is based on upon the sixteenth-century fractur typeface, a loose imitation of bold, rigid Gothic lettering. The fractur writer held several positions within the Pennsylvania German community. As the representative of learning, he was often the schoolmaster as well as clergyman. With his skill in drawing and writing, he performed such services as illustrating books and hymnals and drawing up important documents. Source: National Gallery of Art, Pennsylvania German Folk Art from the Index of American Design, 2000

Description (Descriptive Note):This fractur is a hymnbook illustration that refers to the 100th Psalm. Bold lettering contrasts with lighter, more graceful forms. The decorative motifs of angels, tulips, and stars were hand-drawn and colored. Fractur was brought to Pennsylvania by German scribes, an art form peculiar to the Pennsylvania Germans. It is based on upon the sixteenth-century fractur typeface. The fractur writer was often a schoolmaster as well as clergyman, with skill in drawing and writing to perform such services as illustrating books and hymnals and drawing up important documents. Source: National Gallery of Art, Pennsylvania German Folk Art from the Index of American Design, 2003.

Standard discussion as found in a museum or other scholarly catalog, stylistic significance, or subjectHow work relates to other art, culture, artist’s career




Record Type: volumeClass: manuscriptsWork Type: illuminated manuscriptTitle: Mondsee Gospels and Treasure Binding with the Four Evangelists and the Crucifixion Creator: illuminator: unknown German; scribe : Othlon of Regensburg (German, active ca. 1030-1050)Creation Date: third quarter 11th centuryMaterials: parchment bound between oak boards covered with leather, silk damask, silver filigree, gilded panels, four ivorypanels (one modern) depicting the Evangelists, and incised gold leaf depicting the Crucifixion under convex rock crystalCurrent Location: Walters Art Museum (Baltimore, Maryland); Accession No. W.8Credit Line: Acquired by Henry WaltersMeasurements: 11 1/16 x 9 3/16 x 4 1/8 in. (28.1 x 23.3 x 10.4 cm)Description:Contents: fols. 1r-208r: Gospel readings for the liturgical year, beginning with Christmas vigilsfols. 63r-76v: Matthew; Passion narrativefols. 76v-85v: Mark; Passion narrativefols. 85v-94v: Luke; Passion narrativefols. 94v-102v: John; Passion narrativefols. 208-220v: Common of Saintsfols. 222r-223v: Gospel readings for non-proper feriaefols. 223v-225v: Gospel readings for votive massesfols. 227v-228v: Gospel readings for Office of the DeadCodicology: 228 fols. + 1 flyleaf; 27.8 x 21.7 cm (textblock: 14.4 x 10.1 cm); 1 column of 17 lines, ruled in brown ink; 5 large interlaced initials in gold and silverTypeface/Letterform: Caroline minusculeCreation Location: GermanyStyle: OttonianOwnership Collection History: Regensburg, late 11th century; Jacques Rosenthal [dealer], Munich, early 20th century; Henry Walters, Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.

Description (Descriptive Note):Codicology: 228 fols. + 1 flyleaf; 27.8 x 21.7 cm (textblock: 14.4 x 10.1 cm); 1 column of 17 lines, ruled in brown ink; 5 large interlaced initials in gold and silverContents: fols. 1r-208r: Gospel readings for the liturgical year, beginning with Christmas vigilsfols. 63r-76v: Matthew; Passion narrativefols. 76v-85v: Mark; Passion narrativefols. 85v-94v: Luke; Passion narrativefols. 94v-102v: John; Passion narrativefols. 208-220v: Common of Saintsfols. 222r-223v: Gospel readings for non-proper feriaefols. 223v-225v: Gospel readings for votive massesfols. 227v-228v: Gospel readings for Office of the Dead

May include codicology, collation, contents, etc.


Record Type: groupClass: Architecture

* Work Type: • architectural documents * Title: • Architectural drawings relating primarily to

residences and commercial and public buildings in Ottawa from the Office of Werner E. Noffke, Ottawa

* Creator Display: Office of Werner E. Noffke, Ottawa* Creation Date*: 1906-1962 (inclusive dates)* Subject: • office buildings • churches • exhibition halls •

residences * Current Location: Cartographic and Audio-Visual

Archives Division; National Archives of Canada (Ottawa, Canada) ID: Noffke, W.E. 77803/7

* Measurements: various dimensions * Materials and Techniques: various materials Description: This collection contains 2241 drawings

representing some 200 projects by Ottawa architect Werner E. Noffke over a period of 60 years. Residences, offices, and commercial buildings, exhibition halls, and churches appear in the collection, along with projects for buildings for foreign legations. A great deal of Noffke’s work was done for the Government of Canada.

Source: National Archives of Canada

Image: FDA Guide, provided by National Archives of Canada.

May be used for archival description


Description (Descriptive Note):Description (Descriptive Note):This collection contains 2241 drawings representing some 200 projects by Ottawa architect Werner E. Noffkeover a period of 60 years. Residences, offices, and commercial buildings, exhibition halls, and churches appear in the collection, along with projects for buildings for foreign legations. A great deal of Noffke’s work was done for the Government of Canada.



* Information about View


Work Record:Class:Class: sculpture* Work Type:Work Type: colossus* Title:Title: • Great Sphinx • Abu al-Hawl* Creator Display:Creator Display: unknown Ancient Egyptian* Creation Date:Creation Date: Fourth Dynasty, reign of King Khafre (ca. 2575-ca. 2465 BCE).* Work Subject:Work Subject: • sphinx • portrait

• King Khafre • Pharaonic power* Current Current Location:Location: Giza (Egypt)* Measurements:Measurements: height: 20 m. (66 feet), length: 73 m.

(240 feet)* Materials and TechniquesMaterials and Techniques:: limestone, carved from live

rockDescriptionDescription:: The Sphinx is a impressive embodiment of

kingship, placed to the south of the Great Pyramid at Giza. It is probably intended to represent King Khafre, although later generations believed that it was the Sun God ...Note Source:Note Source: Janson, H.W., History of Art. 3rd edition.

New York: Harry N. Abrams, Inc., 1986 Page:Page: 60 ff.

VIEW INFORMATIONView Description / View Type / View Subject / View Date


Image Record:Image Type: slideImage Source: Janson, H.W., History of Art. 3rd edition. New York: Harry N.

Abrams, Inc., 1986, plate 64Image Format: Cibachrome (TM)Image Measurements: 35 mm, 2 x 2 inches

View Description: exterior view, facing NorthView Type: oblique view, partial viewView Subject: the Great Sphinx with the Great

Pyramid in the backgroundView Date: 1950

View records information related to the view of the work in the image



* What Is the Subject?* Description, Identification, Interpretation * Is There Always a Subject?


Description: Depicts Shah Jahan on horseback, dressed for the hunt...

Subject indexing:portraitrulerhorsehuntShah Jahan (Mughalemperor of India, 1592-1666, ruled 1628–1658)

Shah Jahan on Horseback: Leaf from the Shah Jahan Album, period of Shah Jahan (1628–1658); Attributed to Bhag; Ink, colors, and gold on paper; 15 1/3 x 10 1/10 in. (38.9 x 25.7 cm); Rogers Fund and The Kevorkian Foundation Gift, 1955. Metropolitan Museum of Art, New York (55.121.10.21) ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

SUBJECTSUBJECTSubject is controlledMay describe Subject in Description



The subject matter of a work of art

The narrative, iconographic, or non-objective meaning conveyed by a figurative or an abstract compositionWhat is depicted in and by a

work of artAlso covers the function of an

object or architecture that otherwise has no narrative content

Broadly defined“Core” informationFor all objects, even those that have no “subject” in the traditional sense


What is Subject?

Should be included, even when the title refers to subject


The subject matter of a work of art

The narrative, iconographic, or non-objective meaning conveyed by a figurative or an abstract compositionWhat is depicted in and by a

work of artAlso covers the function of an

object or architecture that otherwise has no narrative content

What is Subject?

Using fields specifically dedicated to subject assures that subject matter is consistently recorded and indexed in the same place using the same conventions for every object represented in the database



What is the work “of” or “about”?“Of-ness” is what would be seen by an objective, non-expert viewer unfamiliar with the “meaning” of the image“About-ness” is the iconographical, narrative, thematic, or symbolic meaning of the image


What is Subject?

Representational, narrativeTells a story

Representational, not a storyPortraits, landscapes, still lifes, genre scenes, architectural drawings, allegories

Non-RepresentationalAbstractDecorationFunctionImplied themes or attributes


What is Subject?



General Subject and Specific Subject

• Choose appropriate general subjects• In addition, add terms to describe

subject as specifically as possible ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

still lifeseascapereligion and mythology

portraitperformanceobject (utilitarian)

nonrepresentational artmixed motifmilitary

machineliterary themelandscape

interior architecturehuman figurehistory & legend

genrefunerary artdidactic & propaganda

cityscapeceremonial objectcartographic

botanicalarchitectureapparel

animalallegoryadvertising & commercial

Class: sculpture*Work Type: statue*Title: Guanyin*Creator Display: unknown Chinese*Role: sculptor*Name [link to authority]: unknown Chinese*Creation Date: 12th century *Subject: religion and mythology

Guanyin royal ease compassionStyle: Song Dynasty*Current Location*: Museum of Fine Arts (Boston,

Massachusetts, USA) 20.590*Measurements: 141 x 88 x 88 cm (55 1/2 x 34 5/8 x 34

5/8 inches)*Materials and Techniques: lacquered wood with painting

and gildingDescription: Guanyin is the Bodhisattva of Compassion,

represented in the pose of “royal ease” and richly ornamented. A Bodhisattva is one who has attained enlightenment, but chooses to remain among humankind to help others achieve it ...

