**GRAPHIC MATERIALS**

**Rules for Describing**

**Original Items and Historical Collections**

**compiled by**

**Elisabeth W. Betz**

**Library of Congress, Washington, D.C., 1982**

# Word 2000 Version

**(July 2000; with MARC21 tagging added in March 2002)**

**With cumulated updates: 1982-1996**

**and**

**List of areas to update for second edition: 1997-2000**

![](media/image1.png){width="2.6006944444444446in" height="3.3875in"}

> Cover illustration: \"Sculptor. Der Formschneider.\" Woodcut by Jost
> Amman in Hartmann Schopper\'s [Panoplia, omnium illiberalium
> mechanicarum aut sedentariarum artium genera continens]{.underline},
> printed at Frankfurt am Main by S. Feyerabent, 1568. Rosenwald
> Collec­tion, Rare Book and Special Collections Division. (Neg. no.
> LC‑USZ62‑44613)

**TABLE OF CONTENTS**

Graphic Materials (1996-1997 Updates) p. i

Issues to consider for second edition (1997-2000) p. iii

Preface p. 1

Introduction p. 3

0\. General Rules p. 8

0A. Scope p. 8

0B. Sources of information p. 9

0C. Punctuation p. 10

0D. Levels of description p. 12

0E. Language and script of the description p. 13

0F. Inaccuracies p. 14

0G. Accents and other diacritical marks (including capitalization) p. 14

0H. Abbreviations, initials, etc. p. 14

0J. Interpolations p. 15

1\. Title and statement of responsibility area p. 16

1A. Preliminary rules p. 16

1B. Title proper p. 17

1C. Devising titles p. 20

1D. General material designation p. 22

1E. Parallel titles p. 23

1F. Other title information p. 23

1G. Statements of responsibility p. 25

2\. Publication, distribution, etc., area p. 28

2A. Preliminary rules p. 28

2B. General rules p. 29

2C. Place of publication, distribution, etc. p. 30

2D. Name of publisher, distributor, etc. p. 33

2E. Statement of function of publisher, distributor, etc. p. 35

2F. Date of publication, distribution, etc. p. 35

2G. Place and name of manufacturer or printer and date p. 37

2H. Date of execution of unpublished material p. 38

3\. Physical description area p. 40

3A. Preliminary rules p. 40

3B. Statement of extent (including specific

material designation) p. 41

3C. Other physical details p. 45

3D. Dimensions p. 49

3E. Accompanying material p. 53

3F. Collections containing more than one distinct category of material
p. 53

4\. Series area p. 54

4A. Preliminary rules p. 54

4B. Title proper of series p. 54

4C. Parallel title of series p. 55

4D. Numbering within series p. 55

4E. Subseries p. 55

5\. Note area p. 56

5A. Preliminary rules p. 56

5B. Notes p. 57

Appendix A: Guidelines for recording probable and uncertain dates p. 70

Appendix B: Abbreviations p. 71

Appendix C: Glossary p. 72

Examples p. 81

Illustrations p. 120

Concordance between *Graphic Materials* and *MARC 21* p. 129

Examples of MARC records(1996 Update) p. 130

Index p. 146

**Graphic Materials (1996-1997 Updates)**

When *Graphic Materials* was added to the *Cataloger's Desktop* CD-ROM
infobase in 1996, the Library of Congress Prints and Photographs
Division (P&P) staff added optional new rules based on their own
experience and suggestions from other institutions cataloging visual
materials. The full text of the updated *Graphic Materials* is available
only as a CD-ROM from the Cataloging Distribution Service
([http://lcweb.loc.gov/cds/train.html#gavm]{.underline}). The original
1982 print version is also still offered along with this update
document. A new Web page for *Graphic Materials* provides information
about the second edition and other versions of this cataloging tool
([http://lcweb.loc.gov/rr/print/gm/graphmat.html]{.underline}).

Over the past fifteen years P&P staff have completed cataloging projects
for a wide variety of materials\--from architectural drawings and
theatrical posters, to cartoons, daguerreotypes, and photographic prints
and negatives. Staff have gained experience cataloging at varying levels
of detail, describing single items as well as collections numbering one
million items and everything in between. Certain cataloging practices
have evolved within P&P to resolve cataloging issues that were not
specifically addressed in *Graphic Materials*, or if addressed, were no
longer relevant due to differences between the new online and old manual
card environments. The introduction of a MARC Format for Visual
Materials in the late 1980s made it important to provide a concordance
between the *Graphic Materials* rules and MARC fields as well as MARC
format examples that represent more recent cataloging projects in P&P.

Changes to the original *Graphic Materials* text are, in fact, minor.
More complex issues will be addressed with the publication of a second
edition. Changes include an update of terminology to conform with terms
in the 1995 edition of the *Thesaurus for Graphic Materials* (e.g.,
photographic prints instead of photoprints); a review and update of
examples to reflect current cataloging practices; additions to the
specific material designation list; and the addition of eleven new
examples coded in the MARC format.

**SUMMARY LIST OF UPDATED RULES**:

**Throughout text**:

> Changed "photoprints" to "[photographic prints]{.underline}."
>
> Changed "photonegatives" to "[negatives]{.underline}."

**0A.b)** Changed \"thousands\" to \"millions\" in 2nd paragraph, 1st
sentence.

> Added option for cataloging published portfolios according to *Graphic
> Materials*.

**0C** Added reference to punctuation and tagging guidelines in *MARC 21
Format for Bibliographic Data*.

**0C4** **Footnote 3**: Added sentence directing catalogers to the
*Chicago Manual of Style* (1993) for guidance on writing style and
punctuation beyond what is prescribed in the cataloging rules.

**1C1** Added option to use the title \"\[Untitled\]\" for single
images. (To give museum community more flexibility when describing
original contemporary art that may be abstract or conceptual.)

**1G6** Added option to use instead rule 5B7.2.

**2F4.3** Added additional example. Added option to record copyright
date following published date even if the dates are the same year.

**2F5.2** Added option for always providing a date for published items.

**2F7** Added option to use angle brackets around the dates of published
material in open-ended collections, e.g., \<1956- \>

**2H1.** Added sentence and example to illustrate use of bulk dates to
describe collections.

**2H2.** Added option to record for photographs the copyright date and
the date of the negative(s) even if the dates are the same year.

**2H2.1** Added sentence and example to illustrate use of multiple dates
for single items when dates of execution differ from printing dates.

**2H5.** Added option for always providing a date for unpublished items.

**2H6.** Added option to use angle brackets around the dates of
unpublished material in open-ended collections, e.g., \<1956- \>

**3B2** Added option to use angle brackets around the quantity of
material in open-ended collections, e.g., \<3,500  \> photographic
prints

**3B4** Added clarification and updated examples.

**3B5** Expanded and explained SMD list.

**3B5.1** Added option to include terms describing both physical media
and format.

**3B5.2** Added option to use any term from an established vocabulary
source or a published thesaurus.

**3C1.** Updated example and added example.

**3C2.1** Updated examples.

**3C4.1** Updated to reflect option for using \"color\" and
\"hand-colored\" rather than abbreviations, \"col.\" and \"hand col.\"
Added distinction of when to use each term. Updated examples.

**3C4.2** Corrected lantern slide example.

**3D7.1.** and **3D8.** Corrected daguerreotype examples.

**4.E.** Deleted \"the name of the subseries\" in last sentence.

**5B14**. Add to Subject Note: date or span dates and bulk dates are
placed in the physical description area.

**Glossary** Updated glossary references; updated footnotes to reflect
new terms.

**ISSUES TO CONSIDER FOR SECOND EDITION**

The Prints and Photographs Division has received a number of suggestions
from outside institutions for revision and clarification of rules.
Suggestions that involved minor changes were included in the first
update pages (1996-1997). More complicated issues were deferred for a
full second edition. General planning began in 1999 for a printed second
edition to be developed with the Library of Congress Cataloging Policy
and Support Office, the Society of American Archivists Visual Materials
Cataloging Round Table, and other stakeholders in the special
collections community.

The following issues and suggestions are under consideration for the
second edition:

1.  Guidelines for formulating and capitalizing collection names.

2.  Rules for main and added entries, and for relator terms.

3.  MARC-tagged examples within each rule.

4.  Additional guidelines for transcribing and devising titles,
    including guidelines and examples for devising titles for portraits.

5.  Guidelines for bracketing title information.

> More specifically, decide to bracket or not bracket all devised
> titles. (Current practice is to bracket devised titles for items and
> not to bracket devised titles for collections.)

6.  More examples of collection-level description, especially for
    diverse groups of material.

7.  Examples with architectural drawings.

8.  Reconcile methods for expressing dimensions between AACR2 Chapter 8
    and Graphic Materials. (e.g., allow the \"or smaller\" convention
    for group-level cataloging) (3D9.2)

9.  Provide for local institution notes for rare but published
    materials, such as war posters and Currier & Ives prints owned by
    more than one institution.

10. Attributed statement of responsibility (1G3)

11. Examples that use the MARC field notes 530, 533, 544, 585.

12. When to treat albums as an item and when as a group.

13. Example of span date and bulk date, as used in the Appendix on
    dates.

14. Clarify that no place and no publisher are used with unpublished
    material; reconcile with AACR2.

**Suggestions and comments are welcome.** Write or email:

> Mary Mundy
>
> Cataloger, Pictorial Collections
>
> Prints & Photographs Division
>
> Library of Congress
>
> Washington, D.C. 20540-4730
>
> (email address: mmun@loc.gov)

**PREFACE**

Shortly after the publication of the second edition of the
[Anglo‑American Cataloguing Rules]{.underline}, the Library of Congress
announced it would prepare separate manuals to deal with specialized
materials that were not fully covered in the code. For graphic
materials, this meant a concern for the collections of the Library\'s
Prints and Photographs Division, custodian of some eleven million
original photographs and negatives, histori­cal prints, fine art prints,
posters, drawings, and paintings on paper. Comparable collections in
other institutions, including museums and archives, would benefit from
an expansion of the rules, as there was no existing cataloging code
addressing these materials.

The Library saw the task of compiling the necessary rules as a complex
one in view of the following problems: (1) finding the time for its
subject and cataloging specialists to work on drafts; (2) reconciling
the differences in viewpoint between general cata­loging practices and
those needed for specialized collections; (3) identifying other groups
and individual experts, who could have input into the rules; and (4)
promoting AACR 2 as the national standard on which all this activity
necessarily must be based.

Fortunately, the Council of National Library and Infor­mation
Associations (CNLIA) had already formed the Joint Committee on
Specialized Cataloging, whose goal was to act as a liaison between the
Library of Congress and other persons and groups involved with the
cataloging of special materials. After discussion with repre­sentatives
of the Library, CNLIA decided to seek funding to help in a project to
produce manuals for manuscripts, archival collections of motion
pictures, and original graphic items and historical collec­tions. In June
1980, CNLIA received a grant from the Research Resources Program of the
National Endowment for the Humanities to enable a committee to meet in
Washington, D.C., once the Library of Congress had written a draft and
had collated reviews from the widest possible range of specialists in
the field.

The compilation of rules was undertaken by Elisabeth Betz, Picture
Cataloging Specialist in the Library\'s Prints and Photographs Division
of Research Services and a member of the Joint Committee on Specialized
Cataloging. While the draft was being prepared, the staff of the Prints
and Photographs Division offered critical insight and solutions to
problems peculiar to the graphic arts. The Office for Descriptive
Cataloging Policy was frequently consulted on ques­tions regarding AACR
2. Approximately 350 copies of the draft were distributed early in 1982
to a variety of specialized and general librarians, museum curators, and
archivists. Comments were incor­porated into the draft, which was then
studied by the editorial committee. This committee was composed of
Elisabeth Betz and five individuals chosen for their experience with
different kinds and

sizes of graphic collec­tions, their knowledge of methods of
docu­mentation used in libraries, archives, and museums, their knowledge
of automated library systems, and their professional affiliations. These
persons were: Georgia Bumgardner (Curator of Graphic Arts, American
Antiquarian Society, Worcester, Mass.), Lynn Cox (Curator of Prints and
Photographs, The Peale Museum, Balt­imore), James Kopp (Librarian,
History of Medicine Division, National Library of Medicine, Bethesda,
Md.), William Roberts (Assistant Head, Public Services, Bancroft
Library, University of California, Berkeley), and Christopher Seifried
(Head of Cataloging, National Photography Collection, Public Archives of
Canada, Ottawa).

The Library of Congress is grateful for the support of the Council on
National Library and Information Associations, and through them, the
National Endowment for the Humanities. The Library wishes to thank the
editorial committee and all those individuals who took the time to
comment on the draft. It is hoped these rules will prove useful when
describing materials that are originals or are historical in nature. For
published graphic materials primarily of a current nature, we recommend
that librarians continue to apply Chapter 8 of AACR 2, which has not
been replaced by the present compilation of rules.

> Ben R. Tucker

Chief, Office for Descriptive Cataloging Policy

> Processing Services

**INTRODUCTION**

Thousands of public and research libraries, museums, archives, local
historical societies, corporations, professional associations, and
private collectors are custodians of graphic materials. In the past,
each has had to devise its own system of documentation because there
were no readily available cataloging guidelines. Researchers and staff
alike have suffered from having to cope with a multiplicity of methods.

A nationally accepted system of cataloging would benefit both the
institution and the researcher. Those embarking on cataloging projects
would not have to totally rethink the problem. Communication among
institutions with similar holdings would be fostered, and they could in
fact profit from some form of shared cataloging. Whether used in a
manual or automated form, a standardized set of rules would guide
institutions in presenting the researcher with consistent cataloging
information. A national union catalog for graphic collections to aid
researchers in locating sources could become a reality. Even if not
adopted in its entirety, a standard would provide a reference point by
which institutions could indicate how their own cataloging practices
differ.

Computer technology has made it possible to document huge numbers of
items and transmit information electronically. The impact of automation
on inventory control and research access could be enormous. Thus it is
crucial that custodians of graphic collections think seriously about
establishing compatible methods of documentation even if, for many,
automation is not right at hand. Because national standards and
automated systems for book cataloging have proven so successful, it is
worth trying to adapt that format to graphic materials.

This manual provides guidance for cataloging graphic materials within
the general structure and theory of the second edition of the
[Anglo‑American Cataloguing Rules]{.underline} (AACR 2), applied by
libraries and automated bibliographic networks in the United States,
Canada, Great Britain, and Australia. Library cataloging methods have
been reconciled with the principles of archives and museum documentation
in an attempt to facilitate the cataloging of graphic materials and,
furthermore, to link graphics records with a national system used for
books and serials.

Chapter 8 of AACR 2 focuses on commercially‑produced audiovisual
materials, published and/or documented artists= prints and photographs,
portfolios, and reproductions accompanied by printed information.
Although the general introduction to AACR 2 states that the rules are
\"not specifically intended for specialist and archival libraries,\" it
is \"recommended that such libraries use the rules as the basis of their
cataloguing and augment their provisions as necessary.\" This manual not
only augments the original rules found

in Chapter 8, but it also departs from that base in several instances in
an effort to meet the requirements for cataloging original and
historical graphic materials.[^1] It should be emphasized that small
institutions or those with more general interests may wish to reduce the
amount of detail given in these rules, while larger or more specialized
institutions may wish to elaborate on them.

The texts of AACR 2 and [Bibliographic Description of Rare
Books]{.underline} (Washington, D.C. : Library of Congress, 1981) form
the foundation for these rules. Provisions in those two documents were
modified and expanded with more specific interpretations, clearer and
more recognizable definitions, fuller guidelines, and additional
examples in order to assist those who may be more familiar with
traditional archives and museum methods than with library terminology
and techniques.

Those more familiar with library cataloging will find differences
between the documentation of graphic materials and the description of
books and other printed or published library materials. For example,
original or noncommercial graphic works are generally considered to be
unique, though they frequently exist in multiple copies. Even if
published, they lack much of the explicit information characterizing
books and book‑like materials. Furthermore, most collections of graphic
items are unique because, as collections, they have never been
published.

Book cataloging is based on the transcription of data from the published
item (the \"chief source of information \") into the format of catalog
record. The concepts of \"chief source of information\" and \"prescribed
sources\" used in traditional book cataloging has been redefined here
for original and historical graphic materials because they often have
little or no text to transcribe. The major reason for documenting
graphics is to provide the researcher with as complete an identification
of the material as possible. This is done by translating the visual
information into a verbal description of the material\'s physical nature
and image content. Authenticating the material and making attributions
of responsibility are also activities in documenting graphics.
Information must be extracted, interpreted, and extrapolated from the
visual content and context of the material, as well as from secondary
sources. The cataloger must supply a great deal of information because
it is unlikely the catalog user has a copy of or a citation to a
specific item or knows the contents

of a collection.[^2] In these rules the cataloger is allowed to record
such interpretive information but, for the catalog user\'s sake,
distinctions are made among transcribed, supplied, and conjectural data.

Graphics may be cataloged individually because of their aesthetic value
or their historical and iconographical importance. In many instances,
however, an [individual]{.underline} image may have relatively little
value as a work of art or as a single piece of evidence but rather
derives meaning and importance from the collection of which it is a
part. For this reason, equal attention has been given to item‑level and
collection‑level cataloging.

It should be emphasized that the following rules are most significant
for the description and identification of graphic materials felt to be
of importance and of some permanent value to the institution\'s
holdings. Full cataloging may not be feasible for all pictorial works,
especially those that can be efficiently arranged in self‑indexing files
or shelved by creator, subject, or other category.

This manual is not intended to teach someone techniques of identifying,
processing, and organizing graphic collections. These rules are based on
the assumption that the material has already been examined and
identified, that collections have been formed, and the data requisite
for the creation of the catalog record have been gathered. The purpose
of the rules is to establish conventions for expressing and formatting
cataloging data consistently. The punctuation prescribed here follows
the requirements of the International Standard Bibliographic Description
(ISBD). Although designed for automation, such punctuation conventions
can help maintain consistency in the patterns of data in a manual
catalog system.

A \"neutral\" vocabulary was sought in order to make the rules more
widely applicable. For more technical terms, a glossary is included.
Some rules may seem to require the cataloger to state the self‑evident
(such as having to record the fact that the plate mark was measured on
an intaglio print ), but one must remember that these rules are designed
for describing a variety of graphic materials with the goal of making
them accessible to researchers of all kinds who may not be aware of
specialized practices.

These rules cover only the part of the record for description and,
therefore, do not deal with the choice or form of access points that
provide the means for reaching the description. While recognizing the
importance of name and subject references to researchers working with
graphic collections, it was nonetheless decided that the description of
original and historical graphic materials was a sufficiently complex
problem to warrant a document just to deal with this aspect of
cataloging alone. Because access points and subject headings emanate
from the description, the description is a fundamental concern of
catalogers. For choosing and formulating standardized access points, see
guidelines in the following chapters of the [Anglo‑American Cataloguing
Rules]{.underline} (AACR 2):

21 - Choice of Access Points: Guides the cataloger in choosing a main
entry heading as well as the various added entry headings.

22 - Headings for Persons: Guides the cataloger in choosing a particular
form for the headings that represent people.

23 - Geographic Names: Guides the cataloger in choosing a particular
form for the headings that represent nations, states, provinces,
counties, cities, towns, and the like.

24 - Headings for Corporate Bodies: Guides the cataloger in choosing a
particular form for the headings that represent corporate bodies.

26 - References: Guides the cataloger in referring to the particular
forms of headings chosen under chapters 22‑25 from various rejected,
alternative, or variant forms, i.e., cross references.

Some rules are designated as [optional additions]{.underline}, or are
introduced by the word [optionally]{.underline}. To quote AACR 2,
\"these provisions arise from the recognition that different solutions
to a problem and differing levels of detail and specificity are
appropriate in different contexts. Some \... options should be decided
as a matter of cataloguing policy for a particular catalogue \... and
should therefore be exercised either always or never. Other \... options
should be exercised case by case. It is recommended that all cataloguing
agencies distinguish between these two types of options and keep a
record of their policy decisions and of the circumstances in which a
particular option may be applied\" (AACR 2, 0.7).

Further, a certain necessity for interpretation and judgment on the part
of the cataloger is recognized in these rules, as it is in AACR 2. The
requirements of a particular catalog or the use of the material being
cataloged must always be taken into consideration; situations in which
there might be differing local needs are brought to the attention of the
cataloger by the words [if desirable]{.underline}. The cataloging agency
should always record its interpretations so that they are consistently
applied (AACR 2, 0.9).

**ACKNOWLEDGMENTS**

During my 12 years in the Prints and Photographs Division, I have
discussed the problems of cataloging graphic materials with many people.
It would be impossible to name them all here, but I would like to
mention in particular my colleagues in the Division, Bernard Reilly
(Curator of Popular and Applied Graphic Art) and Annette Melville
(Reference Librarian). The Joint Committee on Specialized Cataloging of
the Council of National Library and Information Associations provided an
impetus for me to become involved in more than just Divisional
considerations by clearly voicing a need for supplementary rules to AACR
2. I am grateful to Processing Services for the opportunity to work on
this project and to Ben Tucker for his constant interest and help in its
progress. It was a great pleasure working with the editorial committee
of Georgia Bumgardner, Lynn Cox, Jim Kopp, Bill Roberts, and Chris
Seifried. They shared not only their knowledge, experience, and time,
but also an enthusiasm and persistence in dealing with the complexities
of cataloging a broad range of graphic materials in a consistent manner.
Those who responded to the draft could, unfortunately, not be answered
separately, but they will find many changes in this final version that
reflect their comments. I would also like to thank Oliver Jensen, Chief
of the Prints and Photographs Division, for supporting me in this effort
when equally pressing work in the Division had to be temporarily set
aside.

Elisabeth W. Betz

Picture Cataloging Specialist

Prints & Photographs Division

Research Services

July 1982

**0. GENERAL RULES**

> Contents:
>
> 0A. Scope
>
> 0B. Sources of information
>
> 0C. Punctuation
>
> 0D. Levels of description
>
> 0E. Language and script of the description
>
> 0F. Inaccuracies
>
> 0G. Accents and other diacritical marks (including capitalization)
>
> 0H. Abbreviations, initials, etc.
>
> 0J. Interpolations

**0A. Scope**

These rules provide for the description of graphic materials that are of
continuing or potential aesthetic or docu­mentary value. Specifically,
they may apply to:

a\) Single two‑dimensional pictorial works that are original. Typical
examples are prints, posters, drawings, paintings, photo­graphic prints,
negatives, transparencies, slides, etc. (Single photographic copies and
photomechanical prints of such works are included as well.)[^3] Single
items may be unpublished (though they may exist in multiple copies) or
published, in which case they may or may not have a statement of
publication, distribution, or printing.

b\) Groups of single two‑dimensional pictorial works. For the purpose of
these rules, these groups will be referred to as collec­tions (whether
two items or millions). It is assumed that the items either (1) have
been assembled by or have accumulated without plan around a person,
family group, or corporate body and been acquired by the repository as a
collection or (2) have been assembled by the repository from its own
accessions into a collection for cataloging purposes. Collections may
consist of both published and unpublished items, but the collection
itself does not exist in a published form. Material is considered to
form a collection even if it is bound together, as

in an album. Collections may be accompanied by related manuscript and
printed textual material, such as pamphlets, catalogs, check­lists,
periodical tearsheets, and newspaper clippings, as well as non‑print
material, such as sound recordings.