Image ©MFA Boston, 2009; from http://www.mfa.org/artemis/fullrecord.asp?oid=28589&did=300#Location

*Subject:•religion and mythology•human male •Guanyin•royal ease •compassion

Description, identification, interpretationWhat the work is “of” and “about”Common iconographical themes, stories and characters




Class: paintings*Work Type: altarpiece*Title: Adoration of the Magi*Creator Display: Bartolo di Fredi (Sienese painter, active by

1353, died 1410)Role: painterName [link to authority]: Bartolo di Fredi

*Creation Date: ca. 1395/1409*Subject: religion and mythology Adoration of the Magi

Journey of the Magi Three Kings astrologers Phrygian caps Jesus Mary Joseph Balthazar

Melchior Caspar gold frankincense myrrhKing Herod horses dogs birds Jerusalem (Israel) Siena (Italy) city walls three ages of man

*Current Location: Pinacoteca Nazionale (Siena (Italy)) Original Location: possibly Duomo (Siena (Italy))*Measurements: 195 x 158 cm (76 x 61 5/8 inches)


*Materials and Techniques: tempera and gilding on panelMaterial: tempera gold panelDescription: This work was painted late in the artist’s career.

Judging from works that are copied from or influenced by it, this altarpiece may have been originally positioned in the Duomo of Siena, which had an Adoration altar as late as 1429 ...

Image Pinacoteca Nazionale, Siena Italy

*Subject:•religion and mythology•human figures •horses •city •Adoration of the Magi •Journey of the Magi •Three Kings •astrologers •Phrygian caps •Jesus • Mary •Joseph •Balthazar • Melchior • Caspar • gold •frankincense • myrrh •King Herod •horses •dogs •birds •Jerusalem (Israel) •Siena (Italy) •city walls •three

f

Description, identification, interpretationWhat the work is “of” and “about”Common iconographical themes, stories and characters


Record Type: itemClass: printsWork Type: engravingTitle: Capital and base of a column (Vitruvius II)Creator: Hans BehamCreation Date: 1543 Qualifier: publicationMaterials: engravingInscriptions: Signature/Marks (within image) 1543 9u.l.) VITRVVIVS II (u.c.) HSB (monogram - u.r.); (verso - pencil) C39014 H2 (l.c.); QVODLIBET HORVM CAPITVM PONI POTEST / AD CORPVS COLVMNAE DORICAE; (left hand edge) DISSE HAVBTER MAG EIN IETLICHES GESECZ WERDEN/AVF DEN / LEIB DER SEVLN DORICA (right hand edge)Measurements: 77 x 50mmSubjects:columns (architectural elements)capitalsbases (object components)acanthusPeriod / Style: Renaissance/EuropeanCurrent Location: Auckland Art Museum (Auckland, New Zealand); Department International Art.Credit Line Auckland Art Gallery Toi o Tamaki, purchased 1981Acquisition Method Purchase/PrivateAccession Date 1981

Accession No 1981/50/20

Description, identification, interpretationWhat the work is “of” and “about”

*Subject:architecture column capital base acanthus

architecture




Class*: paintingsWork Type*: paintingTitle*: A Couple of FoxhoundsCreator/Role*: painter: George Stubbs (British painter, 1724-1806)[link] Stubbs, George Role: painterCreation-Date*: 1792Subject*:

animalfoxhoundsdogshuntinglandscape

Current Location*: Tate Gallery (London, UK) Purchased with assistance from the Friends of the Tate Gallery 1973; T01705

Measurements*: support: 1016 x 1270 mmMaterials and Techniques*: oil on canvasDescriptive Note: A Couple of Foxhounds was probably commissioned

by the Reverend Thomas Vyner of north Lincolnshire. Stubbs was known to have worked for the Vyner family on his return to Lincolnshire in 1776 and again in 1792. Vyner was an avid sportsman and equestrian, and an expert on breeding hounds. He was a close friend of Charles Anderson-Pelham, later 1st Baron Yarborough, and the two often hunted together at Brocklesby, the Pelham estate...

©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. Image from Tate Museum online

Description, identification, interpretationWhat the work is “of” and “about”animals, plants, nature

*Subject:animalsdogsfoxhoundshuntinglandscape

Class*: paintings/Work Type*: painting Title*: Still life with flowers and fruitCreator/Role*: Claude Monet [link] unknown Monet, Claude Role: painterCreation Date*: 1869Subject*:

still life flowerschrysanthemumsapplesgrapesvasebaskettableclothtable

Current Location*: J. Paul Getty Museum (Los Angeles, CA), 83.PA.215Measurements*: 39 3/8 x 31 3/4 in.Materials and Techniques*: Oil on canvas Descriptive Note: Although painted in his studio, this still life shows the influence of the outdoor experiments that Claude Monet undertook in the summer and fall of 1869, while he was living at Bougival on the Seine River. His exercises in different painting techniques are seen in the way he softened the outlines of forms and the manner in which he explored the descriptive possibilities of brushstrokes: broad and flat in the tablecloth, sketchy in the apples, and short and dense in the flower petals.

Description, identification, interpretationWhat the work is “of” and “about”still lifes = fruit, flowers, objects

*Subject:still life flowersapplesgrapes chrysanthemums

vasebaskettableclothtable




Class*: paintingsWork Type*: paintingTitle*: A Farm in BrittanyCreator/Role*: Paul Gauguin (French painter, 1848–1903)[link] Gauguin, Paul Role: painterCreation Date*: probably 1894Subject*:

landscapeBrittanytreescedar of Lebanonvillage houses

Measurements*: 72.39 x 90.57 cm (28 1/2 x 35 5/8 inches)Materials and Techniques*: oil on canvasCurrent Location*: Metropolitan Museum of Art (New York, NY)

Bequest of Margaret Seligman Lewisohn, in memory of her husband, Sam A. Lewisohn, 1954 (54.143.2)

Descriptive Note: This picture was probably painted in 1894, the date inscribed on another landscape (Private collection) showing the same site. In the summer of 1894, between his two Tahitian periods, Gauguin worked in Brittany at Le Pouldu and Pont-Aven. The exact location of the landscape in the present painting is not known...

©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. Image from metmuseum.org

Subject*:landscapetreesvillage housesBrittanycedar of Lebanon

Description, identification, interpretationWhat the work is “of” and “about”landscapes, seascapes, cityscapes

Record Type: volumeClass: rare booksWork Type: Nile DeltaCreator: Scribe: Haji Khalifa (Turkish, died 1657); Author: Piri Reis (Turkish, 1465-1554)Created: 17th centuryMedium: ink, paint, and gold on paperDimensions: 14 1/8 x 25 13/16 x 5 13/16 in. (35.8 x 65.5 x 14.7 cm)Relationship Number: Folio Number: 304vMeasurements: full-page miniature; h.: 30.2 cm, w.: 19.9 cmTypeface/Letterform: script: naskhiCulture: OttomanCreation Place: TurkeyLanguage: TurkishSubject:cartographicrivercitiesNile DeltaAlexandria (Egypt)Ownership History: Henry Walters, Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.Current Location: Walters Art Museum. Accession No. W.658.304VCredit Line: Acquired by Henry Walters

*Subject:cartographicrivercitiesNile DeltaAlexandria (Egypt)

Description, identification, interpretationWhat the work is “of” and “about”cartographic




Class*: photographWork Type*: albumen printTitle*: Lincoln on the Battlefield of Antietam, Maryland, October 2,1862Creator/Role*: Alexander Gardner (American photographer, 1821-1882)[link] Gardner, Alexander Role: photographerCreation-Date*: 1862Subject*:

Description:President Abraham Lincoln on the Antietam battlefield, with Major Allan Pinkerton, chief of the Secret Service, and Major John McClernand.Current Location*: J. Paul Getty Museum (Los Angeles, CA), 84.xm.482.1Measurements*: 8 5/8 x 7 3/4 in.Materials and Techniques*: albumen printDescriptive Note: Twenty-six thousand soldiers were killed or wounded in the Battle of Antietam on September 17, 1862, after which Confederate General Robert E. Lee was forced to retreat to Virginia. Lincoln stands tall, front and center in his stovepipe hat, his erect and commanding posture emphasized by the tent pole that seems to be an extension of his spine...


Description, identification, interpretationWhat the work is “of” and “about”portraits, history & legend, events, geographic places

*Work Type [link]: screen *Title: Eight-Planked Bridge (Yatsuhashi)*Creator Display: Ogata Korin (Japanese, 1658-1716)*Role [link]: painter [link]: Ogata Korin*Creation Date: : probably done sometime between 1711 and 1716 Earliest: 1711 Latest: 1716*Subject:

landscape bridge irises love longing journeying Ise Monogatari (Japanese literature, poems)

*Current Location [link]: Metropolitan Museum of Art (New York; New York, USA ) ID:53.7.1-2*Measurements: pair of six-panel folding screens; each 179.1 x 371.5 cm (5 feet 1 1/2 inches x 12 feet 2 1/4 inches)[controlled] Extent: each part Value: 179.1 Unit: cm Type: height | Value: 371.5 Unit: cm Type: width | Extent: components Value: 2 Type: count *Materials and Techniques: ink, color, and gold-leaf on paper, using tarashikomi (color blending technique)Material [links]: ink paint gold leaf paper Technique [links]: tarashikomiInscriptions: right hand screen: Korin's signature with honorary title "hokkyo“; round seals read "Masatoki"Style [link]: Edo (Japanese)Culture [link]: JapaneseDescription: Represents a popular episode in the 10th-century "Ise Monogatari" (The Tales of Ise) series of poems on love and journeying; in this episode, a young aristocrat comes to a place called Eight Bridges (Yatsuhashi) where a river branched into eight channels, each spanned by a bridge. He writes a poem of five lines about irises growing there. The poem expresses his longing for his wife left behind in the capital city.Description Source [link] : Metropolitan Museum of Art online. www.metmuseum.org(accessed 1 February 2004)

*Subject:landscape allegory

Description, identification, interpretationWhat the work is “of” and “about”Allegory, symbolism (e.g., life’s journey)

longing journeying Ise Monogatari(Japanese literature)

bridge irises love




Record Type [controlled]: group Class [controlled]: decorative arts Islamic art

*Work Type [link]: desk set candlesticks inkwell pen tray letter knife

*Title: Islamic Revival Desk Set*Creator Display: unknown Moroccan* Role [link]: creator [link]: unknown

Moroccan*Creation Date: 19th century [controlled]:

Earliest: 1800 Latest: 1899*Subject [links]: object (utilitarian) writing study

Culture [link]: Moroccan*Current Location [link]: private collection ID: N/A*Measurements: 5 components; candlesticks measure 29.97 x 9.53 cm (11 7/8 x 3 3/4 inches)

[controlled]: Extent: candlesticks Value: 29.97 Unit: cm Type: height | Value: 9.53 Unit: cm Type: width | Extent: components Value: 5 Type: count

*Materials and Techniques: brass and enamel, engraved

Material [links]: brass enamel Technique [links]: engraving

Inscriptions: inscribed on the underside of the drip-trays to each candlestick: 27Description: Comprises a pair of candlesticks, an inkwell (with a purple glass liner), pen tray and a letter knife. Each piece is engraved and decorated in light blue enamel with an angular pattern.


Description, identification, interpretationWhat the work is “of” and “about”function or purpose a non-representational work

*Subject:object (utilitarian)writing study

Record Type: itemClass: prints and drawingsWork Type: lithographTitle: White Line Square XIICreator: Josef Albers Creation Date: 1966 Relationship Type: SeriesRelated Work: White Line SquaresSubject:nonrepresentational artsquareCurrent Location: National Gallery of Art (Washington, DC). Catalogue Number 2.12; NGA Accession Number 1981.5.125; Gemini Work Number JA66-1162 ; Old Gemini Catalogue Number 13 Materials: 3-color lithograph on Arches Cover Facture: Colors or Sequence (aluminum) 1. yellow-gold, 2. red-orange, 3. vermilion Measurements: 53.3 x 53.3 cm (21 x 21 in.) Description: Edition 125 plus 10 AP, 5 TP, RTP, PPII, 2 GEL, 5 PP; Collaboration and Supervision Kenneth Tyler; Processing and Proofing Kenneth Tyler; Edition Printing James Webb, Fred Ganis, Octavio Pereira

Description, identification, interpretationWhat the work is “of” and “about”function or purpose a non-representational work

Subject:nonrepresentational artsquare




Class*: Manuscript, lectionaryWork Type*: decorated folio, calligraphyTitle or Names*: Initial Letter P Creation-Creator/Role*: artist: unknown OttonianCreation-Place: Reichenau, Germany or St. Gall, SwitzerlandCreation-Date*: late 900sSubject:

•religion and mythology•literary theme •Purification of the Virgin •rubric•Luke 2:22 (Bible)•versal (decorated initials)

Inscriptions: Text begins with the rubric for the Gospel reading for the Purification of the Virgin, explaining that the reading comes from the Gospel of Luke, written entirely in rustic capitals ...

Typeface/Letterform: rustic capitals, unical, Caroline minuscule

Remarks: Language: LatinMeasurements*: 10 15/16 x 7 9/16 inchesMaterials and Techniques*: Tempera colors, gold paint, and silver

paint on parchmentDescriptive Note: This page from an Ottonian lectionary shows

how medieval scribes used the size, color, and style of script to help readers understand a book's contents...

Current Location*: J. Paul Getty Museum (Los Angeles); MS. 16, FOL. 13

©© 2007 CCO, slide 2007 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

In addition to the visual subject content, Subject may include the content of the textTranscribe or describe the text in the Inscriptions field

Subject:•religion and mythology•literary theme•Purification of the Virgin •rubric •Luke 2:22 (Bible)•versal (decorated initials)

Inscription: Text begins with the rubric for the Gospel reading for the Purification of the Virgin, explaining that the reading comes from the Gospel of Luke, written entirely in rustic capitals ...

Record Type: itemClass: paintingsWork Type: paintingCurrent Location: Walker Art Gallery (Liverpool, England)Title: Dante and BeatriceCreation Date: 1883Creator: Henry Holiday (British, 1839 - 1927)Subject: human figuresliterary thememalefemalesbridgeflirtingriverpigeonsDanteBeatriceMonna VannaPonte Vecchio (Florence, Italy)Ponte Santa Trinità (Florence, Italy)Arno River (Tuscany, Italy)Eleanor ButcherDante Alighieri, La Vita Nuova, 1295Milly HughesKitty LushingtonDescription: Dante sees Beatrice at the Ponte Santa Trinità, Florence.The Ponte Vecchio traverses the Arno in the distance. 'Dante and Beatrice' was the most important painting by Henry Holiday. The theme of the painting is inspired by the autobiography Vita Nuova of the medieval poet Dante (1265-1321). Dante concealed his love for Beatrice by pretending to be attracted byother women. The scene depicted in the painting is that of Beatrice refusing to greet Dante because of the gossip that had reached her. Beatrice is the woman dressed in white and she was modelledby Eleanor Butcher. The woman next to Beatrice is Monna Vanna(or Giovanna) a companion of Beatrice and the mistress of Dante's friend Guido Cavalcanti. Monna Vanna was modelled by Milly

Subject:human figuresliterary thememalefemalesbridgeflirtingriverpigeons

Description, identification, interpretationWhat the work is “of” and “about”literary theme may be a subject




Record Type: itemClass: paintingsWork Type: paintingCurrent Location: Walker Art Gallery (Liverpool, England)Title: Dante and BeatriceCreation Date: 1883Creator: Henry Holiday (British, 1839 - 1927)Subject: human figuresliterary thememalefemalesbridgeflirtingriverpigeonsDanteBeatriceMonna VannaPonte Vecchio (Florence, Italy)Ponte Santa Trinità (Florence, Italy)Arno River (Tuscany, Italy)Eleanor ButcherDante Alighieri, La Vita Nuova, 1295Milly HughesKitty LushingtonDescription: Dante sees Beatrice at the Ponte Santa Trinità, Florence.The Ponte Vecchio traverses the Arno in the distance. 'Dante and Beatrice' was the most important painting by Henry Holiday. The theme of the painting is inspired by the autobiography Vita Nuova of the medieval poet Dante (1265-1321). Dante concealed his love for Beatrice by pretending to be attracted byother women. The scene depicted in the painting is that of Beatrice refusing to greet Dante because of the gossip that had reached her. Beatrice is the woman dressed in white and she was modelledby Eleanor Butcher. The woman next to Beatrice is Monna Vanna(or Giovanna) a companion of Beatrice and the mistress of Dante's friend Guido Cavalcanti. Monna Vanna was modelled by Milly

Subject:human figuresliterary thememalefemalesbridgeflirtingriverpigeons

Ponte Vecchio (Florence, Italy)Ponte Santa Trinità (Florence, Italy)Arno River (Tuscany, Italy)Dante Alighieri, La Vita Nuova, 1295Dante Alighieri (Italian poet, 1265-1321)Beatrice Portinari (Florentine, 1266–1290)Monna Vanna (Florentine, 13th century)Eleanor Butcher (British, 1844-1894)Milly Hughes (British, 19th century)Kitty Lushington (British, 1867-1922)

Subject of the painting is a reference to a literary workAlthough the visual work itself is not part of a textual workLa Vita Nuova


Record Type: volumeClass: prints and drawingsWork Type: rare bookCreator: author: Oscar Wilde (Irish playwright, 1854-1900)printmaker: Aubrey Beardsley (British artist, 1872)-1898; printmaker: Carl Hentschel (British printmaker, 19th century)Title: Salome, a Tragedy in One ActCreation Date: 1894 Language: EnglishDescription: Translated from the French.Materials: bound volume with thirteen lineblock illustrations; Binding: blue cloth, gilt spine, ornamental designs by Aubrey Beardsley stamped in gold on both covers Measurements: book: 21.7 x 15.7 x 1.6 cm (8 9/16 x 6 3/16 x 5/8 in.) plate: 20.9 x 15.1 cm (8 1/4 x 5 15/16 in.)Current Location: National Gallery of Art (Washington, DC); William B. O'Neal Fund; 2009.99.1

May index the subjects of the illustration separately from the subject of the text, using Extent

Subject:literary themehuman figuresSalome (New Test.)St. John the BaptistExtent: illustration

kisssevered headbloodfloating

Subject: literary themeOscar Wilde, SalomeSt. JohnHerodHerodiasdramaExtent: text

tragedyseductionexecutionjealousy




Record Type: volumeClass: prints and drawingsWork Type: rare bookCreator: author: Oscar Wilde (Irish playwright, 1854-1900)printmaker: Aubrey Beardsley (British artist, 1872)-1898; printmaker: Carl Hentschel(British printmaker, 19th century)Title: Salome, a Tragedy in One ActCreation Date: 1894 Language: EnglishDescription: Translated from the French.Materials: bound volume with thirteen lineblock illustrations; Binding: blue cloth, gilt spine, ornamental designs by Aubrey Beardsley stamped in gold on both covers Measurements: book: 21.7 x 15.7 x 1.6 cm (8 9/16 x 6 3/16 x 5/8 in.) plate: 20.9 x 15.1 cm (8 1/4 x 5 15/16 in.)Current Location: National Gallery of Art (Washington, DC); William B. O'Neal Fund; 2009.99.1

Subject: literary themeOscar Wilde, Salome, 1894Salome (New Test.)St. John the BaptistHerodHerodiasdramatragedy

Extent: text


Source Authority:Type: playBrief Citation: Wilde, Salome (1894)Full Citation: Wilde, Oscar. Salome:

A Tragedy in One Act. Illustrations by Aubrey Beardsley. Translated from the French. London: Elkin Mathews & John Lane, 1894.