If a bound volume or portfolio (even one consisting primarily of
graphics) is a bona fide monographic publication with a title page or
its equivalent, it is to be cataloged according to AACR 2, Chapters 1
and 2. In such cases, it may be desirable to use the physical
description and note area to describe the graphic content of the
publication.

*[1996 UPDATE]{.underline}:* Optionally, GM may be used for published
portfolios consisting primarily of graphic materials. Since GM provides
for the treatment of published materials regardless of presentation
format, either approach is valid. The decision should be based on an
institution\'s needs, the focus of its collections, and what it chooses
to emphasize in the record.

**0B. Sources of information**

**0B1.** [Chief source of information]{.underline}

**0B1.1.** For [single items]{.underline}, treat as the chief source of
infor­ma­tion printed or manuscript text provided by the creator or
creating body on or with the item. When the text is not known to have
been provided by the creator or creating body, use information from the
following sources, in this order of preference:

> a\) text on or with the item provided by sources other than the
> creator or creating body;
>
> b\) reference sources, such as published descriptions, catalogues
> raisonnés, exhibit catalogs, auction catalogs, dealers\' catalogs;
>
> c\) any source, such as unpublished descriptions, includ­ing provenance
> and accession records, inventories, adver­tisements, personal
> information, etc.

**0B1.2.** For [collections]{.underline}, treat as the chief source the
whole collection itself, relying first on textual information on the
material and its containers, then accompanying textual material, such as
finding aids, provenance and accession records, then the visual content
of the material itself.

**0B2.** [Prescribed sources of information]{.underline}

The description is divided into [areas]{.underline}, and each area is
divided into a number of elements as outlined in the particular rules.
For each area of the description (see the listing below), certain
sources of information are specially prescribed.

**AREA PRESCRIBED SOURCES OF INFORMATION**

1\. Title and statement of Chief source of information

responsibility

2\. Publication, distribution, Chief source of information

etc.

3\. Physical description Any source

4\. Series Chief source of information

5\. Note(s) Any source

Indicate data taken from outside the prescribed sources by enclosing it
in square brackets (\[ \]). When these data are
[transcribed]{.underline}, make a note of the source.

**0C. Punctuation**

*[1996 UPDATE]{.underline}*: The following punctuation information is
appropriate for use in a card catalog format. Institutions using the
MARC format should also follow MARC punctuation and tagging conventions
outlined in [MARC 21 Format for Bibliographic Data]{.underline}.

**0C1.** Precede each area other than the first by a period, space,
dash, space (. ‑‑ )[^4] unless the area begins a new para­graph.

**0C2.** Precede or enclose each occurrence of an element within an area
with standard punctuation prescribed at the beginning of each section of
this manual.

**0C3.** Precede each mark of prescribed punctuation by a space and
follow it by a space, except for the comma, period, and opening and
closing parenthesis and square brackets. The comma, period, and closing
parenthesis and closing square bracket are not preceded by a space; the
opening parenthesis and opening square bracket are not followed by a
space.

**0C4.** If desirable, record all of the punctuation that is found in
the source of information. When this punctuation is record­ed, always
give the prescribed punctuation as well even if this results in double
punctuation. When the original punctuation mark and the pre­scribed
punctuation mark are the same, give only the prescribed punc­tuation
mark. In the latter case, [optional­ly]{.underline}, give both the
original and the prescribed punctua­tion marks.[^5]

**0C5.** Do not transcribe the punctuation marks \... or \[ \]. Replace
them by ‑‑ and ( ) respectively (see 1A1.2 for the special spacing
prescribed in the title proper).

[Source of information reads]{.underline}:

If elected\...

[Transcription]{.underline}:

If elected‑‑

**0C6.** Do not indicate the omission of an [entire]{.underline} element
or area by the mark of omission, but rather continue to the next element
or area with its prescribed punctuation (see 0D).

**0C7.** Indicate omissions made by the cataloger when tran­scribing data
by the mark of omission. Record the mark of omis­sion with a space on
both sides of it ( \... ). If the mark of omission precedes a period,
omit the period, even if it is pre­scribed punctuation.

**0C8.** Indicate lacunae in the source of information where text is
being transcribed (as, for example, when the material being cataloged is
damaged) by the mark of omission enclosed in square brackets \[\...\].

**0C9.** When omitting data from the source of infor­mation that is not
considered part of any area, do not use the mark of omis­sion.

**0C10.** Do not transcribe a mark of punctuation that precedes the mark
of omission unless it is a mark of abbreviation or a period, exclamation
mark, or question mark.

> Advertisement, Charleston, S.C. : to be sold \... 250 Negroes! \...

**0C11.** When adjacent elements within one area are to be en­closed in
square brackets, enclose them in one set, unless one of the elements is
a general material designation, which is always enclosed in its own set
of square brackets.

\[Boston : E.W.T. Nichols\]

> \[A Nakoaktok chief\'s daughter / Edward Sheriff Curtis\]

([without the general material designation]{.underline})

> \[A Nakoaktok chief\'s daughter\] \[graphic\] \[Edward Sheriff
> Curtis\]
>
> ([the same example as above, with the general]{.underline} [material
> designation]{.underline})

**0D. Levels of description**

The [elements]{.underline} of description provided in this manual
constitute a maximum set of information. There are three recom­mended
levels of description. For its graphic collections, an institution may
choose only the first level, the first and second, or all three levels,
based on the purpose of the catalog or catalogs for which the record is
constructed. Include this minimum set of elements for all material
cataloged at the chosen level when the elements are applicable to what
is being described and when, in the case of optional additions, the
institution has chosen to include an optional element. Consult
individual rules for the content of the elements to be included.

The first two levels are given below in schematic illus­trations with the
prescribed punctuation, spacing, and capitalization (see also Example
1).

**0D1.** [First level of description]{.underline}

For the first level of description, include at least the elements set
out in this schematic illustration:

a\) [Unpublished material]{.underline}

> Title proper / first statement of responsibility. ‑‑ date(s) of
> execution. ‑‑ statement of extent of item or collection. ‑‑ Note(s).

b\) [Published material]{.underline}

> Title proper / first statement of responsibility. ‑‑ First publisher,
> etc., date of publication, etc. ‑‑ statement of extent of item. ‑‑
> Note(s).

**0D2.** [Second level of description]{.underline}

For the second level of description, include at least the elements set
out in this schematic illustration:

a\) [Unpublished material]{.underline}

> Title proper \[general material designation\] = Parallel title : other
> title information / first statement of responsibility ; each
> subsequent state­ment of responsibility. ‑‑ date(s) of execution. ‑‑
> statement of extent of item or collection : other physical details ;
> dimensions. ‑‑ (Title proper of series = Parallel title of series ;
> numbering within the series. Title of subseries ; numbering within sub­
> series). ‑‑ Note(s).

b\) [Published material]{.underline}

> Title proper \[general material designation\] = Parallel title : other
> title information / first statement of responsibility ; each
> subsequent statement of responsibility. ‑‑ First place of publication
> : First publisher, date of publication. ‑‑ statement of extent of item
> : other physical details ; dimensions. ‑‑ (Title proper of series =
> Parallel title of series ; numbering within the series. Title of
> subseries ; numbering within sub­series). ‑‑ Note(s).

**0D3.** [Third level of description]{.underline}

For the third level of description, include all ele­ments set out in this
document that are applicable to the item or collec­tion being cataloged.

**0E. Language and script of the description**

**0E1.** In the following areas, give transcribed information in the
language and script (wherever practicable) in which it appears:

> Title and statement of responsibility area Publication, distribution,
> etc., area Series area

**0E2.** Replace symbols or other matter that cannot be repro­duced by
the typographical facilities available[^6] with a cataloger\'s
descrip­tion in square brackets. Make an explanatory note, if necessary.

**0E3.** In general, give interpolations into the above‑mentioned areas
in the language and script of the other data in those areas. Exceptions
are:

a\) prescribed interpolations and abbreviations;

b\) general material designations;

c\) other forms of the place of publication, etc.;

d\) statements of function of the publisher, distributor, etc.

**0E4.** Give any other element (other than titles and quotations in the
note area) in English.

**0F. Inaccuracies**

**0F1.** Record an inaccuracy or a mis­spelled word as it appears on the
material. Except in cases of deliber­ate usage, follow such an inaccuracy
by \"sic\" or by the abbre­viation \"i.e.\" and the correction within
square brackets.

> Pehriska‑Ruhpa, Moennitarri warrior in the costume of the dog danse
> \[sic\]
>
> Dracula, by Hamilton Deane and John L. Dalderston \[i.e. Balderston\]
>
> ([a poster advertisement for the play Dracula, which is by Dean and
> Balderston]{.underline})

**0F2.** Do not correct words spelled according to older or non‑standard
orthographic conventions, e.g., \"françoise\" for \"française.\"

**0G. Accents and other diacritical marks (including capitalization)**

**0G1.** Add accents and other diacritical marks that are omitted from
data found in the source of information in accordance with the usage of
the language used in context.

**0G2.** Capitalize or lowercase according to the rules for
capi­tali­zation in AACR 2, Appendix A.

**0H. Abbreviations and initials, etc.**

**0H1.** Do not abbreviate any word unless the particular rule for the
element or area allows it.

**0H2.** Record initials, initialisms, and acronyms without internal
spaces, regardless of how they are presented in the source of
infor­mation. Apply this provision also whether or not these elements are
presented with periods.

F.S. Chanfrau in the character of \"Mose\"

([title]{.underline})

M. J.P. Rabaut

([i.e., Monsieur J.P. Rabaut in a title]{.underline})

Mr. W.E. Burton, as Toddle

([title]{.underline})

> Hampton, the seat of Genl Chas. Ridgley, Maryland

NATO

**0J. Interpolations**

**0J1.** Indicate an interpolation (i.e., data taken from outside the
prescribed source(s) of information) by enclosing it in square brackets.
Indicate a conjectural interpolation by adding a question mark within
the square brackets.

Mr. Smith \[and\] Mr. Jones at the Derby

Qui \[est\] là?

([item is damaged and word is being interpolated]{.underline})

\[John?\] Cameron

**0J2.** In transcription, generally do not complete abbre­viated names
and words unless the rule for the particular element or area allows it.
If it is otherwise difficult to understand, fill in the whole name,
word, or number, enclosing addi­tional letter(s) or number(s) in square
brackets.

peint d\'après nat. par Ch. Bodmer

Phila\[delphia\]

19\[60\]

Jan. 3, \[18\]57

Friedr. Hecker\'s Abschied in Strasburg \...

> David Wooster, Esqr. : Commandr. bey der provincal. Armée in America
>
> Pan‑Am\[erican Exposition\] emergency hospital nurses

**1. TITLE AND STATEMENT OF RESPONSIBILITY AREA**

Contents:

1A. Preliminary rules

1B. Title proper

1C. Devising titles

1D. General material designation

1E. Parallel titles

1F. Other title information

1G. Statements of responsibility

**1A. Preliminary rules**

**1A1.** [Punctuation]{.underline}

**1A1.1.** For instructions on the use of spaces before and after
pre­scribed punctuation, see 0D.

Enclose the general material designation in square brackets.

Precede each parallel title by an equal sign ( = ).

Precede each unit of other title information by a colon ( : ).

Precede the first statement of responsibility by a diagonal slash ( / ).

Precede each subsequent statement of responsibility by a semicolon ( ;
).

**1A1.2.** When replacing \"\...\" in the title proper with \"‑‑\" (see
0C5), leave a space after the ‑‑, unless the dash is at the beginning:

Getting around‑‑ in Germany

[not]{.underline} Getting around‑‑in Germany

[but]{.underline} ‑‑and then there were none

**1A1.3.** Titles for graphic material will often not lend them­selves
easily to the application of the prescribed punc­tuation. If, how­ever,
the data can be separated clearly into title proper and other title
information, supply the prescribed punctuation.

**1A2.** [Sources of information]{.underline}

The cataloger must decide whether printed or manu­script text in the
chief source of information constitutes a title and/or statement of
responsibility that can be transcribed for the catalog record.

**1A3.** [Date as part of the title]{.underline}

When a date appears in the source in such a way as to con­stitute part of
the title, transcribe it as such (as part of the title proper or other
title information, which­ever is appro­priate).

> Near Sale\'s house, 23 Oct. 1886, Otago Harbour
>
> General George Washington reviewing the Western Army at Fort
> Cumberland the 18th of Octobr. 1794
>
> The Stewart Island trip : on board the Wakatipin, Christmas Day, 1895

**1B. Title proper**

**1B1.** [Title proper transcribed from chief source of information for
single items]{.underline}

**1B1.1.** The title proper is the first element of the descrip­tion.
When transcribing the title proper, include all text in­separable from
the words of the title, i.e., all words that are linguistically
con­nected or that clearly read together with­out a break. When the title
proper is preceded or followed in the source by elements of infor­mation
that cannot be con­sidered part of the title, transpose these elements to
their appropriate areas in the record (or give them in a note) unless
case endings would be affected, the grammatical con­struction of the data
would be disturbed, or the element is otherwise in­separably linked to
the title proper. In the latter cases, tran­scribe the data as found. If
desirable, make a note to indicate the ori­ginal position of these
elements.

**1B1.2.** Transcribe the title proper according to 0B‑0J.

**1B1.3.** When a title in the chief source of information dis­agrees
with one or more other sources, transcribe the title from the chief
source and, if it is likely that a catalog user might search for any of
the variant titles, make a note of them.

**1B1.4.** Omit, without using the mark of omission, data that neither
constitute title information nor are grammatically or otherwise
in­separably linked to the words of the title. Such omitted information
may include statements of patronage, mottoes, announcements, prices, and
plate, part or volume num­bers, etc.

**1B1.5.** When the beginning words of the text constitute the only
title‑like information, record them as the title proper.

Sheriff\'s sale of real estate

H.R. Robinson, 52 Courtland St.

**1B1.6.** [Title elements scattered by layout or
typography]{.underline}

When parts of the title are scattered over the item, com­pose the title
proper based on those elements distinguished by posi­tion, typography, or
size of lettering.

When the title information is arranged decoratively, or other elements
of the description (e.g., creator or pub­lisher) are interspersed with
the title information, deduce the logical sequence and then record the
title in its semantic order.

**1B1.7.** [Multiple titles]{.underline}

When there are [different]{.underline} titles in two or more languages
or scripts, choose the title proper on the basis of the sequence or
layout of the titles. If these are insufficient to enable the choice to
be made or are ambigu­ous, choose the most comprehensive one of the
several titles (see also 1E and 1F).

When the [same]{.underline} title appears in two or more languages or
scripts, transcribe as the title proper the one in the language or
script of the main written content. If this cri­terion is not applicable,
choose as the title the one typo­graphically more promi­nent, by reference
to the order of the titles, the layout, or, if necessary, the one
easiest to tran­scribe (see also 1E and 1F3.1).

**1B1.8.** [Discrete images with separate titles]{.underline}

When an item shows two or more discrete images each with a separate
title, and it lacks a comprehensive title, record the titles in the
order in which they appear or according to the layout. If the images are
all by the same creator, separate the titles by space, semicolon, space
( ; ). If the images are by different creators, separate the titles by a
period and two spaces (. ). In either case, a separate catalog record
may be made for each.

> Chef der Blut Indianer ; Kriegs Chef der Piékan Indianer ; Kutanä
> Indianer / \[statement of responsibility\]

([three images on one sheet; same creator]{.underline})

**1B1.9.** [Abridging a long title proper]{.underline}

Abridge the transcription of a long title only when it can be done
without loss of essential information. (If pos­si­ble, how­ever, try to
retain the entire title for a print or drawing even if it is very long.)
Always include the first five words. Omit any unessential words or
groups of words after the first five words and indicate gaps by the mark
of omission.

**1B1.10.** [Abbreviated title]{.underline}

In case of a severely abbreviated title, in which it would be cumbersome
to bracket interpolated letters or words, spell out the title and
enclose it in square brackets. If desirable, record the abbreviated
title in a note.

[Title on item]{.underline}:

Parl. Bldgs. Ottawa 10 Je 79

[Title spelled out]{.underline}:

\[Parliament buildings, Ottawa, 10 June 1979\]

**1B1.11.** [Insufficiently descriptive title]{.underline}

When a title does not accurately or adequately describe the nature and
content of the item, supply additional information in the note area (cf.
1B2.3).

**1B1.12.** [Title supplied from another source]{.underline}

When no title is in the chief source, but one is tran­scribed from
another source, enclose it in square brackets. Cite the source in a
note.

When no title is in the chief source and two or more sources disagree on
the title, either in content or in language, and none can be credited
with represent­ing the creator\'s intent, choose the title from the most
author­itative source and tran­scribe it in square brackets. If
appro­priate, give one or more of the variant titles in a note if those
variant titles are likely to be sought by a catalog user.

When no title is in the chief source and a title is found in a foreign
source or different titles are found in two or more foreign sources,
record the title as follows:

a\) If the title is in the creator\'s native language and there is
evidence that the author or compiler of the source is either using a
title given by the creator or quoting a title under which the item was
printed or published, transcribe the supplied title in the language as
given and enclose it in square brackets. Cite the source in a note.

b\) If the foreign language title has been made up by the author or
compiler of the source and is in his or her own language (which may or
may not be identical with that of the creator), devise a title in
English, enclosing it in square brackets (see 1C).

**1B1.13.** [Title on another copy, etc.]{.underline}

When a title is known to exist on another copy, edition, or different
state of the item, transcribe the title from that source, enclosing it
in square brackets. Make a note of the source.

**1B2.** [Title proper from chief source of information for
collections]{.underline}

**1B2.1.** When a collection is acquired with a title specified by the
donor or source, transcribe it as the title.

> Pictorial archives of early American architecture
>
> Gilbert H. Grosvenor collection of photographs of the Alexander Graham
> Bell family

When a suitable collective title appears in a collec­tion, transcribe it
as the title.

> Photographic views of Kern County, California

([title on loose printed sheet with the collection]{.underline})

When a name given by the collector or donor is not suitable as a title,
and there is no re­quirement that this title be used, devise a title
according to the provisions in 1C. If it is pos­sible that someone would
refer to the donor\'s or col­lector\'s title, record the variant title in
a note.

**1B2.2.** [Series title]{.underline}

When a clearly identifiable and consistently used series title is
provided either on some or all of the items in a series or is found in a
reference source, use this as the title proper. When supplied from a
reference source, cite the source in a note. If desirable, transcribe
the title proper of the individual items them­selves in a contents note
(see 5B17).

The illustration of the Siberian war

Gems of American life

When a title given on some or all of the items in a series is not
consistently used from item to item and one cannot be found in a
reference source, choose the one that identifies the series most
adequately and succinctly.

**1B2.3.** [Insufficiently descriptive collection title]{.underline}

When a title specified by the donor or source does not accurately or
ade­quately describe the nature and content of the material, additional
information, if brief, may be supplied as other title information (see
1F3.3) or, if lengthy, in the note area (cf. 1B1.11).

**1C. Devising titles**

**1C1.** Supply a title when there is no title in the chief source of
information nor in any other source. Devise a title in English with an
attempt to make it distinctive, apply­ing the following provisions.

For [single items]{.underline}, devise a brief descriptive title, and
enclose it in square brackets.

For [collections]{.underline}, devise a brief descriptive title and
record it without square brackets. The descriptive statement may include
the name of the creator, creating body, collector, or source.

Details of the content, nature, scope, context, moti­va­tion, arrangement,
etc., of the material may be fully described in the note area.

**1C2.** For documentary material, give the factual content as far as
possible. Include the following elements of information, as appro­priate:

> a\) an identification of the main subject(s) depicted, i.e., persons,
> events, activities, and objects;
>
> b\) geographical location(s) depicted, if known and significant;
>
> c\) the date (including month and day, if desirable) or span dates of
> what is being depicted [if different from the date of publication or
> execution]{.underline} (see also 2F and 2H).
>
> [Single items]{.underline}:
>
> \[New York Pilots\' Association membership certificate\]

\[Portrait of Cyrus Patten\]

> \[Gen. Emiliano Zapata and his staff, Puebla, Mexico, 1911\]

([drawing executed at later date]{.underline})

[Collections]{.underline}:

> Daniel Murray collection of W.E.B. Du Bois photographic prints for the
> International Exposition in Paris, 1900

([name of donor combined with description]{.underline})

Edward Sheriff Curtis collection

([name of photographer]{.underline})

National Child Labor Committee collection

([name of sponsoring body and source]{.underline})

Child labor in agriculture

Mexican cartes de visite album

> Geological and anthropological features of Alaska and the Aleutian
> Islands
>
> Views and activities in or near Deadwood, Hot Springs, and Sturgis,
> S.D., Colo., and Wyo.

Abdul Hamid II collection

**1C3.** Use the most tersely descriptive phrasing of the sub­ject(s)
when devising a title for works for which the interest is in the
indi­vidual artist and the aesthetic value of the work itself.

[Single items]{.underline}:

\[Madonna and Child with SS. Peter and Paul\]

\[Man smoking at window\]

\[Landscape with winding river\]

\[Six squares\]

[Collections]{.underline}:

Joseph Pennell collection of Whistleriana

Nineteenth‑century bird prints

**1D. General material designation** (optional addition)[^7]

Add immediately after the title proper the word \"graphic\" as the
general material designation (GMD).

[Single items]{.underline}:

\[Man smoking at window\] \[graphic\]

> General George Washington reviewing the Western Army at Fort
> Cumberland the 18th of Octobr. 1794 \[graphic\]

John Eager Howard \[graphic\]

[Collections]{.underline}:

> The illustration of the Siberian war \[graphic\]
>
> Views and activities in or near Deadwood, Hot Springs, and Sturgis,
> S.D., Colo., and Wyo. \[graphic\]

Abdul Hamid II collection \[graphic\]

> Geological and anthropological features of Alaska and the Aleutian
> Islands \[graphic\]

**1E. Parallel titles**

Record all parallel titles appearing in the source of in­formation.
Transcribe parallel titles in the order indicated by their sequence on,
or by the layout of, the source of infor­ma­tion. Capitalize the first
word of each parallel title.

When the order or layout appears to be entirely random, record the
parallel titles in sequence reading from top to bottom and from left to
right, where appropriate.

> Deutsche Römisch Katholische St. Nicholas Kirche in New York = German
> Roman Catholic St. Nicholas Church in New York
>
> George Washington Eqer, général en chef de l\'armée englo ameriquaine,
> nommé dictateur par le Congres en février 1777 = George Washington
> Eqer, general and commander en chief of the continental army in
> America
>
> Jagd auf Grizzly Bären \[graphic\] = Chasse au grizzly bear = Hunting
> of the grizzly bear
>
> ([title proper, GMD, and two parallel titles for a single
> item]{.underline})

**1F. Other title information**

**1F1.** Record all other title information appearing in the source of
information according to the instructions in 0B‑0J. Transcribe other
title information in the order indicated by the sequence on, or the
layout of, the source of information.

> Chemical philosophers of the present day : Dr. Priestley : Lavoisier
>
> Karen Female Institute, Tounghoo : with the native board of managers
> in their hunting dress
>
> Congress playing cards \[graphic\] : crisp, flexible, luster finish,
> new designs : sold by dealers

([with general material designation]{.underline})

Transcribe other title information following the title proper or
parallel title to which it pertains.

**1F2.** [Abridging other title information]{.underline}

When other title information is very lengthy and can be abridged without
loss of essential information, omit less important words or phrases,
using the mark of omission. If desired, give in a note other title
informa­tion that has not been transcribed.

> Karen Female Institute, Tounghoo : with the native board of managers
> \...
>
> Grand shooting match! : a grand, tremendous, terrible \... shooting
> match will take place at old Tom Hackett\'s, in Bedford, N.H., on \...
> Oct. 17th, 1867 \...

**1F3.** [More than one language or script]{.underline}

**1F3.1.** When a portion of the title proper (but [not the
whole]{.underline} title proper) is repeated in one or more different
languages, transcribe all statements after the first as other title
infor­mation (cf. 1E).[^8]

> Fort Clark am Missouri (Februar 1834) \[graphic\] : sur le Missouri
> (février 1834) : on the Missouri (February 1834)
>
> ([a portion of the title proper is repeated in two other languages,
> with GMD]{.underline})

**1F3.2.** When other title information is repeated in one or more
dif­ferent languages and the title proper is not re­peated, tran­scribe
each statement as other title informa­tion.

> Abraham Lincoln : as president of the United States : président des
> Etats‑Unis : als Präsident der Vereinigten Staaten

**1F3.3.** [Other title information for collections]{.underline}

When a collection has a formal, tra­ditional, or assigned title but
otherwise lacks specific information making the form and/or nature of
the material clear, such information, if brief, may be added as other
title infor­mation. Record it in English regardless of the language of
the title proper. If too lengthy, record this infor­mation in the note
area.

Abdul‑Hamid II collection : life in Turkey

**1G. Statements of responsibility**

Record the names of persons and corporate bodies having contributed to
the creative and intellectual content of the material being cataloged,
that is, designers, draftsmen, painters, photographers, printmakers, and
illustrators (both individuals and corporate bodies). Do not record
names of pre­vious owners and col­lectors in the statement of
responsibil­ity, but rather in a note regarding provenance.

**1G1.** Record a single statement of responsibility[^9] as it appears.

/ drawn, engraved & published by W. Birch

/ painted by T. and W. Birch

**1G2.** For [single items]{.underline}, transcribe the statement of
responsi­bility as it appears in the source.

> Karen Female Institute, Tounghoo : with the native board of managers
> in their hunting dresses / drawn by Mrs. Ellen B. Mason, from a
> photograph
>
> ([single item with statement of responsibility transcribed from the
> item itself]{.underline})
>
> F.S. Chanfrau in the character of \"Mose\" : as originally written
> for, and performed by him \... / James Brown, del.

**1G3.** For [collections]{.underline}, transcribe names as they appear
most fre­quently in the collection. If this does not apply, record them
in a standardized way, that is, always in the same form and with the
same spelling.

> Abdul‑Hamid II collection : life in Turkey / Abdullah Freres
>
> ([collection with statement of responsibility transcribed as it
> appears most frequently]{.underline})
>
> Pan‑American Exposition, Buffalo, N.Y. / C.D. Arnold
>
> ([collection with statement of responsibility as it appears most
> frequently; full name is known to be Charles Dudley
> Arnold]{.underline})

**1G4.** When there are two or more statements of responsibility, record
them in the order indicated by their sequence on, or by the layout of,
the source of information for the second and third levels of
description. If the sequence and layout are ambiguous or insuf­ficient to
determine the order, record the statements in the order that makes the
most sense.

> The death cry / S. Eastman, U.S. Army, del. ; executed on stone by C.
> Schuesele \[i.e. Schussele\]
>
> \[Romany Marye in Christopher Street\] / John Sloan ; Chas. White,
> imp.
>
> Jagd auf Grizzly Bären = Chasse au grizzly bear = Hunting of the
> grizzly bear / Ch. Bodmer, pinx. ad nat. ; Lucas Weber, sc.

**1G5.** When up to three persons or corporate bodies named in the
source of information performed the same function or had the same degree
of responsibility, record all the names mentioned. If, how­ever, the
number of responsible persons or bodies is more than three or some are
unidentified, record the names or infor­mation about re­sponsibility in a
note.

> Hermann Göring collection \[graphic\] : personal and official
> activities
>
> ([title proper, GMD, and other title information]{.underline})
>
> Various identified and unidentified amateur, commercial, and news
> photo­graphers, including E. Bieber, Rosemarie Clausen, Erich Engel,
> Heinrich Hoffmann, Robert Kropp, Helmuth Kurth, Eitel Lange, Robert
> Rohr, Scherl Bilder­dienst, Carl Weinrother, and Welt­bild.
>
> ([note]{.underline})

**1G6.** [Attributions]{.underline}

*[1996 UPDATE]{.underline}*: [Optionally]{.underline}, Use instead:
5B7.2. This option reflects AACR2 practice of including attribution
statements in a note. See corresponding AACR2 rules 1.1F2 and 1.7B6.

Do not make an attribution unless there is strong sup­port­ing evidence.
Record such a supplied name in a standardized way. For [single
items]{.underline}, enclose it in square brackets. For
[col­lections]{.underline}, do not enclose it in square brackets. If
necessary, give an ex­planatory note.

> Mr. F.S. Chanfrau \"as Mose\" : in the new piece called \"a glance at
> New York\" / \[James L. Magee\]

**1G7.** [Monograms and devices]{.underline}

Record a name or initial(s) inferred from a monogram or device, followed
by the word \"monogram\" or \"device\" in square brackets. If the full
name is known, give it in a note.

> \[Christ taking leave of his Mother\] \[graphic\] / AD \[monogram\]
>
> ([woodcut, signed on block with Albrecht Durer\'s
> monogram]{.underline})

**1G8.** [Explanation of function]{.underline}

If desirable, add a word or short phrase in English, in square brackets,
to the statement of responsibility when the rela­tionship between the
title and the person(s) or body (bodies) named in the statement is not
clear.

> T.H. Shepherd \[delineator\] ; H. Melville \[printmaker\]

**1G9.** [Information associated with statement of responsibility on
single unpublished items]{.underline}

If desirable, with [single unpublished items]{.underline} transcribe
from the item itself information associated with a statement of
responsi­bility. For [collections]{.underline}, record such associated
infor­mation in a note.

> Deadwood people celebrating the building of the largest reduction
> works \... / J.C.H. Grabill, photographer, Deadwood and Sturgis,
> Dakota Ter\[ritory\]

**1G10.** [Person or corporate body not given by name]{.underline}

Transcribe a statement of responsibility even if no person or body is
explicitly named in that statement.

> A prospect of the Moro \[sic\] Castle and city of Havana from sea /
> drawn on the spot by an officer ; P.C. Canot, sculpt.
>
> The grand national caravan moving east / drawn by Hassan
> Straightshanks, under the immediate superintendence of Maj. Jack
> Downing
>
> ([\"Straightshanks\" is a pseudonym, \"Downing\" is a fictitious
> character]{.underline})

When the real name is known, follow the transcription by \"i.e.\" and
the name in square brackets.

> / drawn on the spot by our correspondent \[i.e. John Parker\]

**2. PUBLICATION, DISTRIBUTION, ETC., AREA**

Contents:

> 2A. Preliminary rules
>
> 2B. General rules
>
> 2C. Place of publication, distribution, etc.
>
> 2D. Name of publisher, distributor, etc.
>
> 2E. Statement of function of publisher, distributor, etc.
>
> 2F. Date of publication, distribution, etc.
>
> 2G. Place and name of manufacturer or printer and date
>
> 2H. Date of execution of unpublished material

**2A. Preliminary rules**

**2A1.** Use the publication, distribution, etc., area to record
infor­mation about the place, name, and date of publication and/or
dis­tri­bution, as well as all types of printing, manu­fac­turing and
sponsor‑advertiser activities considered by the cata­loging agency to be
im­portant for graphic materials that have been commercially produced.

For [unpublished]{.underline} material, this area consists only of the
date element (see 2H).

**2A2.** [Punctuation]{.underline}

For instructions on the use of spaces before and after prescribed
punctuation, see OD.

Precede the publication, distribution, etc., area by period, space,
dash, space (. ‑‑ ).

Precede a second and any subsequently named place of publi­cation by a
semicolon ( ; ), eliminating any linking word or phrase given in the
source.

Precede the name of a publisher, distributor, etc., by a colon ( : ).
Precede the name of a second and any subsequent publisher by a colon
unless a linking word or phrase is given in the source.

Enclose a supplied statement of function in square brackets.

Precede the date of publication, distribution, etc., by a comma (, ).

Enclose the details of printer or manufacturer in parentheses.

Precede the name of a printer or manufacturer by a colon ( : ).

Precede the date of printing or manufacture by a comma (, ).

If the publication, distribution, etc., area precedes a new paragraph,
end it with a mark of final punctuation, i.e., a period, closing
parenthesis, closing bracket, or question mark.

**2A3.** [Sources of information]{.underline}

Record the elements of data in the prescribed order, even if this means
transposing data, unless case endings are affected, or the grammatical
construction of the data would be disturbed, or one element is
inseparably linked with another. In the latter case, transcribe the data
as found.

**2B. General rules**

**2B1.** [Printer equivalent to publisher]{.underline}

When no publisher is named but a printer is, assume that the printer is
equivalent to the publisher and follow the provisions given below for
publishers.

**2B2.** [Printer and publisher explicitly stated]{.underline}

When a printer is given in addition to the pub­lisher and is considered
important, give the details of printing in parentheses after the
publisher (see also 2G). The same may be done with manufacturers that
are considered important. In case of doubt about whether a named agency
is a publisher or a manu­facturer, treat it as a publisher.

> New York : Published by W. Schaus, c1860 (Boston : Printed at J.H.
> Bufford\'s)
>
> London : Published by Ackermann & Co. \... ; Coblenz : Bei J. Hölscher
> ; Paris : Arthus Bertrand, éditeur, \[between 1832 and 1841\]
> (\[Paris?\] : Imp. de Bougeard)

**2B3.** [Sponsor‑advertiser]{.underline}

Sponsor‑advertisers may have a role both in the crea­tion of the material
as well as in its publication. Thus, a sponsor‑advertiser may appear
both in the statement of responsi­bility and in the publisher\'s
position.

> Congress playing cards : crisp, flexible, luster finish, new designs :
> sold by dealers / The U.S. Playing Card Co. ‑‑ \[S.l.\] : The U.S.
> Playing Card Co., c1900 (Cincinnati, U.S.A. : The U.S. Printing Co.)
>
> ([The U.S. Playing Card Co. commissioned the poster and acted as the
> publisher as well]{.underline})

**2C. Place of publication, distribution, etc.**

**2C1.** Record the place of publication, etc., in the form and the
grammatical case in which it appears in the source. If the place of
publica­tion appears together with the name of a larger juris­diction
(e.g., country, state, or similar designation), tran­scribe this as well.
Include in the transcription any pre­po­sitions appearing before the name
of the place, as well as accom­panying words or phrases associated with
the name.

> St. Louis, Mo.
>
> Cincinnati, U.S.A.
>
> Springland near Bristol, Penna
>
> A Lyon
>
> In London
>
> Printed at Bennington

**2C2.** If considered necessary for identification, add an alternative
form of the transcribed place name in square brackets. Use the current,
well‑established English form of the name, if there is one.

> Christiania \[Oslo\]

**2C3.** Add the name of the country, state, province, etc., to the
transcribed place name if it is considered necessary for identification,
or if it is considered neces­sary to dis­tinguish the place from others of
the same name. Use the current, well‑established English form of the
name, if there is one, and use abbrevia­tions appearing in AACR 2,
Appendix B.

> [City alone appears in the chief source of information; larger
> jurisdiction supplied by cataloger]{.underline}:
>
> Cambridge \[Mass.\]
>
> Cambridge \[Cambridgeshire\]
>
> Newport \[R.I.\]
>
> Washington \[Pa.\]
>
> Lincoln \[Neb.\]
>
> Santiago \[Chile\]
>
> London \[Ont.\]
>
> [City and larger jurisdiction appear in the chief source of
> information]{.underline}:
>
> Carbondale, Ill.
>
> Tolworth, England
>
> Lincoln, Nebr.

**2C4.** When a place name is found only in an abbreviated form in the
chief source of information, give it as found, and add the full form or
complete the name.

> Mpls \[i.e. Minneapolis\]
>
> Rio \[de Janeiro\]
>
> Phila\[delphia\]
>
> Philada. \[i.e. Philadelphia\]
>
> N\[ew\] Y\[ork\]
>
> ([the city]{.underline})

**2C5.** When two or more places are given as the places of pub­lication
or distribution, and all the places are related to the same publisher or
distributor, record all of them in the order in which they appear in the
chief source of information.

> Meadville, Pa. ; St. Louis, Mo.
>
> Cincinnati ; New York

**2C6.** When, in cataloging a collection of published items having a
series title and the same publisher and the place of publi­cation is
found to change in the course of publication, give the place of
publication of the later part(s) in a note (see also 2D5).

**2C7.** When the place of publication appears only as part of another
area or appears as an integral part of the publisher statement,
transcribe it as such, and repeat the place of publi­cation as the first
element of the publication area. Use the current, well‑established
English form of the name, if there is one. Enclose this supplied element
in square brackets.

> [Place appears as part of the publisher statement]{.underline}:
>
> bey Caspar Closemann, Buchhandlern in Bresslaw zubefinden
>
> [Place of publication recorded as]{.underline}:
>
> \[Breslau\] : Bey Caspar Closemann, Buchhandlern in Bresslaw
> zubefinden
>
> [Place appears in the statement of responsibility and is repeated in
> square brackets]{.underline}:
>
> / drawn, engraved & published by W. Birch in Springland near Bristol,
> Penna. ‑‑ \[Springland : W. Birch\]

**2C8.** [Fictitious or incorrect place name]{.underline}

When the place of publication given in the source is known to be
fictitious or incorrect, follow it by the abbre­via­tion \"i.e.\" and the
correction in square brackets, and give the basis for the correction in
a note. Use the current, well‑established form of the name, if there is
one.

**2C9.** [Address, district, or sign as place of
publication]{.underline}

When only an address, a district, or sign appears in the source, supply
the name of the place of publication in English, in square brackets. Use
the current, well‑established English form of the name, if there is one.
When supplying the place, give a justifi­cation in the note area, if
necessary.

> \[London\] : Published according to law & sold by R. Willock,
> bookseller in Cornhill, & J. Boydell, engraver in Cheapside
>
> \[Paris\]
>
> ([publisher statement reads]{.underline}: a l\'enseigne de
> l\'éléphant,\" the trade sign of a Paris printer)
>
> \[London\]
>
> ([publisher statement reads]{.underline}: \"sold in St. Paul\'s Church
> yard\")

**2C10.** [Uncertain place of publication]{.underline}

**2C10.1.** When the place of publication is uncertain, give the
probable place in square brackets with a question mark. Use the current,
well‑established English form of the name, if there is one.

> \[Amsterdam?\]
>
> \[Oslo?\]
>
> \[Leningrad?\]

**2C10.2.** When no probable city of publication can be given, give the
name of the state, province, or country, or the probable state,
province, or country as the place of publi­cation in square brackets,
with a question mark if neces­sary. Use the current, well‑established
English form of the name, if there is one.

> \[Canada\]
>
> \[Surrey?\]

**2C10.3.** If, when supplying a place of publication, the reason for
supplying the place is not apparent from the rest of the description,
give in a note the source of such information.

**2C11.** [More than one language or script]{.underline}

When the name of the place of publication appears in more than one
language or script, give the statement in the language or script of the
title proper, or if this criterion does not apply, give the statement
that appears first. Give the parallel statement in a note, if desirable.

**2C12.** [No place of publication]{.underline}

When no place or probable place can be supplied, give the abbreviation
\"s.l.\" (sine loco), in square brackets. Capi­talize only the \"s\" of
\"s.l.\"

**2D. Name of publisher, distributor, etc.**

**2D1.** Give the name of the publisher, etc., following the place(s) to
which it relates. Transcribe the name of publisher, etc., in the full
form and grammatical case (with associated words and phrases) in which
it appears in the source.

> New York : Published by W. Schaus
>
> New York : Lith. & published by E. & J. Brown
>
> London : Printed for Robt Sayer, map & printseller, at the Golden Buck
> near Serjeants Inn, Fleet Street
>
> Cincinnati : Russell‑Morgan Printing Co.

**2D2.** When there is more than one statement relating to pub­lishers,
etc., generally record them all in the order in which they appear or
according to the typography and layout. Separate the parts of a complex
publisher statement only if they are presented separately on the
material (i.e., not linked by con­necting words or phrases).

> London : Published by J. Smith ; Paris : Chez Bernard
>
> St. Louis : Published by Stork & Co. ; New York : Distributed by John
> Adams
>
> \[London\] : Published according to law & sold by R. Willock,
> bookseller in Cornhill, & J. Boydell, engraver in Cheapside

**2D3.** Qualifications, such as \"printer to the King,\" are gen­erally
omitted. Insignificant information in the middle or at the end of the
publisher statement may be omitted. Addresses are also generally omitted
unless they aid in identifying the material. Indicate all omissions by
the mark of omission. (However, see 2F2.)

> [On source]{.underline}:
>
> London, published by Ackermann & Co., 90 Strand
>
> [Transcription, with mark of omission for the address]{.underline}:
>
> London : Published by Ackermann & Co. \...

**2D4.** Transcribe a place of publication appear­ing in the text of the
publisher statement as part of the pub­lisher statement, but also record
it in square brackets as the first element of the publication area (see
2C7 above).

**2D5.** When, in cataloging a collection of published items having a
series title and the same publisher, the name or form of name of the
publisher is found to change in the course of publi­cation, give the
publisher statement of the later part(s) in a note (see also 2C6).

**2D6.** When only the address, district, or sign of the pub­lisher is
given in the source of information, record the name of the publisher in
square brackets, if known, either before or after the address or sign,
as appropriate. If necessary, give the source of this information in a
note.

**2D7.** Enclose the name of the publisher in square brackets if it is
inferred from a device, even if the device includes the publisher\'s
initials or spelled‑out name. Give a note to sup­port the inference and
cite a source of verification, if neces­sary.

**2D8.** When no name, address, or device of a publisher appears in the
source, supply the name of the publisher in square brac­kets, if known.
When the responsibility of a publisher for a particular item is
uncertain or speculative, either add a ques­tion mark to any supplied
name or give the information in a note. Give supporting evidence in a
note, if necessary.

**2D9.** [Publisher unknown]{.underline}

When no name can be given as that of the publisher, supply the
abbreviation \"s.n.\" (sine nomine) in square brackets. Do not
capitalize the \"s\" of \"s.n.\"

> Paris : \[s.n.\]
>
> \[S.l. : s.n.\]
>
> ([place of publication and publisher unknown]{.underline})

**2D10.** When the name of the publisher appears in more than one
language or script, give the statement in the language or script of the
title proper, or if this criterion does not apply, give the statement
that appears first. Give parallel statements in a note, if desirable.

**2E. Statement of function of publisher, distributor, etc.** (optional
addition)

Add to the name of a publisher, etc., one of the fol­low­ing terms, in
square brackets, indicating function:

> distributor
>
> manufacturer
>
> printer
>
> publisher
>
> sponsor‑advertiser

unless

> a\) the phrase naming the publisher, etc., includes words that
> indicate the function performed by person(s) or body (bodies) named;
> or
>
> b\) the function of the publishing, etc., agency is clear from the
> context.
>
> New York : Published by J. Baillie, c1848 (J. Baillie Lith.
> \[printer\])
>
> St. Louis, Mo. : Keystone View Co. ; \[S.l.\] : B.L. Singley
> \[distributor\], c1900

**2F. Date of publication, distribution, etc.**

**2F1.** Give the date or span dates of commercial publication, etc., as
a year or years. [Optionally]{.underline}, include the month and day as
found on the material. Change roman numerals indica­ting the year to
arabic numerals unless they are erroneous or misprinted (see 2F3). Omit
words and phrases such as \"printed in the year\" and \"anno,\" without
using the mark of omission.

> \[London\] : Pubd. by T. Tegg III, Cheapside, June 6, 1814
>
> ([option to include month and day used]{.underline})

[Optionally]{.underline}, if it is considered important to retain in the
catalog record the exact wording of imprint information, transcribe the
date of publication, including dates appearing as roman numerals, and
any associated words or phrases as they appear in the source. When the
date transcribed is in roman numerals, give the date in arabic numerals
in square brackets directly follow­ing the form in roman numerals. When
the date statement is very long, it may be abridged, using the mark of
omission.

> \[London\] : Pubd. by Robt. Sands, Cheapside, on this day of May 13th
> in the year MDCCCXIV \[1814\]

**2F2.** [Date appears within the place or publisher statement or
another area]{.underline}

When the date is inseparably linked to the place or publisher statement
or to information in another area according to one or more of the
conditions enumerated in 1B1.1, record it with the element to which it
is linked and repeat it in square brackets as the date element of the
area.

> London : Published May 1, 1801, by Dr. Thornton, \[1801\]

**2F3.** [Fictitious or incorrect date]{.underline}

When the year of publication or printing is known to be fictitious or
incorrect, or has been misprinted, record it as given and follow it by
the abbreviation \"i.e.\" and the correc­tion in square brackets.

> , 1812 \[i.e. 1813\]

**2F4.** [Copyright dates]{.underline}

**2F4.1.** When the dates of publication, distribution, etc., are
unknown, give the copyright date or, in its absence, the date of
manufacture (indicated as such) in its place. Use the abbre­viation \"c\"
for copyright and follow it by the year without spacing.

> c1967
>
> , 1967 printing

**2F4.2.** When giving the copyright date, omit phrases such as
\"Entered according to Act of Congress in the year\...,\" without using
the mark of omission.

**2F4.3.** [Optional addition]{.underline}. Add the date of copyright
following the publication date if they differ.

*[1996 UPDATE]{.underline}*: Add the date of copyright following the
publication date, even if the dates are the same year.