Title: Salome: A Tragedy in One ActAuthor: Oscar Wilde, Oscar (Irish,

1854-1900)Publication Place: LondonPublisher: Elkin Mathews & John LanePublication Year: 1894

seductionexecutionjealousy

When the text is a published work, per CDWA use Subject to link to a bibliographic record(Libraries may differ)

Panathenaic Prize Amphora and Lid (terracotta), 363/362 BCE. Attributed to the Painter of the Wedding Procession (as painter); signed by Nikodemos (as potter) ; artist: unknown Athenian; terracotta; J. Paul Getty Museum (Los Angeles, California), 93.AE.55.

Extent: general *Subject religion & mythology object (utilitarian) ceremonial object

Extent: side A *Subject Athena Promachos (Greek iconography) human female

Extent: side B *Subject Nike Victor competition human females prize

©© CCO 2 2007 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Another use of ExtentDifferent parts of the work have different subjects



Record Type: itemClass: prints and drawingsWork Type: drawingTitle: BultoCreator: rendered by Eldora P. Lorenzini Eldora P. Lorenzini (American, 1910 – 1993)Materials: watercolor, pen and ink, and graphite on paperMeasurements: overall: 55.9 x 40.2 cm (22 x 15 13/16 in.) Original IAD Object: 11" high; 10 3/4 wideCurrent Location: National Gallery of Art (Washington, DC). Index of American Design; 1943.8.16638 Subject: still lifereligion & mythologybultoSt. IsadoreSource:: Folk Arts of the Spanish Southwest from the Index of American DesignObject 16 of 25Description: Isidore, the patron saint of farmers and protector of crops, was a farm laborer employed by a wealthy landowner near Madrid in the early twelfth century. According to legend, Isidore spent so many hours in prayer that he was in danger of falling behind with his farming chores. As a reward for his exceptional piety, divine intervention dispatched an angel to help Isidore finish his plowing on schedule. This miraculous event is the subject of an eighteenth-century New Mexican devotional sculpture, or bulto. The most important figure in a bulto's composition was typically represented as the largest, sacred hierarchy triumphing over naturalism. This is why Isidore towers above the angel, who in turn outranks the oxen, surpassing them in scale. Bultos such as this one were placed in both homes and churches to help enlist a saint's intercession on behalf of a prayerful supplicant. This sculpture of Saint Isidoreis attributed to a Franciscan friar, Fray Andres Garcia. Unfortunately, the face of Saint Isidore has been repainted at least once or twice, and a conclusive attribution is not possible. The Franciscans established missions in New Mexico, the northern frontier of Spanish America, which was first settled at the end of the sixteenth century. Fray Andrés Garcia was a Franciscan friar born in la Puebla de los Angeles, Mexico.Related Work: Bulto. Fray Andrés Garcia. 18th century.

Description, identification, interpretationWhat the work is “of” and “about”Subject of a work is another art work

Subject:religion & mythologyoxen human figuresbulto St. Isadorefarming plow

Relationship Type: depictsRelated Work:Bulto. Fray Andrés Garcia. 18th century. Location Unknown. You may link to separate

record for a related work©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Andrés Garcia, Bulto

Record Type [controlled]: item Class [controlled]: prints and drawings American art

*Work Type [link]: design drawing*Title: Design for the Addition of Porticoes on the North and South Fronts of the President’s House

*Creator Display: Benjamin H. Latrobe (British, 1764-1820)

* Role [link]: draftsman [link]: Latrobe, Benjamin H.

*Creation Date: 1807 [controlled]:Earliest: 1807 Latest: 1807

*Subject [links]: architecture elevation White House (Washington, DC, USA)

Culture [link]: American*Current Location [link]: Library of Congress (Washington, DC, USA) ID: unavailable

*Measurements: 39.12 x 50.8 cm (15 3/8 x 20 inches)

[controlled]: Value: 39.12 Unit: cm Type: height | Value: 50.8 Unit: cm Type: width

*Materials and Techniques: ink and watercolor on paper

Material [links]: ink watercolor paperDescription: Latrobe worked with President Jefferson to transform the modest President’s House.Related Work:

Relationship Type [controlled]: depicts[link to Work Record]: White House (Washington, DC,

USA); 1792-1817

*Subject:architectureelevationWhite House (Washington, DC, USA)


Description, identification, interpretationWhat the work is “of” and “about”Subject of drawing is another art work




Analyzing the subject

Three levels of analysisObjective description

Identification of named subject

Interpretation of the meaning or theme

Three levels of analysis


©© CCO 2009 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Loosely based on method prescribed by Erwin Panofsky

About-ness

Of-nessObjective description

Identification of named subject

Interpretation of the meaning or theme



A description of the work in terms of the generic elements of the image or images depicted in, on, or by it. A description of the work in terms of the generic elements of the image or images depicted in, on, or by it.

Mantegna; Italian; Adoration of the Magi; 1495-1505; Distemper on linen; Sight size: 19 1/8 x 25 7/8 in.; J. Paul Getty Museum, Los Angeles. 85.PA.417


womanbaby

mother and childmen

costumesturbansbrocadefurhaloesvesselsporcelaincoins

Three levels of analysis• Objective description

The name of the subject depicted in or on a work of art: its iconography. Iconography is the named mythological, fictional, religious, or historical narrative subject matter of a work of art, or its non-narrative content in the form of persons, places, or things.



Adoration of the MagiMaryJesusChrist childJosephMagiThree kingsMelchiorCasparBalthasargoldfrankincensemyrrh

Three levels of analysis• Objective description• Identification of named subject



The meaning or theme represented by the subject matter or iconography of a work of art.



Three races of ManThree parts of the WorldThree ages of ManKingship (gold)Divinity (frank-incense)Death (myrrh)Roman relief

Three levels of analysis• Objective description• Identification of named subject• Interpretation of meaning

Class [controlled]: paintings American art*Work Type [link]: painting*Title: Autumn: On the Hudson River*Creator Display: Jasper Francis Cropsey (American painter, 1823-1900)* Role [link]: painter [link]: Cropsey, Jasper Francis *Creation Date Display: 1860 [controlled]:Earliest: 1860 Latest: 1860Culture [link]: American*Current Location [link]: National Gallery of Art (Washington, District of Columbia, United States) ID: 1963.9.1

Creation Location [link]: London (England)*Measurements: 151.8 x 274.9 cm (59 3/4 x 108 1/4 inches)[controlled]: Value: 151.8 Unit: cm Type: height | Value: 274.9 2 Unit: cm Type: width

*Materials and Techniques: oil on canvas Material [links]: oil paint canvas Technique [links]: paintingDescription: This monumental view of the Hudson River Valley was painted from memory in the artist's London studio. Cropsey adopted a high vantage point, looking southeast toward the distant Hudson River and the flank of Storm King Mountain. A small stream leads from the foreground, where three hunters and their dogs gaze into the sunlight. All along the meandering tributary there are signs of man's peaceful coexistence with nature.Description Source [link]: National Gallery of Art online. (accessed 29 July 2009)

DescriptionIdentificationInterpretation

* Subject Type: description Subject landscape hunters dogs autumn dawn

Subject Type: identification Subject Hudson River (United States) Storm King Mountain (Orange County, New York, United States)

Subject Type: interpretation Subject peace man in harmony with nature

©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. Image from nga.gov



Class Paintings * Work Type painting * Title* Les Demoiselles d’Avignon* Creator Display Pablo Picasso (Spanish,

1881-1973)* Creation Date 1907

* Subjecthuman figuresfemales nudes fruit African mask Iberian art Avignon (Provence, France)tribal art brothel prostitution

Style: Cubist* Measurements 243.84 x 236.22 cm (8 feet x 7

feet 8 inches)* Materials and Techniques oil on canvasImage © Museum of Modern Art, 2009

Description IdentificationInterpretation May be used as a method for analysisBut not necessarily separately fielded


Class Paintings * Work Type painting * Title* Les Demoiselles d’Avignon* Creator Display Pablo Picasso (Spanish,

1881-1973)* Creation Date 1907

* Subjecthuman figuresfemales nudes fruit African mask Iberian art Avignon (Provence, France)tribal art brothel prostitution

Style: Cubist* Measurements 243.84 x 236.22 cm (8 feet x 7

feet 8 inches)* Materials and Techniques oil on canvasImage © Museum of Modern Art, 2009

Issue: But if you do not label them separately, in retrieval you cannot easily distinguish works that are “of”from works “about”This work may be about Avignon, but it does not portray the city




Establish rules regarding the number of terms to assign and method of analyzing an object for its subject

description – identification – interpretationforeground to background, top to bottommajor elements to minor ones



* Authorities




Concept Authority

Personal and Corporate Name

Authority

Geographic Place Authority

Subject Authority

Work Records

Image Records

Source Records

Populated by Getty Vocabularies

Aut

horit

ies

Aut

h ori t

ies


Entity-Relationship model from CDWA and CCO


A combination of authorities and vocabularies will be necessary

Required terms may be outside the scope of a given vocabularyNo single vocabulary is comprehensive for its scope

Local authorities should be populated with terms/names from published vocabularies as well as local terminology

CCO on authorities





Can enforce policies regarding local usage of terms

Can provide non-expert, “non-scientific,”or simply collection-specific terms and broader contexts to assist end-users

CCO on authorities


Why do we need local authorities?