> 1967, c1965
>
> 1905, c1905

**2F5.** [Probable date of publication, etc.]{.underline}

**2F5.1.** When no date of publication, distribution, etc., copy­right
date, or date of manufacture can be found for the material, give a
probable date or span dates of publication accord­ing to one of the
patterns in Appendix A. Give any needed ex­planation in a note.

**2F5.2.** As a last resort with [single items]{.underline}, for which
no date can be conjectured, use the abbreviation \"s.d.\" (sine datum)
in square brackets.

*[1996 UPDATE]{.underline}*: [Optionally]{.underline}, always provide a
date.

**2F6.** In describing a collection consisting of items published over a
number of years, record the date of the first pub­lished item and the
last published item and connect them by a hyphen.

> , 1845‑1860

When the order of publication dates does not corres­pond to the order of
the item numeration, record the date of each item in a note, if
desirable.

> , 1845‑1860
>
> ([dates of publication]{.underline})
>
> Plates published as follows: Pl. 1. 1846 ‑‑ Pl. 2. 1845 ‑‑ Pl. 3. 1860
> ‑‑Pl. 4. 1859. ([note]{.underline})

**2G. Place and name of manufacturer or printer and date** (optional
addition)

When a separately named manufacturer or printer that is considered
important by the cataloging agency appears in the chief source of
information, give the place, name, and/or date, if they differ from the
place, name of publisher and/or date of publi­cation.

> New York : Published by W. Schaus, c1860 (Boston : Printed at J.H.
> Bufford\'s)

**2H. Date of execution of unpublished material**

**2H1.** Give the date or span dates of execution as a year or years.
[Optionally]{.underline}, for single items, include month and day as
found on the material.

*[1996 UPDATE]{.underline}*: [Optionally]{.underline}, for collections,
indicate dates or date spans most heavily represented within the
collection as a bulk date.

> [Single items]{.underline}:
>
> Ridge riders / Crandall. ‑‑ 1974.
>
> Deadwood people celebrating the building of the largest reduction
> works of the kind (for gold and silver ores) in the world / J.C.H.
> Grabill, photographer, Deadwood and Sturgis, Dakota Ter\[ritory\]. ‑‑
> 1888.
>
> [Collections]{.underline}:
>
> National Child Labor Committee collection / Lewis Wickes Hine. ‑‑
> 1908‑1924, bulk 1910-1915.

**2H2.** Add the copyright date following the date of execution if they
differ.

*[1996 UPDATE]{.underline}*: [Optionally]{.underline}, add the copyright
date following the date of execution even if the dates are the same, to
reflect copyright status of the material.

> , 1886, c1892
>
> Views of Oklahoma / J.V. Dedrick. ‑‑ 1908, c1909.
>
> , 1918, c1918

*[1996 UPDATE]{.underline}*:

**2H2.1** [Optionally]{.underline}, for photographs, add the date of
printing or publication when it differs significantly from the date when
the image (i.e, negative) was made.

\[photographed 1863, printed 1970\]

**2H3.** When the date of execution is an integral part of the
transcribed title on a single item, transcribe it as such, and repeat it
in square brackets as the date element in the publica­tion, distribution,
etc., area (see 1A3, 1B1.1).

> Near Sale\'s house, 23 Oct. 1886, Otago Harbour. B \[23 Oct. 1886\]

**2H4.** [No date of execution]{.underline}

When no date is known, supply a probable date accord­ing to the patterns
shown in Appendix A, or use the known date of copyright. Give any
necessary explanation in the note area. Use the abbreviations \"ca.\"
(circa) and \"c\" (copyright), writing them in the lowercase.

> [Single items]{.underline}:
>
> A song of degrees of David : Psalm 133 / Ben Shahn. B \[1960?\]
>
> Karen Female Institute, Tounghoo : with the native board of managers
> in their hunting dress / drawn by Mrs. Ellen B. Mason, from a
> photograph. ‑‑ \[ca. 1862\]
>
> \[Man with fishing rod\] / D. Parker. ‑‑ \[between 1979 and 1982\]
>
> [Collections]{.underline}:
>
> Clare Boothe Luce collection ‑‑ ca. 1933‑1966
>
> Photographic views of Kern County, California / Carleton Emmons
> Watkins. ‑‑ 1888?

**2H5.** As a last resort with [single items]{.underline}, for which no
date can be conjectured, use the abbreviation \"n.d.\" (no date) to
indicate this.

*[1996 UPDATE]{.underline}*: [Optionally]{.underline}, always devise a
date to provide some chronological information even if it is only an
estimate of several centuries.

**3. PHYSICAL DESCRIPTION AREA**

> Contents:
>
> 3A. Preliminary rules
>
> 3B. Statement of extent (including specific material designation
>
> 3C. Other physical details
>
> 3D. Dimensions
>
> 3E. Accompanying material
>
> 3F. Collections containing more than one distinct category of material

**3A. Preliminary rules**

**3A1.** The statement of physical characteristics gives:

> a\) an indication of the extent (e.g., number of physical units);
>
> b\) specific material designation‑‑an indication of the medium or
> format of the material (and in some cases both)
>
> c\) an indication of the material upon which the image(s) is printed
> or executed (primary support), if significant;
>
> d\) an indication of the material upon which the image is mounted
> (secondary support), if significant;
>
> e\) other details of physical description, as appropriate;
>
> f\) dimensions;
>
> g\) an indication of accompanying material.

The specific rules given below provide for aspects of exceptional
physical description, as dictated by the nature of a particular medium
or format. Examples in this area are intended to illustrate specific
points only. Not all the elements that would be required in a full
catalog record are provided in each case.

**3A2.** [Punctuation]{.underline}

For instructions on the use of spaces before and after prescribed
punctuation, see 0D.

Precede the physical description area by a period, space, dash, space (.
‑‑ ) or start a new paragraph.[^10]

Precede other physical details by a colon ( : ).

Precede dimensions by a semicolon ( ; ).

Precede a statement of accompanying material by a plus sign ( + ).

Enclose physical details of accompanying material in parentheses.

Normally, an area begins with a capital letter, but in the physical
description area start instead with the lower case (e.g., ca. 2,500
items).

End the physical description area with a period unless it already ends
with a closing parenthesis or mark of abbrevia­tion (e.g., cm.).

**3A3.** [Sources of information]{.underline}

Take information for the physical description area from any source. Take
explicitly or implicitly stated infor­mation from the material itself.

**3B. Statement of extent (including the specific material
designation)**

**3B1.** There are four ways[^11] of stating the extent; indicate the
number by an arabic numeral. Record 1 if there is only one item unit,
even if implicit in the use of the specific material designation in the
singular. For special additions, see 3B6. See also 3C4.2.

> a\) Record the exact number of single items.
>
> 1 drawing
>
> 4,945 transparencies
>
> 16 pictures
>
> b\) Record the approximate number of single items.
>
> ca. 465 prints
>
> ca. 2,500 photographic prints
>
> c\) Record the number of containers or volumes.[^12]
>
> 1 portfolio
>
> 8 albums
>
> 65 boxes
>
> d\) Record the linear (i.e., length of shelf or file drawer) or cubic
> measurement.
>
> 56 ft.
>
> 24 m.
>
> 6.3 cu. ft.

*[1996 UPDATE]{.underline}*: The Library of Congress Prints and
Photographs Division rarely describes collections in terms of linear
feet, but provides this as an option to those institutions wishing to
follow manuscript cataloging guidelines for certain collections.

**3B2.** [Later addition of material to a collection]{.underline}

It is recognized that when collections are cata­loged there may be a need
to provide for the later addition of material, as when new material is
accessioned from the same source as an already cataloged collection, and
it is appro­priate to add it. Under these circumstances, portions of the
record are naturally subject to change (usually the statement of
extent), with a final statement of exact contents when the decision is
made to close the collection. It may, however, instead be desirable to
catalog the addition separately, linking it to the collection by a note
(see 5B22).

**3B3.** [Series]{.underline}

Record the number of items in a series according to what is in hand. If
the series is evidently incomplete, as when numbers in the sequence are
missing, make an explana­tory note about what is wanting.

**3B4.** [Information on the component parts of a
collection]{.underline}

When a collection is being described and a more specific statement of
extent is desirable, add the number of com­ponent parts in parentheses.
This additional statement may show a single figure representing the
total number of components or it may show multiple figures representing
the subtotal for the different categories of material within a container
or volume. When such details are numerous or complex, give them in the
note area. For complex collections, see also 3F.

*[1996 UPDATE]{.underline}*: \"Collection\" here is meant in the
broadest sense and can signify any material with component parts, e.g.,
albums, portfolios.

> 1 portfolio (40 lithographs)
>
> 1 album (78 cartes de visite photographic prints)
>
> 6 albums (127 photographic prints)
>
> 7 m. (ca. 8,000 items)
>
> 5 ft. (14 albums, 6 boxes)
>
> 3 sketchbooks (92 drawings)
>
> 155 photographic prints (101 gelatin silver prints, 54 albumen prints)
>
> 4 albums (65 photographic prints, 2 broadsides, 3 postcards)
>
> 16 prints (10 woodcuts, 6 wood engravings)
>
> ca. 45,500 contact sheets (1,182,500 images)

**3B5.** [Specific material designation]{.underline}

Choose a term from the list below for the specific material designation
(SMD). If desirable, give further descrip­tion in other physical details
(see 3C) and in the note area. The material on which the image has been
printed or executed and the mounting may also be of significance and are
then included with the specific material designation (see 3B6.3 and
3B6.4).

> album
>
> collage
>
> contact sheet
>
> drawing
>
> item
>
> negative
>
> painting
>
> photomechanical print
>
> photograph
>
> photographic print
>
> picture
>
> portfolio
>
> print
>
> sketchbook
>
> slide
>
> transparency

*[1996 UPDATE]{.underline}*:

The SMD list is deliberately limited to a few general terms that can be
readily recognized by a broad range of catalog users, from persons
unfamiliar with terminology for graphic media to those with more
specialized expertise. The SMD can optionally be followed by more
specific terminology for the media (see 3C).

> 20 photographic prints : megalethoscope.

*[1996 UPDATE]{.underline}*:

**3B5.1** [Optionally]{.underline}, expand the SMD to include terms
describing both physical media and format, by adding the format in
parentheses after the general SMD.

> 1 print (poster)
>
> 25 photographic prints (postcards)
>
> 1 negative (stereograph)

*[1996 UPDATE]{.underline}*:

**3B5.2** [Optionally]{.underline}, use any term from an established
vocabulary source or a published thesaurus.

> 20 megalethoscope prints

**3B6.** [Special additions to the extent statement and the specific
material designation]{.underline}

**3B6.1.** [Multiple images]{.underline}

When more than one discrete image is on the same side of a single
support, indicate this in parentheses.

> 2 drawings (1 sheet)

[Optionally]{.underline}, make a separate record for each image and make
a note as to their relationship.

**3B6.2.** [Multiple sheets composing one image]{.underline}

When a single image consists of more than one sheet, indicate the number
of sheets in parentheses.

> 1 print (24 sheets)

**3B6.3.** [Primary support]{.underline} (optional addition)

Expand the extent statement to specify the type of material for the
primary support [when this would convey signifi­cant
information]{.underline}. Some typical cases are:

> a\) the material is unusual as a support for the image medium or it
> cannot reliably be inferred from the specific material designation;
>
> b\) such features of the material as texture, color, or weight are
> unusually important in relation to the image;
>
> c\) the support needs to be described so as to make the catalog record
> distinctive.
>
> 1 painting on wood
>
> 1 print on gold paper
>
> 2 drawings on green laid paper (1 sheet)
>
> 1 photographic print on leather

**3B6.4.** [Secondary support]{.underline} (optional addition)

Normally, information on the secondary support is not given as part of
the expansion of the extent statement. How­ever, an image with secondary
support may be noted if the mount or mat is of historical,
informational, aesthe­tic, or archival importance.

> 1 photographic print mounted on cardboard
>
> 12 photographic prints on cartes de visite mounts
>
> 39 photographic prints on stereo cards
>
> 125 photographic prints on cabinet cards
>
> 1 drawing mounted on plywood
>
> 28 photographic prints on printed mounts
>
> 1 print (3 sheets) mounted on masonite
>
> 35 slides in metal mounts with glass
>
> 275 slides in plastic mounts

**3C. Other physical details**[^13]

The second major element of the physical description area is a statement
that:

> a\) describes more specifically the means by which the image was
> produced;
>
> b\) gives an indication of color;
>
> c\) describes the means by which text with the image was produced.

**3C1.** [Punctuation]{.underline}

For instructions on the use of spaces before and after prescribed
punctuation, see 0D.

Separate this element from the specific material designation by a colon
( : ).

Separate each part of the description of other physi­cal details by a
comma or conjunc­tion.

> 1 print : woodcut, with text in letterpress
>
> 1 negative : glass, collodion
>
> 1 drawing : silverpoint
>
> 1 painting on paper : oil
>
> 1 print : lithograph, color
>
> 1 painting : watercolor
>
> 155 photographic prints : gelatin silver, albumen

**3C2.** [Photographic materials]{.underline}

**3C2.1.** If desirable for [photographic prints]{.underline}, give the
trade name or other technical specification. Always indicate when a
photo­graphic print is negative.

> 1 photographic print : salted paper
>
> 6 photographic prints : cyanotype
>
> 1 photographic print : Kodak bull\'s eye
>
> 15 photographic prints : negative

**3C2.2.** With [negatives]{.underline}, specify the base of the
emulsion if it is other than safety film.

> 1 negative
>
> ([i.e., safety film]{.underline})
>
> 655 negatives : nitrate
>
> 25 negatives : glass, stereograph

[Optionally]{.underline}, always specify the base.

> 1 negative : safety film

**3C2.3.** If desirable for [transparencies and slides]{.underline},
give the trade name or other technical specification.

> 12 transparencies : Kodacolor
>
> 27 slides : lantern

**3C2.4.** With [stereographs]{.underline}, add the word \"half,\" as
appropriate.

> 1 photographic print on stereo card : stereograph
>
> ([i.e., a full stereograph]{.underline})
>
> 25 photographic prints : half stereograph

**3C2.5.** With [photomechanical prints]{.underline}, give the method of
reproduction (photogravure, collotype, or whatever term is used on the
material).

> 1 photomechanical print : photogravure
>
> 1 photomechanical print : rotogravure
>
> 25 photomechanical prints : halftone
>
> 37 photomechanical prints : woodburytype

**3C3.** [Multiple techniques or processes]{.underline}

**3C3.1.** When multiple techniques or processes are identi­fied in a
single graphic item, name each, with the pre­dominant tech­nique, if any,
named first. Terms for medium, technique, process, and format may be
freely combined with the use of con­junctions and prepositions as
necessary.

> 1 print : drypoint, sandpaper, and roulette
>
> 1 drawing : watercolor, gouache and pen and brown ink over pencil,
> with gum arabic and scraping out
>
> 1 collage : photographic prints, newspaper clippings, paint
>
> 1 print : drypoint and aquatint

**3C3.2.** When multiple techniques or processes are known to have been
applied but are unidentified, use the terms \"mixed media\" or
\"multiple processes,\" as appropriate.

> 1 print : mixed media, including etching, mezzotint, drypoint,
> reversed soft ground engraving, electric stippler, scraping, and
> burnishing
>
> 1 photographic print : multiple processes

**3C4.** [Color]{.underline}

**3C4.1.** Indicate if the image(s) is colored, hand colored, tinted, or
toned. (For [paintings]{.underline}, an indication of color is usually
un­necessary.) When hand coloring is known to have been done after the
image was originally issued, make an explana­tory note. If desirable,
indicate if the image(s) is black and white. Use the abbreviations
\"col.\" (colored), \"hand col.\" (hand colored), and \"b&w\" (black and
white).

*[1996 UPDATE]{.underline}*: [Optionally]{.underline}, use only
\"color\" and \"hand-colored\" and do not abbreviate. Color refers to
material in which color is an inherent part of the original creation.
Hand-colored refers to materials to which color is applied in a later
stage, by hand, stencil, or other method. When in doubt as to whether a
piece is hand-colored, use color.

> 1 print (12 sheets) mounted on linen : woodcut, hand-colored
>
> 1 photographic print : col.
>
> 1 transparency : Kodachrome
>
> 1 print on green laid paper : etching and drypoint, blue ink
>
> 1 transparency : b&w
>
> 15 photographic prints : albumen, gold toned
>
> 1 photographic print : gum bichromate, black

**3C4.2.** The presence of some color images in a collection may be
indicated either in a general way or the specific number may be given.

> 125 photographic prints : many color
>
> 50 prints (25 woodcuts, 25 etchings) : some hand-colored
>
> 45 photographic prints : some sepia toned
>
> 61 photographic prints : albumen, some gold toned
>
> 45 photographic prints : 27 color
>
> 12 slides : lantern, 7 hand-colored

**3C4.3.** [Optionally]{.underline}, for [lithographs]{.underline} give
the number of colors (i.e., stones) and, if desired, enumerate the
colors in a note.

> 1 print : lithograph, 2 colors
>
> 1 print : chromolithograph, 7 colors

**3D. Dimensions**

The measurement of graphic materials to produce a statement of
dimensions for the catalog record is an im­portant activity, since
dimensions aid in identifying the material and also in cal­culating space
requirements for storage or exhibi­tion. Different types of graphic
material require different types of measurements to reflect ade­­quately
the size of the image or the whole item. Both the primary and secondary
sup­ports of images may also figure importantly in measurements.

**3D1.** [Punctuation]{.underline}

For instructions on the use of spaces before and after prescribed
punctuation, see 0D.

Precede the dimensions with a semicolon ( ; ).

**3D2.** [General rules]{.underline}

**3D2.1.** Generally, the statement of dimension shows the height x
width. The side for height and the side for width are de­ter­mined with
reference to the position in which the image would be viewed. Height is
always expressed first.

> 1 drawing ; 18 x 14 cm.

**3D2.2.** Generally, give the height x width for all graphics [in
centimeters rounded off to the next whole centimeter up]{.underline}
(e.g., if a measure­ment is 37.1 centi­meters, record it as 38 cm.). Use
the abbre­viation \"cm.\" The follow­ing rules give guidance for special
cases.

[Optionally, for single items]{.underline}, give the dimensions to the
nearest millimeter.

Since the size of some photographic materials is stan­dardized in the
trade in inches or millimeters, the standard size may
[optionally]{.underline} be given in these cases. Use the abbrevia­tions
\"in.\" and \"mm.\"

> 1 drawing ; 15 x 18 cm.
>
> 1 photographic print ; 10 x 8 in.
>
> 1 negative ; 35 mm.

[Optional addition]{.underline}. Add inches in parentheses after the
metric size, rounding off the size up to the next quarter inch. (When
using the option of measuring to the nearest milli­meter, give the
additional size to the nearest eighth inch.)

> 1 print ; 20 x 25 cm. (8 x 9 3/4 in.)

**3D3.** [Single items]{.underline}

**3D3.1.** For single [drawings and planographic and relief
prints]{.underline}, generally record the dimensions of the pictorial
area, specified as such. If desirable, record the dimensions of the
pictorial area in­cluding printed text. For single [intaglio
prints]{.underline}, record the dimensions of the plate mark (see also
3D5). In any case, precede the dimension by the aspect that has been
measured, that is, \"image,\" \"image and text,\" \"plate mark,\" or
\"sheet.\"

> 1 drawing ; image 16 x 15 cm.
>
> 1 print ; plate mark 27 x 34 cm.
>
> 1 print ; image and text 67 x 44 cm.
>
> 1 print : lithograph ; sheet 100 x 70 cm.

**3D3.2.** When an image consists of more than one sheet, measure the
whole sheet.

> 1 picture (4 sheets) ; full sheet 220 x 120 cm.

[Optionally]{.underline}, when the sheet sizes are uniform, give the
indi­vidual sheet sizes.

> 1 picture (4 sheets) ; each sheet 110 x 60 cm.

**3D3.3.** For unmounted [photographic prints]{.underline} and those not
on standard mounts, generally record the dimensions of the primary
support.

1 photographic print ; 10 x 8 in.

> 1 photographic print ; 14 x 16 cm.

**3D3.4.** For [photographic prints affixed to standard
mounts]{.underline}, such as cabinet cards, record only the dimensions
of the mount.

> 1 photographic print on stereo card : stereograph ; 9 x 18 cm.
>
> 1 photographic print on cabinet card : sepia toned ; 17 x 11 cm.
>
> 1 photographic print on cartes de visite mount ; 11 x 6 cm.

**3D3.5.** For [negatives]{.underline}, record only the dimensions of
the base of the emul­sion.

> 1 negative ; 35 mm.
>
> 1 negative : glass ; 4 x 5 in.

**3D3.6.** [Optional addition]{.underline}. Add other dimensions that
help to identify the item (e.g., when there is a large difference
be­tween the image and primary support size) or that help to assess
storage or exhibition requirements. Specify the aspect that has been
measured. Separate each additional dimension by a comma.

> 1 print : etching ; plate mark 49 x 51 cm., on sheet 68 x 72 cm.
>
> 1 photographic print ; image 7 x 5 in., on sheet 10 x 8 in.
>
> 1 drawing : pen and India ink ; image 13 x 14 cm., on sheet 33 x 42
> cm.

**3D4.** [Nonrectangular and irregular shapes]{.underline}

**3D4.1.** For [circular shapes]{.underline}, give the diameter,
specified as such. Use the abbreviation \"diam.\"

> 1 print : mezzotint ; diam. image 6 cm., plate mark 8 x 7 cm., on
> sheet 24 x 17 cm.
>
> 1 photographic print : Kodak bull\'s eye ; diam. image 5 cm., on sheet
> 16 x 14 cm.

**3D4.2.** For [oval shapes]{.underline}, give the major and minor axes,
speci­fied as \"oval.\"

> 1 print ; oval image 7 x 5 cm.

**3D4.3.** For an [irregular shape]{.underline}, measure by squaring it
off at the greatest points with two transparent triangles or strips of
plastic. Use the abbreviation \"irreg.\" and, if desirable, what­ever
word or phrase describes the shape.

> 1 collage : photographic prints, newspaper clippings, paint ; irreg.
> pentagon image 41 x 36 cm., on sheet 57 x 48 cm.

**3D5.** [Intaglio prints on trimmed sheets or with eradicated plate
marks]{.underline}

When a sheet has been cut on or inside the plate mark subsequent to the
creation of an intaglio print or the plate mark is indistinguishable,
give the dimensions of the sheet and explain in a note.

**3D6.** [Folded items]{.underline}

When an item is kept folded, give the dimensions of the primary support
and add the dimensions when folded.

> 1 print ; 36 x 63 cm., folded to 10 x 20 cm.

**3D7.** [Sight measurements and framed items]{.underline}

**3D7.1.** When the full image is not visible because of a non‑removable
mat or other obstruction, give the sight measurements and, if desirable,
the dimensions of the mat, etc.

> 1 print : lithograph ; visible image 26 x 30 cm., in mat 34 x 38 cm.
>
> ([window mat and backing are glued together]{.underline})
>
> 1 photograph~~ic print~~ : daguerreotype ; visible oval image 7 x 6
> cm., in case 11 x 9 cm.

**3D7.2.** When the item is in a frame of specific historical
im­portance, the frame is considered a part of the work itself, or the
work is permanently framed at the request of the creator or donor, give
the dimensions of the frame separately, specified as such.

> 1 painting ; visible image 30 x 24 cm., in frame 47 x 41 cm.

**3D8.** [Daguerreotypes]{.underline}

With daguerreotypes, specify the plate size, if known.

> 1 photograph~~ic print~~ : ninth plate daguerreotype ; 7 x 6 cm.

**3D9.** [Collections]{.underline}

**3D9.1.** In general, give the measurements for a collection according
to the terms of the first statement of extent and [record only the
outside dimensions]{.underline}. When some images are designed to be
viewed horizontally and some vertically, give the measurements according
to the majority.

> 75 photographic prints ; 7 x 9 in.
>
> 1 portfolio (28 etchings) ; 21 x 30 cm.
>
> 6 albums (280 cartes de visite photographic prints) ; 54 x 50 cm.
>
> 65 negatives : nitrate ; 2 1/4 x 2 1/4 in.
>
> 25 drawings : pen and India ink ; 16 x 27 cm.
>
> 247 photographic prints ; 5 x 4 in.

**3D9.2.** When the items, containers, or volumes are of two sizes, give
both. When they are of more than two sizes, give the greatest height of
any of them followed by the greatest width of any of them and the words
\"or smaller.\"

> 488 photographic prints ; 4 x 5 in. and 5 x 7 in.
>
> 3 albums (633 photographic prints) ; 29 x 33 cm. or smaller
>
> 55 prints : lithograph ; 71 x 44 cm. or smaller

**3E. Accompanying material**

There are two ways of recording information about accompanying material:

> a\) Record the name of the accompanying material at the end of the
> physical description.
>
> 200 photographic prints ; 20 x 25 cm. + 1 ms. catalog.
>
> b\) Record the name and details of the accompanying material in a note
> (see 5B10 below).

[Optional addition]{.underline}. If method [a]{.underline} is applied
and further physical description is desired, add a statement of extent,
other phy­sical details, and dimensions of the accompanying material as
appropriate. Formulate such additional descriptions in accor­dance with
the rules for physical description and rules for other types of
materials found in the special chapters in AACR 2.

> 415 photographic prints ; 7 x 9 in. + 4 maps (36 x 49 cm. and 64 x 44
> cm.)

**3F. Collections containing more than one distinct category of
material**

When a collection contains material falling into more than one distinct
category (medium, format, or container), for which separate physical
descriptions are desired, record each part on a separate line, starting
with the most numerous part. Give only the outside dimensions (see 3D9).

> 200 prints : lithograph, color ; 37 x 24 cm.
>
> 150 prints : etching ; 23 x 27 cm.
>
> 55 prints : wood engraving ; 36 x 46 cm.
>
> 280 photographic prints ; 13 x 18 cm.
>
> 150 negatives ; 35 mm.
>
> 65 prints : relief process ; 29 x 22 cm.
>
> 8 albums (550 photographic prints) ; 51 x 46 cm. or smaller

**4. SERIES AREA**

> Contents:
>
> 4A. Preliminary rules
>
> 4B. Title proper of series
>
> 4C. Parallel title of series
>
> 4D. Numbering within series
>
> 4E. Subseries

**4A. Preliminary rules**

**4A1.** Use the series area [only when cataloging a single item that
bears a series title]{.underline}.

**4A2.** [Punctuation]{.underline}

For instructions on the use of spaces before and after prescribed
punctuation, see 0D.

Precede the series area by period, dash (. ‑‑ ).

Enclose each series statement in parentheses.

Precede a parallel series title by an equal sign ( = ).

Precede the numbering within a series or subseries by a semicolon ( ; ).

Precede the title of a subseries by period, space

(. ).

**4A3.** [Sources of information]{.underline}

Take information recorded in the series area from the chief source of
information as outlined in 0B1.1.

**4B. Title proper of series**

**4B1.** Transcribe the title proper of the series from the chief source
of information according to the provisions in 1B, using only those that
apply to titles transcribed from the item.

> London\'s country
>
> The famous Rahl & Bradley living bronze statues

**4B2.** [Variant form of the title proper of the series]{.underline}

When the item being cataloged is from a series whose chosen title proper
varies from the one appearing on the item (see 1B2.2), use the same form
as was used for the col­lec­tion. Give the variant form in a note, if it
is of value in identify­ing the work.

**4C. Parallel title of series**

Follow the instructions in 1E when recording the parallel title of a
series for the second or third level of description.

**4D. Numbering within series**

**4D1.** Record the numbering of the item within the series in the terms
given on the item. Be sure that it is a designa­tion given either by the
publisher or creator that applies to the group of items to which the one
being cata­loged is related. (Record numbers used to designate negatives,
plates, etc., in the note area). Use standard abbre­viations found in
AACR 2, Appendix B and substi­tute arabic numerals for other numerals or
spelled out numbers (see AACR 2, Appendix C). Substitute \"no.\" for the
symbol \"#.\"

> The illustration of the Siberian war ; no. 3

**4D2.** [Other designations]{.underline}

When the item has a designation other than a num­ber, give the
designation as found.

> ; Tab. 56
>
> ; pl. A

**4E. Subseries**

When an item is one of a subseries and both the series and the subseries
are named in the chief source of infor­mation, give the title proper of
the main series first and follow it with the title of the subseries.

> Gems of American life. American beauties ; no. 15

**5. NOTE AREA**

When the description in the areas preceding the note area does not
clearly identify the material being cataloged, make all notes necessary
for unambiguous identification. Notes qualify and amplify the formal
description, including instances where the rules do not allow certain
information to be placed there.[^14] They can, therefore, deal with any
aspect of the material.

By their very nature, notes cannot be enumerated ex­haustively, but they
can be categorized in terms of the area of the description. In addition,
there are notes that do not cor­res­pond to formal description. It may be
useful to group notes that refer to more than one area, for instance
when they are all based on one source. When appropriate, refer to a
detailed description in an authoritative source, or use both notes and
the reference to the authoritative source.

> Contents:
>
> 5A. Preliminary rules
>
> 5B. Notes

**5A. Preliminary rules**

**5A1.** [Punctuation]{.underline}

Begin the note area with a new paragraph.

Precede each note by period, space, dash, space (. ‑‑), or start a new
paragraph for each note. End each para­graph with a period or other mark
of final punctuation, e.g., closing parenthesis or square bracket.

Separate introductory wording from the main content of a note by colon,
space (: ). If desirable, capitalize, itali­cize, underline, or otherwise
emphasize such intro­ductory word­ing.

**5A2.** [Sources of information]{.underline}

Take information recorded in notes from any suit­able source. Use square
brackets only for interpolations within quotations.

**5A3.** [Form of notes]{.underline}

When data in a note correspond to data found in the title and statement
of responsibility, publication, distribu­tion, etc., physical
description, and series areas, give the elements of the data in the
order in which they would appear in those areas. In such a case, use the
prescribed punctuation, except substitute a period for a period, space,
dash, space.

> Originally printed: London : Gray, 1879
>
> Plate from: Great expectations realized : or, Civilizing mountain men
> / by Mrs. Ellen H.B. Mason. Philadelphia : American Baptist
> Publication Society, 1862.

Other notes may be concerned with publication or dis­tribution subsequent
to creation and with matters of collections management.

[Quotations]{.underline}

Give quotations from the material or from other sources in quotation
marks. Follow the quotation by an indica­tion of its source (separated by
a dash), unless that source is the chief source of informa­tion. It may
be desirable to pin­point the location of the quotation on the chief
source. Do not use prescribed punctuation in quotations.

> \"Du Tahiti lointain ce qu\'y vit Gauguin une idole repue\"‑‑penned
> note in lower left margin.

[References]{.underline}

Make reference to text on the material, or in other sources, if these
either support the cataloger\'s own assertions or save repetition in the
catalog entry of information readily available from other sources.

[Formal notes]{.underline}

Use formal notes employing an invariable introductory word or phrase or
a standard verbal formula when uniformity of presentation assists in the
recognition of the type of informa­tion being presented or when its use
gives economy of space without loss of clarity.

[Informal notes]{.underline}

When making informal notes, use statements that present the information
as briefly as clarity, comprehen­sion, and grammar permit.

**5B. Notes**

A general outline of types of notes follows; notes other than those
provided for may be made if desired. Specific applications of many of
these notes are provided in the preced­ing sections. Make notes as called
for in the following sub­rules, and, generally, in the order in which
they are listed here. When appropriate, combine two or more notes to
make one note. Institutional policy may dictate the order of notes.

**5B1.** [Source of title proper]{.underline}

Always make a note on the source of the title proper transcribed from a
reference source; record the source also when the title proper has been
taken from acces­sories to the material even if they form part of the
chief source of in­for­mation.

> Title from:
>
> ([cite the reference]{.underline})
>
> Title from frame inscription.
>
> Title from cover.
>
> Title from printed label affixed to verso of Library\'s copy.

**5B2.** [Variations in title]{.underline}

Make notes on titles borne by the material other than the one chosen as
the title proper. Make a note on variations found in reference sources,
if it helps to identify the material.

> Manuscript title on verso: Mrs. Humphrey\'s garden.
>
> Title inscribed by artist: Romany Marye\'s.
>
> Title varies on no. 2 and 6: Illustration from the Siberian War.
>
> Same image published with other titles: Bird\'s‑eye view of
> Cincinnati; Cincinnati, 1878.

**5B3.** [Parallel titles and other title information.]{.underline}

Make notes on parallel titles appearing on the material that have not
been transcribed in the body of the entry; also give other title
information appearing on the material, if considered important.

**5B4.** [Continuation of title]{.underline}

If desirable, complete the transcription if the title proper and/or
other title information was abridged in the description.

> Title continues: \... as originally written for, and performed by him
> at the Olympic and Chatham Theatres, New York.

**5B5.** [Translation of foreign title]{.underline}

If desirable, give the translation of a foreign language title.

> Title translated: Landscape with plane trees.

**5B6.** [Picture caption]{.underline}

When the pictorial element of a single work with text (e.g., a poster or
broadside) has a distinctive caption indepen­dent of the chosen title,
give it in a note introduced by the words \"Picture caption.\" Headings
and mottoes may be similarly described with the appropriate label.

> Picture caption: No, Ma\'am, no! I am not a damaged article.
>
> Motto above title: Good cards make card games enjoyable.

**5B7.** [Statements of responsibility]{.underline}

Make notes to convey the following information:

> a\) variant names of persons or corporate bodies named in statements
> of responsibility if these are considered important for
> identification;
>
> b\) statements of responsibility not recorded in the title and
> statement of responsibility area;
>
> c\) names of persons or corporate bodies connected with the material
> if they have not already been named in the description.
>
> Also attributed to Alexander Gardner.
>
> Photographed, at least in part, by Willam H. Pennington.
>
> Designed in apparent collaboration with\...
>
> Printed and signed by Cole Weston, son of the photographer.
>
> Statement of responsibility taken from printed label on verso.

**5B7.1.** [Signatures and inscriptions]{.underline}

If desirable, show a signature or mark, monogram, etc., that is not
described in the body of the entry. If desirable, indicate where such
signatures and inscrip­tions appear.

Do not record the actual signature if it has already been transcribed in
the body of the entry.

> Signed in medium, lower right corner: Ld. Grozelier.

If desirable, make a note of titles, dates, and other inscriptions that
appear in the hand of the creator. If desirable, distinguish between
those in manuscript form and those included in the printed image.

> Signed on plate, lower right edge, and initialed in pencil, on right,
> below plate mark.
>
> Signed on stone, and in pencil by the artist; signed in pencil by the
> printer with the note \"last pull BB.\"
>
> Signed on plate; signed and dated in blue pencil.
>
> Signed and dated in pencil. Inscription: to my friend Munakata.
>
> Signed with the artist\'s pseudonym.
>
> \"Presented to Gen. Hugh L. Scott by Ed Kopac\"‑‑label inside original
> album cover.

**5B7.2.** [Attributions and conjectures]{.underline}

Make notes on attributions and cite sources, if appro­priate. Mention
creators to whom the material has been attri­buted, in cases of doubtful
origin. If desirable, record also conjectures that are not allowed in
the body of the entry.

> Attribution made by donor Mrs. Maud Hunt Patterson, daughter of
> Leavitt Hunt.
>
> Attribution made on the basis of the relation­ship of this print to
> Baillie\'s \"Miss Mary Taylor & Mr. F.S. Chanfrau in the new piece
> called \'A glance at New York,\'\" for which Magee is delineator.
>
> Variously attributed to Mathew B. Brady and Timothy O\'Sullivan.
>
> Possibly photographed by Edward Sheriff Curtis.
>
> Hassan Straightshanks is the pseudonym of an unknown artist; Major
> Downing is a fictitious character.

**5B7.3.** Give the creator after whose original work the image(s)

in hand has been made, if known and not part of the body of the entry.

> After photographic print by Mathew B. Brady.
>
> After painting by Rembrandt.

**5B8.** [Publication, state, and edition]{.underline}

**5B8.1.** Make notes on details concerning pub­lication, distri­bution,
printing, and manufacture that are not included in the body of the entry
if they are considered important.

> Plates 33‑44 have variant place of publication: St. Louis ; New York.
>
> Place of publication suggested by Weitenkampf.
>
> No. 10 has variant name of publisher: James Ackermann & Co.

**5B8.2.** Record the state, edition, and number within the edition when
they appear on the material or can be determined from a reference
source. When citing a catalogue raisonné, put the

state, edition, and related notations in parentheses immediately after
the reference.

> \"Limited edition of 20 copies.\"
>
> Library has copy no. 450.
>
> Trial proof, with pencil corrections.
>
> Edition: 3/50.
>
> Edition of 50.
>
> 2d state.
>
> Edition: AP/30.
>
> References: Klipstein, 181 (2d state)
>
> References: Klipstein, 182 (5th state; trial proof, no. 5)

**5B8.3.** When graphic material is being cataloged that is or was part
of a published volume or portfolio, show its relationship to the larger
unit. Use introductory phrases such as \"Plate in,\" \"Ill. in,\"
\"In,\" and \"Plate from\" followed by a colon and the citation.

> Plates in: \[citation\]
>
> Ill. in: Frank Leslie\'s illustrated newspaper, v. 69 (1889), p. 101.
>
> Plate from: Great expectations realized : or, Civilizing mountain men
> / by Mrs. Ellen H.B. Mason. Philadelphia : American Baptist
> Publication Society, 1862.
>
> ([i.e., the plate has been removed from the publication]{.underline})

**5B9.** [Physical description/condition]{.underline}

**5B9.1.** Make notes on important physical details that are not already
included in the physical description area. Include information on the
physical condition of the material if it is damaged or fragile. If
desirable, make notes on significant restoration work.

> Bad tear in upper right corner.
>
> Extensive foxing on original mount.
>
> Images badly faded.
>
> Sheet trimmed to or within plate mark.
>
> Plate mark indistinguishable.
>
> Impression is untrimmed proof, with color registration marks in
> margins, and is cut to within color in upper margin. Label on verso
> states that the work is \"painted \[i.e. printed\] in 19 \[i.e. 9\]
> colors.\"
>
> False biting detectable.
>
> Print dismounted, tear repaired, and print remounted, 1979 May 13. S.
> Jones.

If desirable, describe containers that are contemporary to the material.

> Contemporary leather covered cartes de visite album, heavily embossed;
> metal clasp missing.

**5B9.2.** If it is desirable to distinguish a modern copy of an older
photographic print or a modern photographic print made from an original
negat­ive, make an explanatory note.

> Modern photographic print from original negative made 1915.
>
> Modern photographic prints from copy negatives of the original
> photographic prints.

**5B9.3.** When details are too numerous or complex to give in the
physical description area, give them in a note.

> Includes pamphlets, broadsides, photographic prints, newspaper
> clippings, collages, etc.

**5B9.4.** Make an explanatory note about hand coloring when it is known
to have been done after the image was originally issued. If desirable,
enumerate the number of colors (stones) in a litho­graph.

> Hand coloring done in the 20th century.
>
> Printed in black and brown.
>
> ([for l lithograph : 2 cols.]{.underline})
>
> Printed in black, green, red, brown, gray, dark gray, ochre, dark
> brown, and yellow.
>
> ([for 1 lithograph : 9 cols.]{.underline})

**5B9.5.** [Other inscriptions]{.underline}

If desirable, make a note of or quote inscriptions by persons other than
the creator.

> \"Du Tahiti lointain ce qu\'y vit Gauguin une idole repue.\"‑‑penned
> note in lower left margin.

**5B9.6.** [Markings and stamps]{.underline}

If desirable, describe watermarks, trademarks, studio imprints,
remarques, etc., as documentation on the printer, publisher, creator,
owner, or the paper.

> Photographer\'s stamp on verso.
>
> Photographer\'s hallmark embossed on separate piece of board mounted
> at lower right on mount.
>
> Watermark: Fleur‑de‑lis.
>
> Blind stamp: Printer\'s monogram.
>
> Blind stamps: Artist\'s monogram; tamarind tree.
>
> Blind stamp: Mushroom (artist\'s mark).
>
> Ink stamp of publisher on recto.

**5B10.** [Accompanying material]{.underline}

Make notes on accompanying material that is not described in the
physical description area.

> Accompanied by official \"news photo sheets,\" in which the
> photographic prints were published, 1945‑1946.
>
> Accompanied by manuscript catalog.

**5B11.** [Series]{.underline}

Make notes regarding series titles, incomplete series (see also 3B3),
and of numbers or letters that imply a series.

> Series incomplete: no. 6, 7, 10‑15, 22, and 24 wanting.
>
> Photographic prints are numbered 1‑25; no. 4‑9, 15, 18, 21, and 24
> wanting.
>
> Evidently incomplete series titled \"Gems of American Life,\" in which
> there are sub­series (in‑dicated by labels on verso), such as,
> \"American Beauties\" and \"The Young House­keeper.\" Hand­written
> numbers on verso: no. 14, 15, 20, 21, 31, 570‑572, and 576.

**5B12.** [References to published descriptions]{.underline}

Give references to the best or fullest published de­scription of a work
or collection.

Cite a published source when it would substantiate information provided
by the cataloger or when it would provide a more detailed description of
the material being cataloged.

Give references to published descriptions in cata­logues raisonnés or
authoritative checklists in a standard and abbreviated form. Generally,
for catalogues raisonnés only the surname of the compiler and the entry
number are necessary for the citation.

> References: Wuerth, 153.
>
> References: Klipstein, 169 (4th state)
>
> References: British Museum Catalogue, 2176.
>
> References: Special collections in the Library of Congress / compiled
> by Annette Melville. Washington, D.C. : Library of Congress, 1980.

**5B13.** [Characteristics of original of photographic copy or
photomechanical print]{.underline}

If desirable, give the location of the original work(s) and the
dimensions, if the information is readily avail­able.

> Original: Painting in The Phillips Collection, Washington, D.C.
>
> Original: Watercolor in the Picture Division, Public Archives of
> Canada, Ottawa, measures 29.3 x 32.5 cm. (sheet)
>
> Original: Sixth plate daguerreotype measures 9 x 7 cm.

**5B14.** [Subject description]{.underline}

Use this note, introduced by the word \"Subject\" (followed by a colon),
for an objective narrative summary of a collection or for clarification
of the content, meaning, or iconography of a single item. Information
that places the material in a proper context and conjectural statements
may be included. Extrapolations, conjectures, and educated guesses
should be clearly indi­cated by wording or a question mark.

For a collection include, as appropriate: date or span dates and bulk
dates depicted; the most significant topic(s), event(s), person(s),
place(s), etc.; arrangement; and remarks on printed or handwritten
explanatory or identifying text and the language. \[*1996 UPDATE*: date
or span dates and bulk dates are placed in the physical description
area.\]

Use this note also to describe the functional type(s) of the material,
e.g., poster, broadside, snapshot, studio por­trait, slide, etc.

**5B15.** [Biographical/historical note]{.underline}

Record any significant information on the creator or collector of the
material required to make the nature or scope of the materials clear.
For persons this may include place of birth and domicile, occupations,
information on original and maiden names or pseudonyms, significant
accomplishments, place of death, etc. For corporate bodies, include
information on the functions, purpose, and history of the body, its
administrative hierarchy, and earlier, variant, or successor names.

**5B16.** [Arrangement]{.underline}

When the general arrangement of a collection is not given elsewhere,
make a note on that arrangement, specifying the structure and order of
the materials in the unit being cata­loged.

> Arranged alphabetically by surname.

**5B17.** [Contents]{.underline}

If desirable, make a note of the specific contents of a collection
having titled parts. Introduce this note by \"Contents\" or \"Partial
contents,\" as appropriate, followed by a colon. Separate each part by
space, dash, space ( ‑‑ ).

> Contents: Skating in winter ‑‑ Gardening in spring ‑‑ Fishing in
> summer ‑‑ Hiking in autumn.

**5B18.** [Finding aids to collections]{.underline}

Make a note on any guides the repository may have to the organization
and contents of a collection. If the guide has been published, make a
standard bibliographic citation for it. Note also the existence of other
related unpublished material, such as indexes, card catalogs, caption
lists, lecture notes, and checklists, which are not actually located
with the collection.

> Original caption cards, arranged by photo negative number, are
> available in the Reading Room.
>
> Cards are filed in the Biographical Index in the Reading Room.

**5B19.** [Numbers or letters borne by the material]{.underline}

If desirable, make a note of important numbers borne by the material
other than those associated with a series title, such as collectors
numbers, plate numbers, negative numbers, etc. (see also 5B8.2 and
5B26).

**5B20.** [Publication and other uses of the material]{.underline}

Make notes relating to subsequent publication and other uses of the
material, if considered important.

> Published as photogravure in: The North American Indian / Edward S.
> Curtis. Seattle, Wash. : E.S. Curtis, 1907‑1930, suppl. v. 10, pl.
> 334.
>
> Published as cover of Vanity Fair, July 1930.

**5B21.** [Relationship note]{.underline}

When the item or unit being cataloged is related by provenance or
hierarchy to a larger unit or collection, give the title or other
designation (if the collection of unit does not have a distinctive
title) for the larger unit or collection. In addition, indicate the
relationship of the material being cata­loged to the unit of which it is
a part using the phrases \"Forms part of\" for collection or unit level
description, and \"In\" for item analysis. (See also 5B8.3.)

> In Lot 11695
>
> In Biographical File.
>
> In Lot 7475‑1.
>
> In the Benjamin Smith Barton collection.
>
> Forms part of the National Child Labor Committee Collection.
>
> Forms part of Lot 6735.
>
> Forms part of the Gilbert H. Grosvenor Collection of Photographs of
> the Alexander Graham Bell family.