Contains names and other information about artists, architects, studios, architectural firms, patrons, repositories,and single individuals (persons) or two or more people working together (corporate bodies)


Populated by ULAN

Personal and Corporate Personal and Corporate Name AuthorityName Authority



• Personal & Corporate Name Authority

• Record Type [controlled]: person*Names:

Riza (preferred)Reza Riza-yi 'AbbasiAqa Riza Kashani

*Display Biography: Persian court artist, ca. 1565-1635*Nationalities [controlled]: Persian *[cont.]Birth Date : 1560 Death Date : 1635*Life Roles [cont.]: painter court artistPlace of Birth [link]: Kashan (Esfahan province, Iran)Place of Death [link]: Esfahan (Esfahan province, Iran)Place of Activity [link]: Mashhad (Khorasan, Iran) Related People:Relationship Type [controlled]: parent of[link to Related Person]: Muhammad Shafi' (Persian

painter, active ca. 1628-1674) Note: Riza, son of 'Ali Asghar, was a leading artist under

the Safavid shah Abbas I (reigned 1588-1629). He is noted primarily for portraits and genre scenes. The various names for this artist and the attributions of paintings in his oeuvre are somewhat uncertain, since his signatures and contemporary documentary references to him are ambiguous.

*Source [link]: Union List of Artist Names (1988- ).

image: © Smithsonian Institution, 2009.


Authority linked to appropriate fields in a work record

*Names: Riza (preferred)Reza Riza-yi 'AbbasiAqa Riza Kashani

*Display Biography: Persian court artist, ca. 1565-1635

Personal & Corporate Name Authority

• Record Type [controlled]: person*Names:

Riza (preferred)Reza Riza-yi 'AbbasiAqa Riza Kashani

*Display Biography: Persian court artist, ca. 1565-1635*Nationalities [controlled]: Persian *[cont.]Birth Date : 1560 Death Date : 1635*Life Roles [cont.]: painter court artistPlace of Birth [link]: Kashan (Esfahan province, Iran)Place of Death [link]: Esfahan (Esfahan province, Iran)Place of Activity [link]: Mashhad (Khorasan, Iran) Related People:Relationship Type [controlled]: parent of[link to Related Person]: Muhammad Shafi' (Persian

painter, active ca. 1628-1674) Note: Riza, son of 'Ali Asghar, was a leading artist under

the Safavid shah Abbas I (reigned 1588-1629). He is noted primarily for portraits and genre scenes. The various names for this artist and the attributions of paintings in his oeuvre are somewhat uncertain, since his signatures and contemporary documentary references to him are ambiguous.

*Source [link]: Union List of Artist Names (1988- ).

Work RecordRecord Type [cont.]: item Class [cont.]: manuscripts *Work Type [link to Concept Authority]: illumination *Title: Barefoot Youth*Creator Display: Riza (Persian, ca. 1565-1635)* Role [cont.]: illuminator

[link to Person/Corp. Authority]: Riza*Creation Date ca. 1600 [cont.]: Earliest: 1590

Latest: 1610*Subject [link to authorities]: youth male *Current Location [link]: Freer Gallery of Art and Arthur

M. Sackler Gallery: National Museum of Asian Art, Smithsonian (Washington, DC, USA) ID:LTS1995.2.78

Creation Location [link]: Esfahan (Esfahan province, Iran)

*Measurements: 30 x 18 cm (11 13/16 x 7 1/16 inches) [controlled]: Value: 30 Unit: cm Type: height Value: 18 Unit: cm Type: width

*Material /Technique: opaque watercolor, ink, and gold on paper [link to authority] watercolor paper gold

Inscriptions: Signed by Riza AbbasiDescription: Probably created in Esfahan.

image: © Smithsonian Institution, 2009.


Authority linked to appropriate fields in a work record

*Names: Riza (preferred)Reza Riza-yi 'AbbasiAqa Riza Kashani

*Display Biography: Persian court artist, ca. 1565-1635

*Creator Display: Riza(Persian, ca. 1565-1635)

* Role: illuminator [link]: Riza



Work RecordClass: paintings*Work Type: painting*Title: Autumn - On the Hudson River*Creator Display: Jasper Francis Cropsey (American painter, 1823

– 1900)*Role: painter*Name [link to authority]: unknown Indian*Creation Date: 1860*Subject: landscape, Hudson River, autumn, sunrise,

dawn, trees, clouds*Current Location*: National Gallery of Art (Washington, DC,

USA), Gift of the Avalon Foundation, 1963.9.1Creation Location: Uttar Pradesh (India)*Measurements: 151.8 x 274.9 cm*Materials and Techniques: oil on canvasDescription: This monumental view of the Hudson River Valley

was painted from memory in the artist's London studio. Cropseyadopted a high vantage point, looking southeast toward the distant Hudson River and the flank of Storm King Mountain. A small stream leads from the foreground, where three hunters and their dogs gaze into the sunlight. All along the meandering tributary there are signs of man's peaceful coexistence with nature.

Includes records for corporate bodies: firms, manufactories, workshops, repositories

© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Personal & Corporate Name Authority Record Type [controlled]: corporate body

•*Names:• National Gallery of Art • NGA

•*Display Biography: American art museum, established in 1937

• Place/Location [ link]: Washington (DC, USA)

*Current Location: National Gallery of Art (Washington, DC, USA)

Personal & Corporate Name AuthorityRecord Type [controlled]: unknown artist*Names:

unknown Yup’ikunknown Yupikanonymous Yupik Eskimo

*Display Biography: Yup’ik artistNationality/Culture: Yup'ik

Native American ... <Arctic Native American styles> ..... <Alaskan Native styles> ........ Yup'ik

Work RecordClass: sculpture *Work Type: mask*Title: Yup’ik mask (Nepcetaq) *Creator Display: unknown Yup’ik*Role: sculptor *Name [link to authority]: unknown Yup’ik*Creation Date: 20th century *Subject: face shield ceremony

shaman*Current Location*: National Museum of

Natural History (Washington, DC); SI, 153624

Creation Location: Alaska (USA, North America)

*Measurements: 35.6 cm (width) (14 1/16 inches)

*Materials and Techniques : wood, paint, feathers Description: This Nepcetaq(shaman mask) represents a face peering through a triangular shield, painted red, white, and black. The mask was used in dances and ceremonies, especially during the long winter darkness when dances and storytelling took place in the qasgiq(traditional men’s house) using these masks.

Image ©NMNH Web site; Photographer: Barry McWayne

Patricia Harpring, Getty Vocabulary Program


*Creator Display:unknown Yup’ik

*Role: sculptor [link]: unknown Yup’ik

May include records for unknown artists

*Names:unknown Yup’ikunknown Yupikanonymous Yupik Eskimo

*Display Biography: Yup’ik artist



Geographic places in this authority include administrative entities and physical features


Geographic Place Geographic Place AuthorityAuthority

Populated by TGN

Work RecordRecord Type [cont.]: item Class [cont.]: sculpture *Work Type [link to Concept Authority]: statue *Title: Colossal Head of Akhenaten*Creator Display: unknown Egyptian, New Kingdom* Role [cont.]: sculptor [link]: unknown Egyptian *Creation Date: ca. 1350 BCE [cont.]: Earliest: 1353 Latest:1336*Subject [link to authorities]: Akhenaten (king of Egypt, ruled 1353–1336 BCE) *Current Location [link]: Egyptian Museum (Cairo, Egypt)Discovery Location [link]: Karnak (Qina governorate, Egypt)Style: Eighteenth Dynasty (New Kingdom)*Measurements: height: 153 cm (61 inches)[controlled]: Value: 153 Unit: cm Type: height

*Material /Technique: limestone [link] limestoneDescription: From the Aton Temple .

Geographic Place Authority RecordRecord Type [controlled]: administrative entity*Names:

Karnak (preferred)Al-KarnakEl Kharnâk

Display Broader Context: Qina governorate, Egypt*Hierarchical Position [link]:

Africa (continent) ........ Egypt (nation) ............ Upper Egypt (region) ................ Qina (governorate) .................... Karnak (inhabited place)

*Place Type [controlled]: inhabited place

Coordinates [controlled]: Lat: 25 43 00 N degrees minutes

Long: 032 39 00 E degrees minutes(Lat: 25.7167 decimal degrees) (Long: 32.6500 decimal degrees)

Note: Village on E bank of the Nile in Upper Egypt; with Luxor, Karnak is on the site of ancient Thebes; location of temple of Amen, considered one of the finest examples of early New Kingdom religious architecture; also has many Middle Kingdom remains.*Sources [link to Source Records]: Getty Thesaurus of Geographic Names (1988-)NIMA, GEOnet Names Server (2000-) (accessed

04/18/2003)

image: © Egyptian Museum, photo © National Geographic Magazine©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Discovery Location:Karnak (Qina governorate, Egypt)

*Names: Karnak (preferred)Al-KarnakEl Kharnâk

Display Broader Context:Qina governorate, Egypt

Linked to place/location fields in the Work Record



Terms and information about generic concepts (as opposed to proper nouns or names)


Concept AuthorityConcept Authority

Populated by AAT

Work RecordRecord Type [controlled]: item Class [controlled]: film and animation American art

*Work Type [link]: production cel cel set-up*Title: Turtle and ChipmunkTitle: Turtle Washing Title Type: former*Creator Display: creator: Walt Disney Company

(American, founded 1923); animator: Milton Kahl(American, 1909-1987)* Role [link]: creator [link]: Walt Disney Company * Role [link]: animator [link]: Kahl, Milton