**5B22.** [Addition note]{.underline}

When an addition to an already cataloged collection is being recorded as
a separate record, make an addition note (see also 3B2).

> Addition to the National Child Labor Committee Collection.

**5B23.** [\"With\" note]{.underline}

When cataloging as separate records two or more separately titled images
on a single support or parts either bound together or in one container,
make a note of the other images or parts.

> With: Views of Venice.
>
> With: Fishing in the Yellow Breeches.

**5B24.** [Terms of access, use, and reproduction]{.underline}

**5B24.1.** When the material is not generally avail­able to researchers,
or when access and handling is re­stricted, make a note either simply
stating the fact of this restriction or specifying the details. Always
introduce this note by the word \"Restricted\" so as to alert the
catalog user.

> Restricted.
>
> Restricted: Material extremely fragile; access by appointment only.
>
> Restricted: Closed to investigators until 1999.
>
> Restricted: Information on reproduction rights available at Reference
> Desk.
>
> Restricted: Permission for commercial use must be obtained in writing
> from Mrs. John Jones.
>
> Restricted: Unprocessed; access by appointment only.

**5B24.2.** [Copyright]{.underline}

When the material is under a copyright restriction, make a note. The
note may be general or it may give the speci­fic terms.

> Some material is copyrighted.
>
> Copyright interests have been reserved.

For documentary reasons, it may be desirable to give the copyright
holder\'s name, even if the material is no longer under copyright.

> Copyright held by Bernard Walter.

**5B25.** [Provenance]{.underline}

If considered significant, make a note on the history of the custody of
the material being cataloged. For those who have left their marks on
prints and drawings, give the designa­tion if identified in Lugt, [Les
marques de collections de dessin & d\'estampes]{.underline}, Amsterdam,
1921, and supplements. If desirable, add the year or years of owner­ship
to the name of a previous owner. It may be appropriate for clarity to
introduce this note by the word \"Provenance\" followed by a colon. When
the prove­nance and source (see 5B26) are the same, do not make this
note, but record the information in the source note.

> Provenance: Roger Marx (Lugt 2215b)
>
> From the collection of L. McGarry, 1948‑1957.
>
> Originally collected by Paul Jones and main­tained by his nephew, John
> Smith, after Jones\' death. Purchased in 1878 by Henry Green, who
> added prints and drawings pur­chased at auctions in New York and Paris,
> 1878‑1893.

**5B26.** [Source]{.underline}

Record how the material was acquired (i.e., gift, purchase, deposit,
transfer, etc.) and the donor or source (i.e., the immediate prior
custodian). Unless this infor­mation is confidential, follow the status
state­ment with the source and date of acquisition. In addition, the
donor\'s re­lationship to the material may be indicated. For cataloging
purposes, the source of material acquired through purchase may be
omitted. Add the year or years of accession (and the acces­sion number,
if desirable) to the name of the donor or source. When the source is
unknown, state this.

> Purchase, 1951‑1968.
>
> Purchase from the Dinwiddy collection, 1901.
>
> Source unknown.
>
> International exchange, 1948.
>
> Bequest of Erwin Swann, 1974 (DLC/PP‑1977:215)
>
> Purchase, Classic Photographic Apparatus, 1977.
>
> Transfer from the Manuscript Division (Josephus Daniels papers), 1948.
>
> Anonymous gift, 1979.
>
> Most copyright deposit of E.H. Harriman, 1899; source of remainder
> unknown.
>
> Exchange with the U.S. Army Signal Corps Museum, Fort Monmouth, N.J.,
> 1960.
>
> Gift of Leavitt Hunt\'s daughter, Mrs. William E. Patterson, 1947.
>
> Gift and purchase, 1903‑1936.

**APPENDIX A:** [Guidelines for recording probable and uncertain
dates]{.underline}

Record probable or uncertain dates according to the patterns shown
below.

> 1892? Probable date
>
> ca. 1892 . .Approximate date
>
> not after 1875 Terminal date
>
> not before 1916 July 17 Terminal date
>
> 1814 or 1815 One year or the other
>
> between 1906 and 1912 A year within this time frame
>
> 189‑ Decade certain
>
> 189‑? Probable decade
>
> 18‑‑ Century certain
>
> 18‑‑? Probable century

**APPENDIX B:** [Abbreviations]{.underline}

> black and white b&w
>
> centimeter(s) cm.
>
> circa ca.
>
> color col.
>
> colored col.
>
> copyright c
>
> cubic cu.
>
> diameter diam.
>
> foot, feet ft.
>
> illustration(s) ill.
>
> inch(es) in.
>
> meter(s) m.
>
> millimeter(s) mm.
>
> no date (of executio) n.d.
>
> no date (of publication) s.d.
>
> no name (of publisher) s.n.
>
> no place (of publication) s.l.
>
> number(s) no.
>
> page(s) p.
>
> sine datum s.d.
>
> sine loco s.l.
>
> sine nomine s.n.

**APPENDIX C:** [Glossary]{.underline}

The definitions in this glossary reflect usage in the context of these
rules. Most are from the glossary of the [Anglo‑American Cataloguing
Rules]{.underline}, sometimes modified to clarify their appli­cation in
this document.

**Access point.** A name, term, code, etc., under which a catalog record
may be searched and identified.

**Accession.** Material taken into physical and legal custody of a
repository ([q.v.]{.underline}). [See also]{.underline} Deposit.

**Accompanying material.** Generally, textual material meant to be used
in conjunction with an item or collection. May also include maps,
charts, plans, sound recordings, etc.

**Added entry.** An entry, additional to the main entry, by which an
item or collection is represented in a catalog; a secondary entry. [See
also]{.underline} Main entry.

**After.** Indicates a print made from another work (e.g, a drawing,
painting, photographic print), by a second artist or craftsman. [See
also]{.underline} Reproductive print.

**Alternative title.** The second part of a title proper
([q.v.]{.underline}) that consists of two parts, each of which is a
title; the parts are joined by the word \"or\" or its equivalent in
another language, e.g., \"The tempest, or, The enchanted island.\"

**Area.** A major section of the description, comprising data of a
particular category or set of categories. For original and historical
graphic materials, the areas are: (1) Title and statement of
responsibility; (2) Publication, distribution, etc. (which includes date
of execution for unpublished materials); (3) Physical description; (4)
Series; (5) Note(s). Each area is divided into a number of elements
([q.v.]{.underline}).

**Attribution.** Ascribing of a work to a particular artist or
photographer.

**Bequest.** Material given or left to a repository ([q.v.]{.underline})
in a will.

**Blind stamp.** A device embossed or impressed without ink onto the
paper used for a print or photographic print, usually to identify the
creator, printer, or publisher.

**Body of the entry.** The portion of the catalog description that
begins with the title and ends with the date of publication or
execution. [See also]{.underline} Imprint.

**Bulk dates.** In a collection, date(s) for which there is the most
material.

**Ca.** [See]{.underline} Circa.

**Catalog.** 1. A list of materials contained in a collection, an
institution, or group of institutions, arranged according to some
definite plan. 2. In a wider sense, a list of materials prepared for a
particular purpose, e.g., an exhibit catalog, a sales catalog.

**Catalogue raisonné.** ([French]{.underline}) A systematic and
comprehensive annotated listing of all works of a creator in a
particular medium or all media. Provides essential information by which
individual works are identified.

**Chief source of information.** The source of data to be given first
preference as the source from which a catalog descrip­tion (or portion
thereof) is prepared.

**Circa.** ([Latin]{.underline}) Approximately. Use the abbreviation
\"ca.,\" e.g., ca. 600 prints, ca. 8 ft., ca. 1875.

**Collage.** A work created by affixing various materials (paper, wood,
newspaper, cloth) to a picture surface.

**Collection.** A group of graphic items, including associated
materials, either acquired by the repository as an existing collection
or assembled by the repository into a unit for cataloging purposes. The
items, whether individually published or not, do not as a collection
constitute a multipart publication. However they were formed, a
collection is cataloged as a unit in order to reflect one or more of the
following characteristics: (1) the items are the product or collection
of one or more persons or family group; (2) the items are the product or
collection of a corporate body; (3) the items represent the creative
effort of one person, group, or corporate body; (4) the items were
brought together by a collector, and it is necessary or desirable to
maintain them as a unit even if there are disparate subjects or
different formats; (5) the items were designated a \"collection\" at the
time of accessioning, with the requirement that the items not be
disseminated; (6) the items have inherent unity by virtue of a single
topic or several thematically related topics; (7) the items have
inherent unity by virtue of their medium or format. Subunits within
collections may be formed according to the same characteristics.

**Container.** Any housing for an item, a group of items, or a part of a
group, which is physically separable from the graphic material housed.

**Corporate body.** An organization or group of persons that is
identified by a particular name and that acts, or may act, as an entity.
Typical examples of corporate bodies are associa­tions, institutions,
business firms, nonprofit enterprises, governments, government agencies,
religious bodies, local churches, and conferences.

**Cubic feet** or **meters.** A measurement of volume for collections.
Use the abbreviations \"cu. ft.\" or \"cu. m.\"

**Deposit.** Material placed in the physical custody of a repository
([q.v.]{.underline}) without transfer of ownership. [See
also]{.underline} Accession.

**Depository.** [See]{.underline} Repository.

**Device.** An emblematic design.

**Distributor.** An agent or agency having exclusive or shared rights
for the marketing of an item.

**Drawing.** An original, freehand pictorial representation (other than
a print or watercolor) on paper or similar non‑rigid support.

**Edition.** The total number of prints ([q.v.]{.underline}) and
(usually artis­tic) photographic prints ([q.v.]{.underline}) made and
authorized by the artist or photographer for sale. The particular work
within an edition is usually expressed as its number separated by a
diagonal slash from the total number in the edition, e.g., 27/50.

**Element.** A word, phrase, or group of characters representing a
distinct unit of descriptive information and forming part of an area
([q.v.]{.underline}) of the description.

**Entry.** A record of an item or collection in a catalog
([q.v.]{.underline}). [See also]{.underline} Heading.

**Finding aid.** Published and unpublished descriptions of graphic
material, created either by the originating corporate body, an
individual creator or donor, or the repository, to establish physical
and intellectual control over the material and to make it accessible to
researchers. Basic finding aids include guides, inventories, card
catalogs, checklists, shelflists, and indexes.

**Ft.** [See]{.underline} Cubic feet or meters; Linear feet or meters.

**GMD.** [See]{.underline} General material designation.

**General material designation.** A term indicating the broad class of
material to which the item or collection belongs. [See also]{.underline}
Specific material designation.

**Graphic materials.** Generally, two‑dimensional pictorial
repre­sentations whether opaque (e.g., prints, photographic prints,
draw­ings), or intended to be viewed, or projected without motion, by
means of an optical device (e.g., transparencies, slides, negatives).

**Heading.** A name, word, or phrase placed at the head of a catalog
entry to provide an access point ([q.v.]{.underline}) in the catalog.

**ISBD.** [See]{.underline} International Standard Bibliographic
Description.

**Imprint.** The place, name of publisher, and the date of publi­cation
in the catalog record (in that order). It may include the name of the
printer and place. It is recorded as the publication, distribution,
etc., area.

**Inclusive dates.** [See]{.underline} Span dates.

**Inscription.** Anything written on the material by the creator or,
even if not known to be in the creator\'s hand, anything that may
contribute to the identification of the material.

**Intaglio print.** A print created from a plate with incised (recessed)
lines and textures that have been cut, scratched, or etched with acid
into the surface of the plate to hold ink for printing.

**International Standard Bibliographic Description.** The name of a
group of standards, officially cited as \"ISBD;\" developed by the
International Federation of Library Associations and Institutions to
standardize, as much as possible, the descrip­tive portion of catalog and
bibliographical records produced in different countries; prescribes the
elements constituting the description, their order, and the punctuation
between them.

**Inventory.** Generally, a descriptive list of items or groups of items
in a collection.

**Item.** The smallest discrete unit of graphic material. Single graphic
items may either be integrated into a repository\'s format collections
(such as posters, drawings, stereographs, etc.) or filed by categories
(such as biographical, geogra­phical, and subject collections),
regardless of the item\'s provenance. In such cases, the items are
probably arranged by creator, subject, or date. These items may or may
not be individually cataloged.

**Letterpress.** Refers to printing from moveable type.

**Linear feet** or **meters.** A measurement of shelf or file space
occupied by a collection. Express this measurement with the
abbreviations \"ft.\" or \"m.\"

**Main entry.** The complete catalog record of an item or collection,
presented in the form by which the entity is to be uniformly identified
and cited. The main entry may include the tracings ([q.v.]{.underline})
of all other headings ([q.v.]{.underline}) under which the record is to
be represented in the catalog ([q.v.]{.underline}).

**Manuscript text.** Writing made by hand, including typescript and
inscription.

**M.** [See]{.underline} Cubic feet or meters; Linear feet or meters.

**Markings.** Any marks besides the signature and inscriptions, e.g.,
studio imprint, collector\'s stamp, etc.

**Monogram.** A character or cipher composed of two or more letters
interwoven or combined; usually represents a name or part of a name.

**N.d.** [See]{.underline} No date.

**Negative**. A glass plate or piece of film on which appears a
\"negative\" image, i.e., directly opposite to a \"positive\" image
(photographic print) or transparency.

**No date.** Without date, i.e., without a known or conjectured date of
execution.

**Note.** Information that qualifies, amplifies, and explains data
recorded in the formal description (that is, in the title and statement
of responsibility area, publication, distribution, etc., area, physical
description area, and series area).

**Oeuvre catalogue.** [See]{.underline} Catalogue raisonné.

**Opaque.** Not transmitting any light.

**Other title information.** Any title other than the title proper
([q.v.]{.underline}) or parallel titles ([q.v.]{.underline}); also any
phrase appearing in conjunction with the title proper, parallel titles,
or other titles, indicative of the character, contents, etc., of the
material or the motives for, or occasion of, its production or
publication. Subtitles ([q.v.]{.underline}), even if they are linked to
the title proper by a preposition, conjunction, or prepositional phrase,
are included as other title information.

**Painting.** Any pictorial representation produced by applying paint to
a surface.

**Parallel title.** The title proper ([q.v.]{.underline}) in another
language or script, which is not grammatically linked to another part of
the description.

**Photograph.** [See]{.underline} Negative, Photographic print.

**Photographic print.** Any picture made by the action of light on
sensitive (usually) silver salts. At first, the image was produced from
glass plates or paper negatives, or the image was reproduced directly,
as in a daguerreotype or tintype. The term \"photographic print\"
(rather than photograph) is used here as a more precise term than
\"photograph,\" which technically can cover both positive and negative
images.

**Photomechanical print.** Any picture produced in imitation of another
picture through the use of a photographic process to transfer the image
to a printing surface.

**Photomechanical reproduction**. [See]{.underline} Photomechanical
print.

**Photonegative.** [See]{.underline} Negative.

**Photoprint.** [See]{.underline} Photographic print.

**Physical description.** A statement indicating the number of physical
units; the specific material designation ([q.v.]{.underline}); the
primary support ([q.v.]{.underline}), if significant; the secondary
support ([q.v.]{.underline}), if significant; other physical details, as
appro­priate; dimensions; and accompanying material ([q.v.]{.underline}).

**Picture.** A two‑dimensional visual representation accessible to the
naked eye and generally on an opaque primary support
([q.v.]{.underline}). Use when a more specific term (e.g., print,
photo­graphic print, drawing) is not appropriate or when the process is
unknown.

**Planographic print.** Print produced from a printing surface that is
flat (planographic) as opposed to the raised surface of relief blocks
and the incised surface of intaglio plates.

**Plate mark.** The indentation in the paper of an intaglio print
([q.v.]{.underline}) made by the edges (usually beveled) of the metal
plate during printing.

**Portfolio.** A container for holding loose materials, consisting of
two covers joined together at the back; the covers are usually tied with
tapes at the fore edge, top, and bottom.

**Primary support.** The support or base on which an image is printed or
executed.

**Print.** A design or picture transferred from an engraved plate, wood
block, lithographic stone, or other medium. Generally, there are three
types: planographic print ([q.v.]{.underline}), relief print
([q.v.]{.underline}), and intaglio print ([q.v.]{.underline}).

**Provenance.** Generally, the history of successive custody of a
particular item or collection.

**Provenience.** [See]{.underline} Provenance.

**Reference source.** Any publication from which authoritative
information can be obtained. Not limited to standard refer­ence works.

**Relief print.** A print that is printed from the ink on raised
portions of a wood block or some other form of relief block (e.g.,
linoleum). The portions not to be inked and printed are cut away so that
what remains stands out in relief.

**Remarque.** A drawn, etched, or incised design or sketch done by the
artist on the margin of a printing plate or stone, often removed before
the regular printing.

**Repository.** Institution having custody of graphic materials. In this
document, repository and institution are used inter­changeably.

**Reproductive print.** An original print (usually engraving) that is
either a copy in another medium of an original work or is a print based
on another work in a different medium. [See also]{.underline} After.

**s.d.** [See]{.underline} Sine datum.

**s.l.** [See]{.underline} Sine loco.

**s.n.** [See]{.underline} Sine nomine.

**Secondary support.** The material (other than normal museum
overmatting) to which the primary support is attached; mounting.

**Series.** The term \"series\" has different connotations in libraries
(publisher\'s series), museums (artist\'s series), and archives (series
in a record group). One cannot avoid using the term, however, when
trying to convey the relatedness of a group of graphic items. For the
purpose of these rules, the term generally connotes a group of items
related to each other by the fact that each (or most of the items)
bears, in addition to its own title proper ([q.v.]{.underline}), a
collective title (i.e., series title) applying to the group as a whole.
The individual items may or may not be numbered. Because of the
circumstances under which a repository acquires original and historical
graphic materials, it is quite possible that it might not have all of
the items comprising a particular series or, indeed, even know what
would constitute a complete series.

**Signature.** Autograph or cipher of an artist or photographer
indicating approval of the work.

**Sine datum (s.d.).** ([Latin]{.underline}) Without date, i.e., without
a known or conjectured date of publication.

**Sine loco (s.l.).** ([Latin]{.underline}) Without place, i.e., without
the name of the place of publication.

**Sine nomine (s.n.).** ( [Latin]{.underline}) Without name, i.e.,
without the name of the publisher.

**Slide.** Transparent material on which there is a two‑dimensional
image, usually held in a mount, and designed for use in a projector or
viewer.

**Span dates.** 1. The inclusive dates during which a single item was
executed or the items in a collection were executed or published. 2. The
inclusive dates depicted.

**Specific material designation.** A term indicating the special class
of material to which an item or collection belongs. [See
also]{.underline} General material designation.

**Sponsor‑advertiser.** The company, institution, organization, or
individual who commissions and/or finances a work. Sponsor‑advertisers
may be considered to have a partial \"authorship\" relation to a poster,
since they have commissioned the work and are responsible for the
specific promotional goal it is designed to serve.

**State.** In printmaking, refers to the state of a particular plate or
an impression from that plate, before or after significant alterations
in the design. There may be several states; the number may be inscribed
on the print as a roman numeral.

**Statement of responsibility.** A statement transcribed from or
attributed to the material being described, relating to persons
responsible for the intellectual or creative content, or to corporate
bodies ([q.v.]{.underline}) from which the content emanates.

**Subseries.** A series ([q.v.]{.underline}) within a series; that is, a
series which always appears in conjunction with another, usually more
comprehensive, series of which it forms a section. Its title may or may
not be dependent on the title of another series.

**Subtitle.** Other title information ([q.v.]{.underline}) that is
subordinate to the title proper ([q.v.]{.underline}) and that completes
and qualifies it, or makes it more explicit.

**Title.** A word, phrase, character, or group of characters, normally
appearing on or with the material, naming the item or collection. Titles
for graphic materials will often not lend themselves easily to
separation into title proper ([q.v.]{.underline}) and other title
information ([q.v.]{.underline}), but if the data can be clearly
separated, the prescribed punctuation should be applied.

**Title proper.** The first element of the title and statement of
responsibility area. The chief name of the material, in­cluding any
alternative title ([q.v.]{.underline}) but excluding parallel titles
([q.v.]{.underline}) and other title information ([q.v.]{.underline}).

**Tracing.** The record of the headings ([q.v.]{.underline}) under which
an item or collection is represented in the catalog.

**Trademark.** Any symbol or combination of symbol and character(s) used
to represent or identify a product or its maker.

**Transparency.** A sheet of transparent material bearing an image and
designed for use with an overhead projector or a light box. It may be
mounted in a frame.

**Watermark.** Monogram ([q.v.]{.underline}), decorative device
([q.v.]{.underline}), symbol, or name, often of the paper manufacturer
incor­porated into the paper at the time of its manufacture. These marks
may be used to trace the origin of the paper or to identify some prints.

**EXAMPLES**

The following are sample descriptions prepared under the provisions of
these rules. They mostly do not include main entries or added entries
and subject tracings. These examples should be regarded as illustrative,
not prescriptive.

Reference numbers in the left margin are keyed to explanatory comments
below the example. Double spaces are used before and after the physical
description area to make the descriptions easier to read. This spacing
is not mandatory. Occasionally, the general material designation is
given to show how it would appear in the record. The general material
designation is an optional addition.

**Example 1** [First and second level of description for single
item]{.underline} (see Figure 1)

Level 1 (paragraphing not used, so as to conserve space)

\(1\) Chef der Blut Indianer ; Kriegs Chef der Piekan

\(2\) Indianer ; Kutanä Indianer / gravé par J. Hürlimann.

> ‑‑ London : Published by Ackermann \... , \[between
>
> 1832 and 1841\]. ‑‑ 1 print. ‑‑ Subject: Portraits
>
> of three Indians (half‑length), separately titled.

\(1\) Only the three chief titles are recorded (cf. Level 2 below).

\(2\) Only the first statement of responsibility is recorded, which, in
this case, is the printmaker\'s name rather than the painter after whom
the print was made (Bodmer).

Level 1 (paragraphing used)

> Chef der Blut Indianer ; Kriegs Chef der Piekan
>
> Indianer ; Kutanä Indianer / gravé par J. Hürlimann.
>
> ‑‑ London : Published by Ackermann \... , \[between
>
> 1832 and 1841\]
>
> 1 print.
>
> Subject: Portraits of three Indians (half‑
>
> length), separately titled.

Level 2

(1,2) Chef der Blut Indianer \[graphic\] = Chef des

> Indiens Sangs = Chief of the Blood‑Indians ; Kriegs
>
> Chef der Piekan Indianer = Chef de guerre des Indiens
>
> Piékanns = War‑chief of the Piekann Indians ; Kutanä
>
> Indianer = Indien Kutané = Koutani Indian / peint

\(3\) d\'après nat. par Ch. Bodmer ; gravé par J. Hurlimann.