*Creation Date: before 1937 [controlled]:Earliest: 1932 Latest: 1937

*Subject [links]: literary theme animals Turtle and Chipmunk (Disney’s Snow White) Whistle While You Work (song, Disney’s Snow White) bathing fairytale

Culture [link]: American*Current Location [link]: Leicester Galleries (London,

England) ID:38-265*Measurements: 30.48 x 40.64 cm (12 x 16 inches)

[controlled]: Value: 30.48 Unit: cm Type: height | Value: 40.64 Unit: cm Type: width *Materials and Techniques: cels: nitrate;

background: wood veneer courvoisierMaterial [links]: nitrate celTechnique [links]: courvoisier

Inscriptions: on original mat: Turtle and chipmunkDescription: Comprises three layers: Animation cel of

Turtle & Chipmunk, special effects cel of water, background

Related Work:Relationship Type [controlled]: part ofQualifier: Sequence 3D, scene 15[link to Work Record]: Walt Disney Company. Whistle While You Work (sequence); Snow White and the Seven

Concept Authority:*Terms courvoisier (preferred, singular)courvoisiers (preferred, plural)*Hierarchical position [links]

Objects Facet ............ Visual Works .................. drawings ....................... <drawings by material........................... animation cels.................................. courvoisiers.................................. limited edition cels.................................. serigraph cels............................ animation drawings ............................ blot drawings ............................ cadavres exquis............................ computer drawings

*Note: Note: Refers to a type of animation cel set-up, or grouping, that is composed of two or more cels and a production background that was created by, or imitates those created by, the Courvoisier Galleries in the late 1930s and early 1940s. It is distinctive in the technique by which figures were trimmed to their edges, glued to a background typically composed of wood veneer, patterns, or hand-painted watercolors, and covered by a protective top cel.*Source [link] Art & Architecture Thesaurus (1988-)Authority for work type, materials and techniques, style, and subject


*Materials display:cels: nitrate; background:

wood veneer courvoisierMaterial [link]:

nitrate cel courvoisierwood

Terms:courvoisier (preferred, singular)courvoisiers (preferred, plural)

*Hierarchical positionObjects Facet ..... Visual Works ......... drawings

................ animation cels.................... courvoisiers



Contains iconographical terminology, including proper names of literary, mythological, or religious characters or themes, historical events and themes


Subject AuthoritySubject Authority

Must be compiled from a variety of sources

Work RecordRecord Type [controlled]: item Class [controlled]: Precolombian art *Work Type [link]: vessel *Title: Vessel with Mythological Scene*Creator Display: unknown Maya * Role [cont.] : artist

[link]: unknown Maya *Creation Date: 8th century [cont.]: Earliest: 0700 Latest: 0799*Subject display: Scene in the realm of the Lords of Death, with Baby Jaguar and a skeleton[link to authorities]: Xibalbá (Maya iconography) underworld skeleton death ax altar celebration Baby Jaguar

*Current Location [link]: Metropolitan Museum of Art (New York, New York, USA) ID: 1978.412.206Creation Location [link]: Petén Department (Guatemala)*Measurements: height: 14 cm (5 ½ inches)

[contr. Value: 14 Unit: cm Type: height *Materials and Techniques: terracotta [link]: terracotta vase painting Description: Straight-sided ceramic vessels with

painted decoration comprising complex scenes were common in eighth-century Maya art. The "codex-style" painting depicts a scene in the realm of the Lords of Death, where a dancing figure holds a long-handled axe and a handstone. On a monster-head altar lies Baby Jaguar, a deity figure, and beside the altar is a dancing, a skeletal death figure. The meaning has been variously interpreted as depicting either sacrifice or celebration.Note Source [link]: Metropolitan Museum of Art on line (accessed 1 February 2009)

Subject Authority*Subject Names:

Xibalbá (preferred)Place of FearUnderworld

*Hierarchical Position [link]:Maya iconography......legends from the Popol Vuh.......... Xibalbá

*Related Keywords [cont.]: underworld demons Hero Twins Vucub-Camé

(demon) Hun-Camé (demon) Note: In the creation myth of the highland Quiché

Maya, the underground realm called Xibalbáwas ruled by the demon kings Hun-Camé and Vukub-Camé. It was a dangerous place accessed by a steep and difficult path. The Hero Twins, Hun-Hunapú and Vukub-Hunapú, were lured to Xibalbá by a ball game challenge, but were then tricked and slaughtered. However, the twins were avenged by Hun-Hunapú's sons, Hunapú and Xbalanqué.

*Sources [links]:Larousse World Mythology (1981) Page: 473 ff.

Includes terms for iconographic subjects

image © Metropolitan Museum of Art 2009©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Names:Xibalbá (preferred)Place of FearUnderworld

Hierarchical Position:Maya iconography......legends from the Popol Vuh.......... Xibalbá

Subject:religion & mythologyXibalbá (Maya iconography)underworld skeleton death ax altar celebration Baby Jaguar



Subject Authority Record Type [controlled]: person (fictional)*Names: Shiva (preferred)Siva SiwaSambhuSankaraPasupatiMahesaMahadevaAuspicious OneDisplay Broader Context: Hindu god*Hierarchical Position [link]Hindu Iconography ....... Hindu gods ............ Shiva *Related Keywords [link]: androgynous destroyerdancer restorermendicant asceticyogin sensualityherdsman avengerNote: One of the primary deities of Hinduism. He is the paramount lord of the Shaivite sects of India. Shiva means “Auspicious One” in Sanskrit. He is one of the most complex gods of India, embodying contradictory qualities: both the destroyer and the restorer, the great ascetic and the symbol of sensuality, the benevolent herdsman of souls and the wrathful avenger. He is usually depicted as a graceful male. In painting, he is typically white or ash-colored with a blue neck, hair represented as coil of matted locks, adorned with the crescent moon and the Ganges. He may have three eyes and a garland of skulls. He may have two or four arms and carry skulls, a serpent, a deerskin, trident, a small drum, or a club with a skull on it. He is depicted in art in various manifestations, often with his consort.Related Subjects: Relationship Type [controlled]: focus of[link to Related Subject]: SaivismRelationship Type[controlled]: manifestation is[link to Related Subject]: Ardhanarisvara

Work RecordRecord Type [controlled]: item Class [controlled]: Asian art *Work Type [link]: statue*Title: Shiva as Lord of Dance (Nataraja)*Creator Display: unknown Indian * Role [cont.] : artist

[link]: unknown Indian *Creation Date: Chola period (880–1279), ca. 11th century [cont.]: Earliest: 975 Latest: 1125*Subject display: Shiva as Lord of the Dance with a Flaming Body Halo [link to authorities]: Shiva Nataraja*Current Location [link]: Metropolitan Museum of Art (New York, New York, USA) ID: 1987.80.1Creation Location [link]: Southern India*Measurements: height: height: 68.3 cm (26 7/8 inches ); diameter: 56.5 cm (22 1/4 inches)

[contr. Value: 63.3 Unit: cm Type: height *Materials and Techniques: copper alloy [link]: copper alloy Description: In his dance of ecstasy Shiva raised his left leg, and, in a gesture known as the "gaja hasta," pointed to his lifted leg to provide refuge for the troubled soul. He thus imparted the lesson that through belief in him, the soul of mankind can be transported from the bondage of illusion and ignorance to salvation and eternal serenity. Encircling Shiva is a flaming body halo ("prabhamandala," or surrounding effulgence) that not only establishes the visual limits of this complex and dynamic composition but also symbolizes the boundaries of the cosmos.Note Source [link]: Metropolitan Museum of Art on line (accessed 1 February 2009)

© 2009 J. Paul Getty Trust

image from www.metmuseum.org/collections/


Subject:religion & mythologyhuman maleShiva (Hindu god)Nataraja (Shiva)

*Names: Shiva (preferred)Siva SiwaSambhuSankaraPasupatiMahesaMahadevaAuspicious One

Display Broader Context:Hindu god

Includes mythical, religious, or legendary figures

Subject Authority Record Type [controlled]: event (real or fictional)*NamesFirst Battle of Bull Run (preferred)First Battle of Bull’s RunFirst Battle of Manassas *Hierarchical Position [ link]Historical Events ....... American Civil War............ Battles (Civil War)....................First Battle of Bull Run* Related Keywords [controlled]: battleinvasion casualtiesNote: One of two battles fought a few miles north of the crucial railroad junction of Manassas, Virginia. The First Battle of Bull Run (called First Manassas by the South) was fought on July 21, 1861, at a very early stage of the war. Both armies were ill-prepared, but political pressures forced the Northern General Irvin McDowell to advance to a small stream named Bull Run near Manassas in northern Virginia, southwest of Washington; this was a move against the Southern city, Richmond, Virginia.Related Subject: Relationship Type[controlled]: predecessor was[link to Related Subject]: First Shenandoah Valley CampaignRelated Persons or Corporate Bodies: Relationship Type [controlled]: participant[link to Related Person]: General Irvin McDowell (American Union general, 1818-1885)Relationship Type [controlled]: participant[link to Related Person]: General P.G.T. Beauregard (American Confederate general, 1818-1893)Related Geographic Place: Relationship Type [controlled]: locationRelated Geographic Place [controlled, link]: Manassas (Virginia, United States)Date: July 21, 1861[controlled] Earliest: 1861 Latest: 1861 *Sources [link to Source Records]:

Work RecordRecord Type [controlled]: item Class [controlled]: prints *Work Type [link]: lithograph*Title: Battle of Bull's Run*Creator Display: A. Pfott (American printmaker, 19th century) * Role [cont.] : printmaker [link]: Pfott, A. *Creation Date: 1861 [cont.]: Earliest: 1861 Latest: 1861*Subject display: First Battle of Bull run [link to authorities]: First Battle of Bull Run troops landscape

*Current Location [link]: Library of Congress (Washington, DC, USA) ID: PC/US - 1861.K468, no. 1*Measurements: 27.94 x 40.64 cm (11 x 16 inches)

[contr. Value: 27.94 Unit: cm Type: height [contr. Value: 40.64 Unit: cm Type: width

*Materials and Techniques: lithograph [link]: lithograph paperDescription: Cartoon print shows Union troops after the Battle of Bull

Run during the Civil War from the point of view of a copperhead, that is, a northern Democrat supporting Confederate troops..Note Source [link]: Library of Congress on line (accessed 1 November 2009)


May include historical events

Subject:history and legendFirst Battle of Bull Runtroops landscape warcopperheads (political group) satire

*NamesFirst Battle of Bull Run (pref.)First Battle of Bull’s RunFirst Battle of Manassas

*Hierarchical Position:Historical Events ....... American Civil War............ Battles (Civil War)....................First Battle of Bull Run



Subject AuthorityRecord Type [controlled]: built work*NamesEiffel Tower (preferred)Tour EiffelThree-Hundred-Metre Tower

*Hierarchical Position [ link]Built Works

....... Eiffel Tower* Related Keywords [controlled]: industrial expositiontower

Work Record:Record Type [cont.]: item Class [cont.:photograph*Work Type [link]: Albumen print*Title/Name: The Eiffel Tower: State of the Construction*Creator Display: photographer: Louis-Emile Durandelle (French, 1832-1923)*Role [cont.] : photographer [link]: Durandelle, Louis-Emile *Creation Date *: photographed 23 November 1888*Subject [link to authorities]: Eiffel TowerRelated Works [link to work record]:

Relationship Type: depicts[link to work record]: Eiffel Tower

*Current Location [link]: J. Paul Getty Museum (Los Angeles, California, USA); 87.XM.121.16 *Measurements: 17 x 13 3/4 inches[controlled] Value: 17 Unit: in Type: height Value: 13.75 Unit: in Type: width*Materials and Techniques [link to Concept Authority]: albumin printStyle [link]: Belle ÉpoqueDescription: This view was made about four

months short of the tower's completion. Louis-Émile Durandelle photographed the tower from a low vantage point to emphasize its monumentality. The massive building barely visible in the far distance is dwarfed under the tower's arches...Source: Getty Museum, Collections

[online] (2000-)©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

*Subject: Eiffel Tower

Relationship Type: depictsRelated Work: Eiffel Tower

*NamesEiffel Tower (preferred)Tour EiffelThree-Hundred-Metre Tower

*Hierarchical Position:Built Works ....... Eiffel Tower

Built works or any work depicted in another work may be linked as Subjects and/or as Related Works

Work Record:Record Type [cont.]: item Class [cont.:photograph*Work Type [link]: Albumen print*Title/Name: The Eiffel Tower: State of the Construction*Creator Display: photographer: Louis-Emile Durandelle (French, 1832-1923)*Role [cont.] : photographer [link]: Durandelle, Louis-Emile *Creation Date *: photographed 23 November 1888*Subject [link to authorities]: Eiffel TowerRelated Works [link to work record]:

Relationship Type: depicts[link to work record]: Eiffel Tower

*Current Location [link]: J. Paul Getty Museum (Los Angeles, California, USA); 87.XM.121.16 *Measurements: 17 x 13 3/4 inches[controlled] Value: 17 Unit: in Type: height Value: 13.75 Unit: in Type: width*Materials and Techniques [link to Concept Authority]: albumin printStyle [link]: Belle ÉpoqueDescription: This view was made about four

months short of the tower's completion. Louis-Émile Durandelle photographed the tower from a low vantage point to emphasize its monumentality. The massive building barely visible in the far distance is dwarfed under the tower's arches...Source: Getty Museum, Collections

[online] (2000-)

Work Record:Record Type [cont.]: item Class [cont.:architecture*Work Type [link]: observation tower *Title/Name: Eiffel Tower

Alternate Title/Name: Tour EiffelFormer Title/Name: Three-Hundred-Metre Tower

*Creator Display: architect: Gustave Eiffel (French, 1832-1923)*Role [cont.] : architect [link]: Eiffel, Gustave*Creation Date *: 1887 to 1889[controlled]: Earliest: 1887 Latest: 1889

*Subject [link to authorities]: industrial exposition International Exposition of 1889*Current Location [link]: Paris (France) *Measurements: height: 300 m (984 feet)[controlled] Value: 300 Unit: m Type: height *Materials and Techniques: wrought iron, exposed iron construction[link to Concept Authority]: wrought iron structural iron exposed construction Style [link]: Belle ÉpoqueDescription: Commission was awarded by competition; the competition sought a plan for a monument for the International©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Subject AuthorityRecord Type [controlled]: built work*NamesEiffel Tower (preferred)Tour EiffelThree-Hundred-Metre Tower

*Hierarchical Position [ link]Built Works

....... Eiffel Tower* Related Keywords [controlled]: industrial expositiontower

*Subject: Eiffel Tower

Relationship Type: depictsRelated Work: Eiffel Tower

*Work Type: observation tower*Title/Name:

Eiffel TowerTour EiffelThree-Hundred-Metre Tower

*Creator Display: architect: GustaveEiffel (French, 1832-1923)

Built works or any work depicted in another work may be linked as Subjects and/or as Related Works

*NamesEiffel Tower (preferred)Tour EiffelThree-Hundred-Metre Tower

*Hierarchical Position:Built Works ....... Eiffel Tower



Work RecordRecord Type [cont.]: item Class [cont.]: paintings*Work Type [link]: painting *Title: Magdaleine Pinceloup de la Grange*Creator Display: Jean-Baptiste Perroneau(French painter, ca. 1715-1783)* Role [cont.]: painter [link]: Perroneau, Jean-Baptiste*Creation Date: 1747 [cont.]: Earliest: 1747

Latest: 1747*Subjects: [link to Personal/Corp. Name Authority]

Pinceloup de la Grange, Magdaleine (French aristocrat, 18th century)[link to Concept Authority]: portrait

domestic cat (animal) *Current Location [link]: J. Paul Getty Museum (Los Angeles, California, USA) ID: 84.PA.664*Measurements: 65 x 54 cm (25 5/8 x 21 3/8 inches)[controlled] Value: 65 Unit: cm Type: height

Value: 54 Unit: cm Type: width*Materials and Techniques: oil on canvas [link]: oil paint canvasDescription: The sitter was from the provincial French region of Orléans, but the artist imbued her with Parisian sophistication. The cat she holds is known as a "Chartreux cat," descriptions of which first appeared in 18th-century France. While some at this time valued this breed as a companion animal, it was primarily bred for its fur.Note Source [link]: J. Paul Getty Museum online. (accessed 10 February 2009)Related Work: Relationship type [cont ]: ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

*Subjects: [link to Personal/Corp. Name Authority]

Pinceloup de la Grange, Magdaleine (French aristocrat, 18th century)

[link to Concept Authority]: portraitdomestic cat (animal)

Work Subject may be linked to multiple authorities, NOT only Subject Authoritye.g., Person/Corp body, Concept, Geographic, Sources, and Subject Authorities









Personal & Corporate Name AuthorityRecord Type[cont.]: person*NamesPinceloup de la Grange, Magdaleine(preferred, inverted)Magdaleine Pinceloup de la Grange (preferred, natural order)Parseval, MagdaleinePinceloup de la Grange, Madaleine*Display Biography: French aristocrat, 18th century*Nationalty [cont.]: French*[cont.] Birth Date *: 1700 Death Date *: 1799*Life Roles [cont.]: aristocrat Place of Activity [link]: Orléans (France)Related PersonRelationship Type [cont.]: spouse of[link to Person/Corp.]: Charles-François Pinceloup de la Grange*Sources [link]: J. Paul Getty Museum (online)

*NamesPinceloup de la Grange, Magdaleine(preferred, inverted)

MagdaleinePinceloup de la Grange (preferred, natural order)

Parseval, Magdaleine











Personal & Corporate Name AuthorityRecord Type[cont.]: person*NamesPinceloup de la Grange, Magdaleine(preferred, inverted)Magdaleine Pinceloup de la Grange (preferred, natural order)Parseval, MagdaleinePinceloup de la Grange, Madaleine*Display Biography: French aristocrat, 18th century*Nationalty [cont.]: French*[cont.] Birth Date *: 1700 Death Date *: 1799*Life Roles [cont.]: aristocrat Place of Activity [link]: Orléans (France)Related PersonRelationship Type [cont.]: spouse of[link to Person/Corp.]: Charles-François Pinceloup de la Grange*Sources [link]: J. Paul Getty Museum (online)

*NamesPinceloup de la Grange, Magdaleine(preferred, inverted)

MagdaleinePinceloup de la Grange (preferred, natural order)

Parseval, Magdaleine

Concept Authority RecordRecord Type [cont.]: concept*Termsdomestic cat (preferred, common name)Felis domesticus (preferred, species name)domestic catsFelis catushouse cat *Hierarchical Position [link]Animal Kingdom .......Vertebrates (phylum)............Mammalia (class)...……....... Carnivora (order)..............…...... Felidae (family).............................Felis domesticus*Note: Domesticated member of the genus Felis, first domesticated in Egypt ca. 2000 BCE. Probably descended from Felissylvestris; in some taxonomies, Felisdomesticus and Felis sylvestris are the same species. Related ConceptRelationship Type[cont.]: descended from[link to Concept]: Felis silvestrisRelated SubjectsRelationship Type[cont.]: messenger of

*Termsdomestic cat

(preferred, common name)Felis domesticus

(preferred, species name)