(4,5) ‑‑ London : Published by Ackermann \... ; Koblenz : Bei

> J. Hölscher ; Paris : Arthus Bertrand, éditeur,

(6,7) \[between 1832 and 1841\] (\[Paris?\] : Imp. de Bougeard)

> 1 print : lithograph, b&w ; image 33 x 41 cm., on
>
> sheet 46 x 57 cm.
>
> Blind stamp: C. Bodmer Direct.

\(8\) Plate from: Reise in das innere Nord‑America in den

> Jahren 1832 bis 1834 / Maximilian Alexander Philipp,
>
> Prinz von Wied‑Neuwied. Coblenz : J. Hölscher,
>
> 1839‑1841. ‑‑ Hand colored plate in French edition:
>
> Voyage dans l\'intérieure de l\'Amérique du Nord. Paris
>
> : Arthus Bertrand, 1840‑1843.
>
> Subject: Portraits of three Indians (half‑length), separately titled.
>
> Upper right: Tab. 46.
>
> Source unknown.

\(1\) Three separate titles, each with two parallel titles (1E). The
titles are separated by semicolon because there is only one creator
(1B1.8).

\(2\) Option for general material designation used and is inserted after
the first title proper (1D).

\(3\) Multiple statements of responsibility given as they appear on the
item (1G4).

\(4\) Address of the publisher is omitted (2D3).

\(5\) Multiple publisher statements given as they appear on the item
(2D2).

\(6\) Probable period of time in which the image was made, given in
square brackets because supplied by the cataloger (2F5).

\(7\) Printer appears separately and prominently on the item and is
therefore recorded (2G). Probable place of printing is supplied by the
cataloger (2C10.1).

\(8\) The print being cataloged was removed from a publication; citation
is given (5B8.3). In addition, the cataloger alerts the researcher to a
source with hand colored plates.

**Example 2** [Single item with main entry and tracings]{.underline}
(see Figure 2)

\(1\) Caldwall, James, 1739‑1789.

\(2\) Chemical philosophers of the present day : Dr.

\(3\) Priestley : Lavoisier / Opie and David, pinxt. ;

> Caldwall, sculpt. ‑‑ London : Published May 1, 1801,

\(4\) by Dr. Thornton, \[1801\]

> 1 print : engraving ; plate mark 47 x 32 cm., on
>
> sheet 55 x 42 cm.

\(3\) Portrait of Priestley, after painting by John

> Opie, and of Lavoisier, after painting by Jacques
>
> Louis David.
>
> Subject: Two head‑and‑shoulders portraits in
>
> separate ornamental oval frames; one frame held by
>
> eagle.
>
> Source unknown.

\(5\) 1. Priestley, Joseph, 1733‑1804. 2. Lavoisier,

> Antoine Laurent, 1743‑1794. 3. Portrait prints.
>
> 4\. Chemistry. I. Opie, John, 1761‑1807. II. David,
>
> Jacques Louis, 1748‑1825. III. Thornton, Dr. IV. Title.

\(1\) Main entry.

\(2\) Since the names \"Dr. Priestley\" and \"Lavoisier\" are actually
separated on the item, they are recorded as other title information to
reflect this layout to the catalog user (1F1).

\(3\) Since the role of Opie and of David may not be clear to those
unfamiliar with conventions in printmaking or the meaning of \"pinxt.,\"
it is explained in a note.

\(4\) The date, an integral part of the publisher statement, is repeated
as the date element and enclosed in square brackets (2F2).

\(5\) Tracings. Arabic numbers indicate subjects (which, here, are
merely shown as an example and are not prescribed); roman numerals
indicate added entries.

**Example 3** [Single item with parallel titles]{.underline}

\(1\) Weber, Lucas.

> Jagd auf Grizzly Bären \[graphic\] = Chasse du
>
> grizzly bear = Hunting of the grizzly bear / Ch.
>
> Bodmer, pinx. ad nat. ; Lucas Weber, sc. ‑‑ Coblenz
>
> : Bei J. Hölscher ; Paris : Arthus Bertrand,

\(2\) éditeur, \[between 1832 and 1841\] (\[Paris?\] : Imp.

> par Chardon aine et Axe)
>
> 1 print : lithograph, b&w ; image and text 38 x
>
> 45 cm., on sheet 42 x 48 cm.
>
> Blind stamp: C. Bodmer Direct.
>
> Subject: Men in rowboat (left background) coming
>
> ashore to shoot ravaging bears (right foreground)
>
> Plate from: Reise in das innere Nord‑America in
>
> den Jahren 1832 bis 1834 / Maximilian Alexander
>
> Philipp, Prinz von Wied‑Neuwied. Coblenz : J.
>
> Hölscher, 1839‑1841, pl. 36.
>
> Gift of Joseph Verner Reed, 1949.
>
> Description done schematically:
>
> Title proper \[GMD\] = First parallel title =
>
> Second parallel title / first statement of
>
> responsibility ; second statement of responsibility.
>
> ‑‑ First place of publication : First publisher
>
> statement ; Second place of publication : Second
>
> publisher statement, date of publication (Place of
>
> printing : Printer statement)
>
> Extent and SMD : other physical details ; dimen‑
>
> sions.
>
> Notes.

\(1\) Printmaker used as main entry.

\(2\) Date given as sometime between 1832 and 1841 (2F5.1).

**Example 4** [Single item with publisher and distributor]{.underline}

> Waiting for Uncle Sam \[graphic\] : on the beach

\(1\) Porto Rico. ‑‑ Meadville, Pa. ; St. Louis, Mo. :

\(2\) Keystone View Company ; \[S.l.\] : B.L. Singley

> \[distributor\], c1900.
>
> 1 photographic print : stereograph ; 9 x 18 cm.
>
> Subject: Rear view of four little nude children
>
> looking out to sea.

\(3\) Keystone View Company, no. 10262.

> Copyright deposit of B.L. Singley, 1900.

\(1\) The two place names related to the publisher appear on the item
and are recorded in that order (2C5).

\(2\) The distributor, whose function as such is deduced from the
copyright claim, is named prominently on the item and is recorded in
addition to the publisher (2D2). The place of distribution, however, is
unknown; this is indicated in the same way it is for no known place of
publication (2C12).

\(3\) The publisher\'s number is noted (5B19).

**Example 5** [Single published item without known individual
creator]{.underline}

\(1\) Brooklyn base ball team, 1899. ‑‑ \[New York\] :

> Gardner & Co., c1899.

\(2\) 1 photographic print on printed mount : sepia toned

\(3\) ; image 42 x 54 cm., on mount 50 x 59 cm.

> Subject: Studio portrait of New York baseball
>
> team. Printed identifications on mount: manager
>
> McGunnigle, players Smith, Pinckney, Corkhill,
>
> Caruthers, Terry, Collings, Foutz, Hughes, O\'Brien,
>
> Bushong, Clark, Visner, Lovett.
>
> Copyright deposit.

\(1\) The title, which includes a date, is transcribed as it appears on
the item (1A3).

\(2\) The secondary support is described because of the printing on it
and the information it includes (3B6.4).

\(3\) Because there is a large difference between the image and mount
sizes, dimensions are given for both (3D3.6).

**Example 6** [Single item with title from accessory to the chief
source]{.underline}

\(1\) \[Portrait of Cyrus Patten\] / Anson, New York.

> ‑‑ 1852.
>
> 1 photograph : daguerreotype ; visible oval
>
> image 7 x 6 cm., in case 11 x 9 cm.
>
> Date and identification from pencil inscription
>
> inside back cover.
>
> Full leather case, hinged.
>
> Subject: Half‑length portrait of gray‑haired man
>
> with side whiskers.
>
> Gift of Douglas L. Parker, 1967.

\(1\) Since only the surname of the photographer can be found for this
unpublished item, geographical information associated with the name is
recorded (1G9).

**Example 7** [Single item with title transcribed from
published]{.underline}

> [source]{.underline}

\(1\) \[A Nakoak chief\'s daughter\] \[graphic\] / \[Edward

\(2\) Sheriff Curtis\]. ‑‑ \[1910\]

\(3\) 1 photographic print ; 19.3 x 14.7 cm. (7 5/8 x 5

> 6/8 in.)

\(4\) \"The Chief\'s Daughter\"‑‑in ink on verso; possibly

> inscribed by Imogen Cunningham.
>
> Curtis no. in image: x331‑10.

\(5\) Published as photogravure in: The North American

> Indian / Edward S. Curtis. Seattle, Wash. : E.S.
>
> Curtis, 1907‑1930, suppl. v. 10, pl. 334.
>
> Subject: Woman seated on ceremonial platform
>
> supported by two totems, symbols of her slaves.
>
> Wearing woven hat with abalone shell earrings,
>
> cedar‑bark wrap; ring in nose.
>
> Copyright deposit, c1910.

\(1\) The published title (from [The North American Indian]{.underline},
published by Curtis himself) is transcribed as the title proper since it
is the one most likely to be known by a catalog user and the manuscript
title on the item is evidently not in the hand of the creator (1A2,
1B1.12).

\(2\) The date has been derived from the Curtis number, which is known
to incorporate the date.

\(3\) The cataloger has chosen not to take the option to give the
photographic print size in inches, but has instead recorded the size to
the nearest millimeter with the inches in parentheses, as an optional
addition (3D2.2).

\(4\) The person is named, since she is a famous photographer herself.

\(5\) The item being described is an original photographic print. Its
subsequent publication as a fine photomechanical print is noted (5B20).

**Example 8** [Single item that was removed from a
publication]{.underline} (see

> Figure 3)

\(1\) Karen Female Institute, Tounghoo : with the

> native board of managers in their hunting dresses
>
> / drawn by Mrs. Ellen B. Mason, from a photograph.

\(2\) ‑‑ \[ca. 1862\]

\(3\) 1 print : lithograph, 4 cols. ; sheet 17 x 21 cm.

> Subject: Five men with spears and bayonet seated
>
> cross‑legged in foreground. Building in left back‑
>
> ground. Toungu, Lower Burma.

\(4\) Plate from: Great expectations realized : or,

> Civilizing mountain men / by Mrs. Ellen H.B. Mason
>
> Philadelphia : American Baptist Publication Society,
>
> 1862\.
>
> Source unknown.

\(1\) Since the layout is ambiguous, the sense of the text helps to
determine what is the title proper, other title information, and
statement of responsibility (1A2, 1B1.6, 1F1, 1G2).

\(2\) The probable date of execution is determined on the basis of the
publication date of the book (2H4).

\(3\) The number of colors, in which the item was printed, is given
(3C4.3).

\(4\) The book, in which this print was, is cited (5B8.3). The data are
recorded in the same order as they would be in a catalog record, except
a period is substituted for a period, space, dash, space between
\"Mason\" and \"Philadelphia\" (5A3).

**Example 9** [Single item with foreign language title]{.underline}

(1,2,3) \[Die Mütter\] / Käthe Kollwitz ; \[printed by\]

\(4\) Felsing. \-- \[1922‑1923\]

> 1 print : woodcut ; image 34 x 40 cm., on sheet
>
> 47 x 56 cm. ‑‑ (Krieg ; 6)
>
> References: Klipstein, 182 (5th state)

\(5\) Trial proof, no. 5. Signed in pencil by artist

> and printer.
>
> Subject: Women (and children?) clinging to each
>
> other in group; watching fearfully.
>
> Purchase (Pennell Fund, 390030‑7), 1969.

\(1\) The title, found in the German catalogue raisonné, is used, since
it is also in the artist\'s native language (1B1.12a).

\(2\) The name of the artist is transcribed as it appears on the item
(1G2).

\(3\) The function of the second name given in the area of
responsi­bility (and appearing on the item) is given for clarity (1G8).

\(4\) Span dates of execution are given (2H1).

\(5\) In addition to the cited catalogue raisonné, a note on the edition
and information on the signatures are given (5B8.2, 5B7.1).

**Example 10** [Single item with well‑established English
title]{.underline}

\(1\) \[The three trees / Rembrandt Harmenszoon van

> Rijn\]. ‑‑ \[1643\]

\(2\) 1 print : etching ; image 20 x 28 cm.

\(2\) Image trimmed to or within plate mark at bottom.

\(3\) References: Biörklund, 43‑B; Rovinskii, 212.

\(4\) From the Gardiner Greene Hubbard Collection.

> Gift of Mrs. Gardiner Greene Hubbard, 1898.

\(1\) The well‑established English title and the date are supplied from
the references cited in the note area (1B1.12b).

\(2\) Since the plate mark has been obliterated on one edge of this
intaglio print, the image size is given, and a note is made (3D5,
5B9.1).

\(3\) References to catalogues raisonnés are made to substantiate
information provided by the cataloger and to direct the catalog user to
a more detailed description (5B12).

\(4\) A provenance note is given because of the importance of the
Hubbard Collection (5B25).

**Example 11** [Single item with supplied date of
publication]{.underline}

\(1\) The death cry \[graphic\] / S. Eastman, U.S. Army,

> del. ; executed on stone by C. Schuesele \[i.e.
>
> Schussele\]. \-- Phila\[delphia\] : Printed in color by

\(2\) P.S. Duval, \[betweeen 1848 and 1854?\]

\(3\) 1 print : chromolithograph ; image 24 x 17 cm.,

> on sheet 14 x 26 cm.

\(2\) Dated according to time period Schussele was in

> Philadelphia working for Duval.
>
> Subject: Indian holding scalp of dead white man
>
> at his feet.
>
> Source unknown.

\(1\) Multiple statements of responsibility are transcribed as they
appear on the item (1G4). In addition, a name is corrected, presuming it
was not deliberately printed incorrectly.

\(2\) Probable period of time, during which the item was published is
given, with an explanatory note (2F5.1).

\(3\) The dimensions of both sheet and image are given, since there is a
large difference between them (3D3.6).

**Example 12** [Single item without a true title]{.underline} (see
Figure 4)

(1,2,3) H.R. Robinson, 52 Courtland St. \... : caricatures

(4,5) and prints. ‑‑ \[New York : H.R. Robinson, 1841 or

> 1842\]

\(6\) 1 print : lithograph, b&w ; hexagon sheet 26 x 45 cm.

\(7\) Subject: Advertisement for print shop, showing

> lettering and central motif of wig, a play on
>
> Robinson\'s work for the Whigs.
>
> Source unknown.

\(1\) Text on the item provides the only title‑like data (1B1.5).

\(2\) Initials are recorded without internal spaces (0H2).

\(3\) Title is abridged, omitting unessential information that consists
of a repetition of the street address (1B1.).

\(4\) Name of publisher is deduced from the text (used as title) and the
use of the print as an advertisement for the publisher (2D8).

\(5\) Probable date given according to the pattern in Appendix A
(2F5.1).

\(6\) Nonrectangular shape is described (3D4.3).

\(7\) Explanations of functional type and the visual content are given
in the subject note (5B14).

**Example 13** [Single item without explicit name in statement
of]{.underline}

> [responsibility]{.underline}

\(1\) A prospect of the Moro \[sic\] Castle and city of

\(2\) Havana from the sea / drawn on the spot by an officer

\(3\) ; P.C. Canot, sculp. ‑‑ \[London\] : Published according

> to law & sold by R. Willock, bookseller in Cornhill,

\(4\) and J. Boydell, engraver in Cheapside, \[ca. 1768\]

> 1 print : engraving ; image 27 x 42 cm., on sheet
>
> 34 x 42 cm.

\(5\) Sheet trimmed at or within plate mark on right and

> left.
>
> Transfer from the Map Division, 1914.

\(1\) An inaccuracy with the title is indicated (0F1).

\(2\) Part of the statement of responsibility area includes a person not
explicitly named (1G10).

\(3\) The parts of a complex publisher statement are not recorded
separately as they are linked by a connecting word (2D2).

\(4\) A probable date is given (2F6.1, Appendix A).

\(5\) A physical detail is noted (5B9.1).

**Example 14** [Single item with month and day of
publication]{.underline} (see

> Figure 5)
>
> R\_\_\_l advice \[graphic\] / Lewis Marks, del. ‑‑

\(1\) \[London\] : Pubd. by T. Tegg III, Cheapside, June 6,1814.

(2,3) 1 print : etching, with watercolor ; image 25 x

> 36 cm., on sheet 26 x 37 cm.

\(3\) Plate mark indistinguishable.

> References: Catalogue of political and personal satires / British
> Museum (BMC, 12278)

\(4\) Subject: British cartoon published to coincide

> with the arrival of the allied sovereigns, when the
>
> Regent\'s enemies exploited his relations with his
>
> wife. Shows Queen Charlotte as an ugly old woman
>
> enthroned on dias; Regent (George, Prince of Wales
>
> later George IV) wearing turban‑cornet surmounted by
>
> feathers.

\(5\) In upper right margin: 333.

> Purchase from Maggs Bros., 1913.

\(1\) The option has been taken to record month and day as they appear
on the item (2F1).

\(2\) Other physical details give the printing process and an indication
of color (3C3.1).

\(3\) Although this is an intaglio print, the image rather than the
plate mard has been measured; a note explains why (5B9.1).

\(4\) A short explanation of the subject is given; the British Museum
Catalogue can be consulted for further information.

\(5\) A number implying a series is given (5B11).

**Example 15** [Single item with foreign title]{.underline}

\(1\) Friedr. Hecker\'s Abschied in Strasburg : auf

\(2\) seiner Reise nach Amerika. \-- Frankfurt a\[m\]

(3,4) Main : Druck u. Verlag v. Ed. Gust. May, \[1849?\]

> 1 print : lithograph, hand colored ; image and
>
> text 33 x 23 cm., on sheet 43 x 29 cm.
>
> Title translated: Friedrich Hecker\'s farewell
>
> in Strasbourg, upon his trip to America.
>
> Four line quote (presumably of Hecker) below
>
> image.
>
> Source unknown.

\(1\) The abbreviated name is not completed because it can be understood
(0J2).

\(2\) The abbreviated place of publication is completed (2C4).

\(3\) The abbreviations in the publisher statement are transcribed as
they appear (2D1).

\(4\) The probable date of publication is given, based on the date of
the event, according to the pattern in Appendix A (2F5.1). For a single
item, this supplied date is enclosed in square brackets (0B1.1, 0B2).

**Example 16** [Single item with pseudonym and fictitious name in
the]{.underline}

> [statement of responsibility]{.underline}

\(1\) The grand national caravan moving east / drawn

> by Hassan Straightshanks, under the immediate

\(2\) superintendence of Maj. Jack Downing. ‑‑ \[New York :

> Endicott & Sweet?\], c1833.
>
> 1 print : lithograph ; image 24 x 33 cm., on
>
> sheet 27 x 42 cm.
>
> Below title: There hath not been the like of them,
>
> neither shall there be any more after them, even to
>
> the years of many generations.

\(1\) Hassan Straightshanks is the pseudonym of unknown

> artist; Major Downing is a fictitious character.
>
> References: A history of American graphic humor /
>
> by William Murrell. New York : Whitney Museum of
>
> American Art, 1933‑1938, no. 115.
>
> Subject: Satirical portrayal of Andrew Jackson\'s
>
> tour of the northeast in 1833.

\(2\) Copyright deposit of Endicott & Swett?, 1833.

\(1\) The statement of responsibility is transcribed even though the
true identities are unknown or simply fictitious; an explanatory note is
made, which may be deemed unnecessary in some cataloging institutions
(1G10).

\(2\) The place of publication and publisher are conjectured based on
the probable copyright holder; evidence is such that these conjectures
may appear in the body of the entry with a question mark.

**Example 17** [Single item with picture caption independent of
title]{.underline}

> (see Figure 6)

\(1\) F.S. Chanfrau in the character of \"Mose\" : as

> originally written for, and performed by him at the

\(2\) Olympic and Chatham Theatres, New York / James Brown,

(3,4) del. ‑‑ N\[ew\] Y\[ork\] : Lith. & published by E. & J.

> Brown \... , c1848.

\(5\) 1 print : lithograph, b&w ; image and text 32 x 24

> cm., on sheet 45 x 33 cm.

\(6\) Picture caption: I\'m bound not to run wid der

> machine any more.
>
> Subject: Francis S. Chanfrau as fireman; full‑
>
> length portrait, in defiant stance; firemen and hoses
>
> in background.
>
> Copyright deposit.

\(1\) The title can be separated into title proper and other title
information (1A1.3, 1F1). Alternatively, the title could be abridged:
F.S. Chanfrau in the character of \"Mose\" \... A note as follows could
then be made, if desirable. Title continues: \... as originally written
for, and performed by him at the Olympic and Chatham Theatres, New York.

\(2\) Statement of responsibility is transcribed as it appears (1G1).

\(3\) Since the place name (referring to the city) is found in
abbreviated form on the item, the name is completed in square brackets
(2C4).

\(4\) The publisher\'s name is transcribed with the words associated
with it as a single statement, even though two functions are given
(2D1).

\(5\) Since there is a fairly large difference between the image and
sheet sizes, both are recorded (3D3.6). The cataloger has also chosen to
include the text with the measurement of the pictorial area (3D3.1).

\(6\) The picture caption (which is independent of the title) is
recorded (5B6).

**Example 18** [Single item with beginning text used as
title]{.underline}

(1,2) Grand shooting match! : a grand, tremendous,

\(3\) terrible \... shooting match will take place

> at old Tom Hackett\'s in Bedford, N.H., on \...

\(4\) Oct. 17th, 1867 \... ‑‑ Bedford Centre, New

\(5\) Hampshire : From the Gospel Banner Press, \[1867\]

> 1 print : woodcut, with text in letterpress ;
>
> sheet 56 x 35 cm.
>
> Picture caption: A shot in the locker.

\(6\) In Rare Book and Special Collections Division

> (Broadside Collection, Portfolio 94‑16)

\(1\) The beginning (and in this case, the most prominent) words of the
item are transcribed as the title proper (1B1.5).

\(2\) The exclamation mark is recorded even though it precedes the mark
of omission (0C10).

\(3\) Other title information is abridged to eliminate unessential words
(1F2).

\(4\) The name of the publisher is transcribed with associated words
appearing on the item (2D1).

\(5\) The date, an integral part of the title, is repeated as the date
element in the publication, distribution, etc., area, and enclosed in
square brackets (2F2).

\(6\) This item has been cataloged for its pictorial interest. It might
also have been cataloged as a single sheet publication according to the
provisions in [Bibliographic Description of Rare Books]{.underline}.

**Example 19** [Single item with opening text that provides a
title]{.underline}

> (see Figure 7)

\(1\) Sheriff\'s sale of real estate : by virtue of a writ of

> Levari Facias, to me directed, will be sold

(2,3) at public sale, on \... February fourth, 1880 \...

(4,5) ‑‑ Doylestown, Penn\'a : Sheriff\'s Office, 1880

> (Bucks County Intelligencer Steam‑Power Job Print)

\(6\) 1 print : woodcut, with text in letterpress ;

\(7\) sheet 59 x 47 cm.