*Hierarchical PositionAnimal Kingdom ....Vertebrates (phylum).........Mammalia (class)..……....... Carnivora (order).................... Felidae (family)........................Felis domesticus

precoordinationprecoordinationCompound terms are multiple-word termsA published vocabulary typically limits inclusion of compound terms, only “unique concepts”You may construct additional compound terms in the work record, “precoordination”

Metropolitan Museum of Art, New York. Opus Anglicanum, Chasuble, 1330–1350; ;English; England; Fletcher Fund, 1927 (27.162.1); from http://www.metmuseum.org/

Material: red silk

E.g., if you have a red silk and black wool vestment, indexing should bind “red” and “silk” together

© J. Paul Getty Trust; Patricia Harpring 2009

When you need compound terms that are not bound in the published authority, construct them locally



Using separate fields that are bound, e.g., Material and ColorUsing subfields within a field


precoordinationprecoordination

Using local compound terms that bind the two words together


precoordinationprecoordination



* Indexing* Specificity and Exhaustivity


Record Type: item Class: decorative art European art books*Work Type: decorated cover almanac* Title: Decorated Cover on an Almanac* Creator Display: cover: unknown English* Role: metalsmith

[link]: unknown English * Creation Date: ca. 1759

Earliest: 1754 Latest: 1764Creation Place: London (England)* Subject [links]: literary theme Venice

(Italy) * Current Location [link]: Philadelphia

Museum of Art, (Philadelphia, Pennsylvania, USA) ID: 1975-140-65a,bThe Richard P. Rosenau Collection, 1975;

* Measurements: 6 x 4.3 x 1 cm (2 3/8 x 1 11/16 x 3/8 inches)Value: 6 Unit: cm Type: heightValue: 4.3 Unit: cm Type: width Value: 1 Unit: cm Type: depth

*Materials and Techniques: enamel on copper with hand-painted and gilt decoration; gilded brass mounts; fabric; printed paper almanac

Material [links]: enamel copper gilding brass fabric paper

A minimum record should contain values in all core elementsIndex and display fields




Refers to the precision and quantity of terms applied to a particular element Specificity refers to the degree of precision or granularity used in description (e.g., campanile rather tower)Exhaustivity refers to the degree of depth and breadth that the cataloger uses in description, often expressed by using a larger number of index terms or a more detailed description

The greater the level of specificity and exhaustivity in catalog records, the more valuable the records will be for researchers; however, practical considerations often limit the ability of cataloging institutions to meet this goalCataloging institutions should establish local rules and guidelines regarding the level of specificity applied by catalogers for each element

Refers to the precision and quantity of terms applied to a particular element

Specificity refers to the degree of precision or granularity used (e.g., laid paper rather thanpaper)

Exhaustivity refers to the degree of depth and breadth that the cataloger uses, often expressed by using a larger number of index terms or a more detailed description

Specificity and Exhaustivity

Refers to the precision and quantity of terms applied to a particular element Specificity refers to the degree of precision or granularity used in description (e.g., campanile rather tower)Exhaustivity refers to the degree of depth and breadth that the cataloger uses in description, often expressed by using a larger number of index terms or a more detailed description

The greater the level of specificity and exhaustivity in catalog records, the more valuable the records will be for researchers; however, practical considerations often limit the ability of cataloging institutions to meet this goalCataloging institutions should establish local rules and guidelines regarding the level of specificity applied by catalogers for each element

The greater the level of specificity and exhaustivity in catalog records, the more valuable the records will behowever, practical considerations often limit

your ability to achieve this


Cataloging institutions should establish local rules and guidelines regarding the levels of specificity and exhaustivity



Hierarchy<paint by composition or origin>

water-base painttempera

casein paintegg-oil temperaegg temperagum temperaoil tempera

Perhaps “egg tempera”more accurately describes the medium

You may link to the general “tempera”

Scope Note for egg tempera:Tempera paint using egg as its vehicle, traditionally the yolk only, in other cases, the whole egg.


Specificity

Record Type: itemClass: prints and drawingsWork Type: printTitle: Pomegranate with Blue Morpho ButterfliesCreator: Maria Sibylla MerianCreation Date: ca. 1705Materials: watercolor and gum arabic over partial transfer print on vellumDimensions: 14 5.8 x 11 7/8 inches (37.2 x 30.2 cm)Subject:animalbotanicalpomegranate (Punica granatum)Blue Morpho (Morpho menelaus)Banded Sphinx Moth (Eumorph fasciatus)Description: Pomegranate with Blue Morpho Butterflies and Banded Sphinx Moth Caterpillar (Punica granatumwith Morpho menelaus and Eumorph fasciatus). Relationship Type: part ofRelated Work: The Insects of Suriname (plate 0)Current Location: The Royal Collection (London, England), copyright 2009 Her Majesty Queen Elizabeth II


Cater your approach to the knowledge of the cataloger or available authoritative informationDo not include information, such as “interpretation” of the subject if you are uncertain

Subject:animalbotanicalpomegranate (Punica granatum)Blue Morpho (Morpho menelaus)Banded Sphinx Moth (Eumorph fasciatus)




Record Type: itemClass: prints and drawingsWork Type: printTitle: Pomegranate with Blue Morpho ButterfliesCreator: Maria Sibylla MerianCreation Date: ca. 1705Materials: watercolor and gum arabic over partial transfer print on vellumDimensions: 14 5.8 x 11 7/8 inches (37.2 x 30.2 cm)Subject:animalbotanicalpomegranate (Punica granatum)Blue Morpho (Morpho menelaus)Banded Sphinx Moth (Eumorph fasciatus)Description: Pomegranate with Blue Morpho Butterflies and Banded Sphinx Moth Caterpillar (Punica granatumwith Morpho menelaus and Eumorph fasciatus). Relationship Type: part ofRelated Work: The Insects of Suriname (plate 0)Current Location: The Royal Collection (London, England), copyright 2009 Her Majesty Queen Elizabeth II


Do not guessBroad and accurate is better than specific but incorrecte.g., “butterfly” is better than incorrectly labeling it “Blue Morpho”

Subject:animalbotanicalpomegranate (Punica granatum)Blue Morpho (Morpho menelaus)Banded Sphinx Moth (Eumorph fasciatus)


Record Type: volumeClass: manuscriptWork Type: codexTitle: Códice TudelaTitle: Codex TudelaCulture: AztecCreation Date: ca. 1553Relationship Type: part ofRelated Work: Códice TudelaRelationship Numbers: 98 verso and 99 rectoMeasurements: 21 x 15,5 cm; 125 leavesCreator: illuminations: unknown Tenochtitlán; textin Catalan by a Franciscan friarCulture: TenochtitlánCurrent Location: Museo de América in Madrid (Madrid, Spain); N Inv.: 70.400; España Siglo XVISubject: religion & mythologyAztec calendarlords of the nightday signsbirds of the daygenre scenesDescriptive: consta de 125 páginas con pinturas realizadas por un tlacuilo indígena y textos escritos en castellano por un misionero.. Folios 98 verso and 99 recto, showing aspects of the Aztec calendar: the birds of the day, the lords of the night, and the day signs. The Codex Tudela, named after José Tudela de la Orden, is a 16th century pictorial Aztec codex. It is based on the same prototype as the Codex Magliabechiano, the Codex Ixtlilxochitl, and other documents of the Magliabechiano Group. Little is known about the codex's history. The Spanish government bought the manuscript when it was rediscovered in 1940 and it is now held by the Museo de

Hierarchical context is critical to the meaning of the term, variant namesEither must be linked hierarchical authority, or the broader contexts must be included in the record

Culture: Aztec III

Context of indexing terms




Concept Authority

Culture: Aztec III

Pre-ColumbianMesoamerican

Aztec III Tenochtitlán

Context of indexing terms


If your system will not link a specific term to its broader context in an authorityyou should include the broader context in the work record

Culture:•Aztec III

•Mesoamerican

•Pre-Columbian



Record Type: volumeClass: books and manuscriptsWork Type: gradualTitle: Gradual for Monastic UseCreator: illumination: workshop of: Pacino di Bonaguida; patron: probably AugustinianCreation Location: Florence (Italy)Creation Date: 1303/1340Style: GothicMeasurements: 174 folios; overall (page dimensions): 35.7 x 26.2 cm (14 1/16 x 10 5/16 inches)Materials: tempera and ink on parchment; bindings of calfskin over boards with metal claspsCurrent Location: Museum of Fine Art (Boston, Massachusetts)Description: A gradual (a liturgical book, containing chants for the Mass) for monastic use, possibly the Augstinian order, with 174 folios (ff.) and 2 leaves:ff. 1 - 109: Gradual: Temporale and Sanctorale(partial)ff. 109v - 113: Litanyff. 114 - 160: Gradual: Temporale (continued)ff. 161 - 168: Temporale sequences

Exhaustivity

How many aspects of a work do you catalogOnly core fields, or do you need others? How many terms do you assign to each field of a work record?

Record Type: groupClass: architectural drawingsWork Types:

preliminary drawingspresentation drawingsworking drawingssectionselevationsplans

Title: Group: Drawings for Falling Water (Kaufman House), Bear Run, PennsylvaniaCreator: Frank Lloyd Wright[link]: Wright, Frank Lloyd Role: rchitectCreation Date: 1936-1937

Should terms reflect all items in the group? Or use broad terms, because you plan to use specific terms in records for each item?





Please complete the exercises



Patricia HarpringPatricia HarpringManaging EditorManaging EditorGetty Vocabulary ProgramGetty Vocabulary Program

1200 Getty Center Drive1200 Getty Center DriveLos Angeles, CA 90049Los Angeles, CA 90049

[email protected]@getty.edu


cdwa and cco

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