\(8\) Subject: Advertisement for public auction of John

> H. Kephart\'s lot, two‑story frame house, and barn.
>
> Illustration of house and barn.
>
> Purchase, 1979.

\(1\) Opening text provides title, which is the main entry (1B1.5).

\(2\) Other title information is abridged (1F2).

\(3\) Since the mark of omission precedes a period (the prescribed
punctuation at the beginning of the publication, distribution, etc.,
area), the period is omitted (0C7).

\(4\) Larger jurisdiction is given as it appears on the item (2C1).

\(5\) Sponsor‑advertiser is used as the publisher (2B3).

\(6\) The means by which the text was produced is described in other
physical details (3Cc).

\(7\) The cataloging agency has chosen to measure only the sheet and
indicates this (3D3.1).

\(8\) The functional type of the material is given, as well as a
description of the illustration (5B14).

**Example 20** [Single item with sponsor‑advertiser]{.underline}

(1 Congress playing cards : crisp, flexible,

\(2\) luster finish, new designs : sold by dealers /

\(3\) The U.S. Playing Card Co. ‑‑ \[S.l.\] : The U.S.

\(4\) Playing Card Co., c1900 (Cincinnati, U.S.A. : The

> U.S. Printing Co.)

\(5\) 1 print (3 sheets) : lithograph, color ; 221 x

> 107 cm.

\(6\) Motto above title: Good cards make card games

> enjoyable.
>
> Subject: Advertising poster, illustrated with
>
> two couples playing cards.

\(7\) Copyright deposit of The U.S. Printing Co.

\(1\) The most prominent words on the item are transcribed as the title
proper, omitting text that actually appears before it, i.e., the motto
(1A2, 1B1.4).

\(2\) The U.S. Playing Card Co., the sponsor‑advertiser of this poster,
is recorded both in the statement of responsibility and the publisher
statement to reflect its dual role (2B3).

\(3\) The place of publication is unknown, although the place of
printing is known (2C12, 2G).

\(4\) The place of publication and its larger jurisdiction are
transcribed as they appear on the item (2C1).

\(5\) Multiple sheets compose the item (3B6.2), and only the outside
measurements are given (3D3.2).

\(6\) The motto is recorded to reflect the item\'s layout and to help
identify the particular item (5B6).

\(7\) For the historical record, the copyright holder\'s name is given,
even though the item is no longer under copyright (5B24.2).

**Example 21** [Two single items with similar titles]{.underline}

> John C. Heenan, the champion of America /

\(1\) photo. by Meade Bros. ; L. Grozelier\'s Lith.

> ‑‑ New York : Published by W. Schaus, c1860

\(2\) (\[Boston\] : Printed at J.H. Bufford\'s)

\(3\) 1 print on chine colle : lithograph ; image

> and text 41 x 29 cm., on sheet 58 x 43 cm.

\(4\) Signed in medium: Ld. Grozelier.

> Subject: Head‑and‑shoulders portrait of John
>
> Carmel Heenan, boxer.
>
> Copyright deposit, 1860.
>
> John C. Heenan, champion of America, born

\(5\) in West Troy, New York, May 2, 1835 \... / from

> photograph in attitude taken by Gillis & Johnson.
>
> ‑‑ N\[ew\] Y\[ork\] : H. Dexter & Co., c1860.
>
> 1 print : lithograph ; image and text 43 x
>
> 30 cm., on sheet 61 x 49 cm.
>
> Title continues: \... height 6 ft. 1 2 inch,
>
> fighting weight from 180 to 185 lbs.
>
> Subject: Full‑length portrait of John Carmel
>
> Heenan, in boxing stance.

\(6\) Copyright deposit of William Carland, 1860.

\(1\) Multiple statements of responsibility are transcribed a they
appear on the item, even though it is actually Leopold Grozelier who
made the image.

\(2\) The printer, appearing separately on the print, is recorded in
addition to the publisher (2B2).

\(3\) The primary support is given because it aids in identifying this
particular print (3B6.3).

\(4\) The signature, not in the body of the entry where
[printed]{.underline} information has been recorded, is given in a note
(5B7.1).

\(5\) The second example here is also a print made after a photographic
print, but the printmaker is unknown; the statement of responsibility on
the item is recorded, but the main entry will be H. Dexter & Co.

**Example 22** [Single item, unpublished]{.underline}

> Vanity Fair \[graphic\] / F. Depero. \-- 1930.
>
> 1 collage on bristol board : cut colored paper ;

\(1\) on support 43.7 x 34.4 cm.

> Subject: Lettering and illustration for magazine
>
> cover; face with horned helmet and cigarette.

\(2\) Published as cover of Vanity Fair, July 1930.

> Restricted.
>
> Bequest of Erwin Swann, 1974.

\(1\) The cataloger has chosen to give the dimensions of this single
item to the nearest millimeter (3D2.2).

\(2\) Subsequent publication of the original item being cataloged is
recorded (5B20).

**Example 23** [Single item, unpublished]{.underline}

(1,2) The nefarious laboratory villian \[sic\] \... / \[Ralph

\(3\) Barton\]. ‑‑ \[192‑?\]

\(4\) 1 drawing on illustration board : India ink, ink

> wash, over black crayon \[?\] and opaque white ; on
>
> support 37.7 x 28.0 cm.

\(5\) Title from handwritten notation below image.

\(6\) Title continues: \... knows a little about science

> and is more than a little crazy, likes to preform
>
> \[sic\] innocent little experiments on his fellow humans.
>
> Subject: Caricature of a mad scientist.
>
> Restricted.
>
> Bequest of Erwin Swann, 1977.

\(1\) Inaccuracies in the title are followed by \"sic\" (0F1).

\(2\) The cataloger attributes this item to the cartoonist Ralph Barton;
the name is supplied in a standardized form in square brackets (1G6).

\(3\) The probable date is given according to a pattern in Appendix A
(2H4).

\(4\) Multiple techniques are described in other physical details
(3C3.1).

\(5\) The manuscript title is described (5B1).

\(6\) The lengthy title is continued in a note to reflect what appears
on the item to the catalog user (5B4).

**Example 24** [Collection with printed series title]{.underline}

> The Famous Rahl & Bradley living bronze statues. ‑‑ New
>
> York : Knowlton, c1895.
>
> 16 photographic prints on cabinet cards : sepia toned

\(1\) ; 17 x 11 cm.

\(2\) On each image there is surface abrasion, lower right, on base of
statue\'s pedestal, as though printing (?) had been obliterated on
purpose.

> Subject: Humans posing as bronze statues of mythological and classical
> figures.
>
> Copyright deposit, c1895.

\(1\) Only the dimensions of the mount are given (3D3.4).

\(2\) A physical condition, which mars the items, is described (5B9.1).

> Single item from the collection described above:

\(1\) Orpheus and Euridice. \-- New York : Knowlton,

> c1895.
>
> 1 photographic print on cabinet card : sepia toned ;

\(2\) 17 x 11 cm. ‑‑ (The famous Rahl & Bradley living bronze

> statues)
>
> Subject: Man and woman posing as bronze statues
>
> on pedestal.

\(3\) In Lot 11805.

\(1\) The title proper of the item within a series is given.

\(2\) Series title is given (and traced) so as to relate the item to the
rest (4B1).

\(3\) Relationship note for item analysis (5B21).

**Example 25** [Collection with printed series title]{.underline}

\(1\) Gems of American life. ‑‑ Bethlehem, Pa. : F.L.

> Stuber, c1870‑c1871.

\(2\) 9 photographic prints on stereo cards : stereograph ; 9 x 18 cm.

\(3\) Evidently an incomplete series titled \"Gems of

> American Life,\" in which there are subseries
>
> (indicated by labels on verso), such as \"American
>
> Beauties\" and \"The Young Housekeeper.\" Handwritten
>
> numbers on verso: no. 14, 15, 20, 21, 31, 570‑572, 576.
>
> Subject: Stiffly posed sentimental images of
>
> American women. Includes portraits of Hattie Chase
>
> and Julia Townsend, referred to as \"American Beauties.\"
>
> Copyright deposit.

\(1\) Series title printed on each item (1B2.2).

\(2\) Only the number of items in hand are recorded (3B3).

\(3\) A note regarding the series and the subseries, including
information on its completeness and the specific numbers (5B11).

Item with its own title proper and subseries title, from collection
described above (see Figure 8):

\(1\) Hattie Chase. ‑‑ Bethlehem, Pa. : F.L. Stuber,

> c1871.
>
> 1 photographic print on stereo card : stereograph ;

\(2\) 9 x 18 cm. ‑‑ (Gems of American life. American

> beauties ; no. 15)
>
> Subseries title from printed label on verso.
>
> \"No. 15\" handwritten on verso.
>
> In Lot 3527.

\(1\) Title proper of an item in a collection having a series title.

\(2\) Series title, subseries title, and number within the series are
recorded in the series area (4B1, 4D1, 4E). There would be tracings for
the series and subseries so that a catalog user could find the item
under these titles as well as its own title proper.

**Example 26** [Collection with printed series title]{.underline}

\(1\) The illustration of the Siberian War. ‑‑ Tokyo :

> Shobido & Co., 1919.

\(2\) 17 prints : lithograph, color ; 40 x 55 cm.

\(3\) Subject: Series of prints, numbered 1‑17,

> showing Japanese expeditionary force sent to
>
> Siberia in 1918, landing and in battle.

\(4\) Partial contents: No. 1. The landing of the

> Japanese army, welcomed by every nation, at
>
> Vladivostok ‑‑ No. 4. The Japanese army defeated
>
> the German‑Austrian army near Usri, Siberia ‑‑ No.
>
> 5\. The first battle near Manturia. The Japanese
>
> soldiers defeated the enemys cavarly \[sic\] ‑‑ No.
>
> 7\. The Japanese cavarly taking possession of
>
> Khobarovsk, pursueing and attacking the enemies
>
> \[sic\] ‑‑ No. 14. Our cavalrys occupied Khabarovsk,
>
> and march‑past took place in front at the enemys
>
> gan‑boats \[sic\] ‑‑ No. 17. Our army attacks from
>
> sky, water and shore, and requlsed \[sic\] enemy of
>
> Siberia.
>
> Source unknown.

\(1\) Title is used as main entry since there is no statement of
responsibility.

\(2\) For a collection the outside dimensions are only recorded, and
therefore 3D3.1 is not followed.

\(3\) The subject and series notes are combined (5B11 and 5B14).

\(4\) Partial contents are given so the catalog user can get a sense of
the material (5B17).

Single item from the collection described above:

\(1\) The Battle of Usri \[i.e. Ussuri\], Siberia : Captain

> Konomi died in the battle, fighting. ‑‑ Tokyo :

\(2\) Shobido & Co., \[1919\]

> 1 print : lithograph, color ; image 36 x 52 cm.,

\(3\) on sheet 39 x 55 cm. ‑‑ (The illustration of the

> Siberian War ; no. 3)
>
> Title is same as no. 13 in the series, but
>
> different image.
>
> Subject: Raging battle scene. Soldiers
>
> charging with bayonets; cannons, explosions;
>
> airplanes overhead. Captain Konomi commanding
>
> in midst of fighting.
>
> In Lot 8223.

\(1\) Title, with correction (0F1), is used as main entry.

\(2\) Whereas the date‑‑which was deduced from the subject matter of the
prints‑‑is not bracketed for the collection description, it is for the
description of the single item(0B).

\(3\) Series title and the number of the item within the series (4B1,
4D1).

\(4\) Relationship note for item analysis (5B21).

**Example 27** [Collection with separately printed title]{.underline}

> Photographic views of Kern County, California.

\(1\) ‑‑ Carleton Emmons Watkins. ‑‑ 1888?

(2,3) 415 photographic prints ; 7 x 9 in. + 4 maps (36 x

> 49 cm. and 64 x 44 cm.)
>
> Title from loose printed page (from an original
>
> album?)

\(4\) The three original? albums were dismantled and

> the photographic prints and captions mounted by the Library
>
> on 8 x 10 in. boards.

\(5\) References: Guide to the special collections of

> prints & photographs in the Library of Congress /
>
> compiled by Paul Vanderbilt. Washington, D.C. :
>
> Library of Congress, 1955, no. 755.

\(6\) Subject: Survey of Kern Co., showing ranch

> houses and buildings, dairy farming, ranching and
>
> agriculture, livestock, fruit culture, irrigation
>
> canals, artesian wells, lakes and river, Bakersfield,
>
> adobe Indian homes, antimony. Arranged by \"Watkins
>
> photo no.,\" with unnumbered ones filed at end. Most
>
> include long, printed caption labels.
>
> Transfer from Accession Division, 1929.

\(1\) Standardized form of photographer\'s name is used because it only
appears as \"Watkins\" on the material, if it appears at all (1G3).

\(2\) Standardized inch size given (3D2.2).

\(3\) Accompanying material and dimensions given as part of the physical
description area (3Ea).

\(4\) Note on the original form and how it was altered (5B9.1).

\(5\) Reference to published description for more information (5B12).

\(6\) Subject description, including information on identifying text,
and arrangement notes are combined (5B14, 5B16).

**Example 28** [Collection with title devised by cataloger describing
visual content]{.underline}

> Geological and anthropological features of Alaska
>
> and the Aleutian Islands / Edward Sheriff Curtis.

\(1\) ‑‑ 1899.

\(2\) 178 photographic prints ; 7 x 9 in. and 5 x 7 in.

> Subject: Taken during the Harriman Alaska Expedition of 1899. Arranged
> by the following categories: 1. Landscapes ‑‑ 2. Flora and fauna ‑‑ 3.
> Native Alaskans; totem poles ‑‑ 4. Towns, villages, camps; boats;
> people, including Harriman Expedition personnel.
>
> All numbered in the image.
>
> Many published as photogravures in: Harriman Alaska expedition, 1899.
> New York : Doubleday, Page & Co., 1902, vols. 1‑3.
>
> Most copyright deposit of E.H. Harriman, 1899; source of remainder
> unknown.

\(1\) The date is established according to the copyright date, the known
date of the expedition, and by comparing the original images with the
published photogravures.

\(2\) The photographic prints are two sizes (3D9.2).

**Example 29** [Collection with title devised by cataloger from
the]{.underline}

> [name of the sponsoring body/source]{.underline}

\(1\) National Child Labor Committee collection

(2,3) / Lewis Wickes Hine. ‑‑ l908‑l924.

(4,5) 21 albums (4,945 photographic prints) ; 27 x 30 cm.

\(6\) Subject: Photographic prints by Hine for National Child Labor
Committee, New York. Original photographic prints organized topically
and pasted into albums compiled by the Library; each annotated with Hine
number for which there is a caption card; 248 cor­responding original
glass negatives in LC‑H5 and LC‑H51 series.

\(7\) Contents: Agriculture, 1909‑1917 ‑‑ Canneries, 1909‑1916 ‑‑ Coal
mines, 1908‑1910 ‑‑ Glass factories, 1908‑1924 ‑‑ Street trades,
1908‑1924 ‑‑ Tenement homework, 1910‑1924 ‑‑ Children in W. Va., Oct.
1924 ‑‑ Miscellaneous child labor, 1908‑1924.

> Gift of the National Child Labor Committee, 1955.

\(1\) The cataloger has devised a title from the name of the sponsoring
body, which is also the source (1C2).

\(2\) Although the photographer\'s name does not actually appear on the
material, his name is known from the accession record. His name is given
in standardized form, without square brackets (0B1.2, 1G3).

\(3\) Span dates are given (2H1).

\(4\) The component parts of the collection are described (3B4).

\(5\) The measurement refers to the outside dimensions of the uniform
size albums (3D9.1).

\(6\) The subject description is general, covering only what is common
to all 21 albums, since the units will be described in separate catalog
records (see Example 11a). Information is given on physical
description‑‑what was done subsequent to the arrival of the
collection‑‑and on corresponding negatives, as well as information on a
finding aid that is not filed with the collec­tion (5B9.1, 5B14, 5B18).

\(7\) The full contents, an indication of each unit, is given so that
the catalog user can see the full range of the collection (5B17).

Subunit from the collection described above, cataloged separately:

\(1\) Child labor in agriculture / Lewis Wickes

> Hine. ‑‑ 1909‑1917.

\(2\) 3 albums (633 photographic prints) ; 27 x 30 cm.

> Subject: Children harvesting crops, operating farm machinery, caring
> for animals, etc.

\(3\) Forms part of the National Child Labor Committee Collection.

\(1\) The cataloger has devised a descriptive title (1C2).

\(2\) The component parts of the unit are given (3B4).

\(3\) The relationship note ties this unit to the larger collection
(5B21); the catalog user looks to the collection description for other
notes concerning the collection as a whole.

Single item from the collection described above, cataloged separately:

\(1\) \[Two boys, horse, and colt in barnyard,

(2,3) western Mass. / Lewis Wickes Hine\]. ‑‑ \[Aug.

> 1915\]
>
> 1 photographic print ; 4 x 5 in.
>
> Caption card: Eight‑year old Jack taking care of the colt \... 3972
> Western Mass., Aug. 1915. See Hine Report, Rural Child Labor, August
> 1915.

\(4\) Hine no. 3972.

\(5\) In Lot 7475, album 2.

\(1\) Title devised by the cataloger to describe the image. What is on
the caption card is not considered to be a title (1A2).

\(2\) The photographer\'s name, which does not appear on the item, is
enclosed in square brackets (0B2).

\(3\) Date of execution (month and day) are taken from the caption card
(0B2, 2H1).

\(4\) The original Hine negative number is given (5B19).

\(5\) Relationship note for item analysis (5B21).

**Example 30** [Collection with title devised by cataloger]{.underline}

\(1\) Pan‑American Exposition, Buffalo, N.Y.

\(2\) / C.D. Arnold \[photographer\]. ‑‑ 1901.

(3,4) 365 photographic prints ; 8 x 10 in. or smaller.

\(5\) Subject: General, high, and night views; individual buildings;
statuary, fountains, and gardens; American Indians; sham battle; infant
incubators and other midway attractions; bridges; Latin American
dancers, matadors, and musicians; address by Pres. McKinley; portrait of
General Manager F.T. Cummings on horseback. Arranged by building name
and other categories. All photographic prints captioned and numbered in
the image.

> Copyright deposit, 1901.

\(1\) Title devised by cataloger is not enclosed in square brackets for
a collection description (1C1, 1C2).

\(2\) Photographer\'s name is recorded as it appears most frequently on
the material (though his full name is known to be Charles Dudley
Arnold). His function is given in square brackets (1G8).

\(3\) Standard inch size is given, and the words \"or smaller\" indicate
more than two sizes (3D9.2). The majority of the images are oriented
horizontally rather than vertically (3D9.1.).

\(4\) Period is added at the end of the physical description area (3A2).

\(5\) Information on arrangement and numbering is included in the
subject description (5B11, 5B14, 5B16).

Single item from collection described above, cataloged separately

(see Figure 9):

\(1\) Pan‑Am\[erican Exposition\] emergency hospital

\(2\) nurses / C.D. Arnold \[photographer\]. ‑‑ 1901.

\(3\) 1 photographic print ; 10 x 8 cm.

\(4\) No. 763.

> Subject: Six nurses in uniform, sitting and standing, posed in
> doorway.

\(5\) In Lot 4654‑23.

\(1\) Title is transcribed from the item; letters and words are
interpolated in order to make it clear (0J2).

\(2\) Initials are recorded without internal spacing (0H2).

\(3\) Dimensions are given height x width according to the way in which
the image would be viewed (3D2.1).

\(4\) A number that implies a series is given (5B11).

\(5\) Relationship note for item analysis (5B21).

**Example 31** [Collection with title stipulated by donor]{.underline}

\(1\) Gilbert H. Grosvenor collection of photographs

\(2\) of the Alexander Graham Bell family. ‑‑ ca.

> 1800‑ca.1965.

\(3\) 56 ft. (ca. 28,000 pictures)

> References: Beverly W. Brannan with Patricia T. Thompson, \"Alexander
> Graham Bell: A photograph album\" in Library of Congress Quarterly
> Journal, v. 34, no. 2 (April 1977), p. 73‑96.

\(4\) Subject: Visual archives (primarily photographic prints, but also
prints and charts) of one family line, documenting scientific endeavors
and family and personal relationships.

\(5\) Thirty‑one units of original materials are arranged in a numbered
series, kept in the order in which they arrived. Groups of original and
recently copied materials are arranged alphabetically by subject in
three lettered units.

> Provenance: From the collections of Bell\'s descendants.

\(6\) Transfer from the Manuscript Division (Alexander Graham Bell
Family papers), 1975.

\(1\) Title stipulated by donor is used as main entry.

\(2\) Span dates of the material are given, though approximate (2H1,
Appendix A).

\(3\) The linear measurement is given for this large quantity of
material (3B1d), as well as an indication of the component parts (3B4).
No dimensions need otherwise be given (3D9.1).

\(4\) Only a brief subject description is given because each of the
subunits of the collection will be cataloged separately.

\(5\) An indication of the arrangement is given so the catalog user
knows what to expect (5B16).

\(6\) The related collection in the Manuscript Division is named so that
the researcher will know what to request when looking for textual
material.

Subunit from the collection described above, cataloged separately:

\(1\) Portraits of English and Western European nobility

> and clergy. ‑‑ ca. 1700‑ca. 1900.

\(2\) 20 prints : lithograph, b&w ; 23 x 23 cm. +

> newspaper clippings

\(3\) 1 album (ca. 120 lithographs and newspaper

\(4\) clippings) ; 28 x 23 cm.

\(5\) Forms part of the Gilbert H. Grosvenor Collection of Photographs
of the Alexander Graham Bell Family.

\(6\) Provenance: From the collection of Alexander Graham Bell.

\(1\) Title devised by the cataloger is recorded without square brackets
(1C1.1, 1C1.2).

\(2\) The two distinct categories of material are recorded separately in
the physical description area (3F). The first category has accompanying
material recorded at the end of the physical description.

\(3\) The second category of material includes newspaper clippings a
well, but since they are an integral part of the album, they are
described as a component part (3B4) rather than as accompanying
material.

\(4\) The outside dimensions are given according to the terms of the
first statement of extent, i.e., the album (3D9.1).

\(5\) The relationship note ties this subunit to the collection (5B21);
the catalog user looks to the collection description for other notes
concerning the collection as a whole.

\(6\) The provenance note gives the previous ownership of this
particular subunit of the larger collection (5B25).

Another subunit from the collection described above:

\(1\) Portraits and genealogy of Alexander Graham Bell and

> his ancestors. ‑‑ 1837‑1916.

\(2\) 35 photographic prints ; 10 x 8 in. or smaller

\(3\) 3 albums (125 photographic prints) ; 31 x 21 cm. or smaller.

\(4\) Forms part of the Gilbert H. Grovesnor Collection of Photographs
of the Alexander Graham Bell Family.

\(1\) Title devised by cataloger is used as main entry.

\(2\) Two distinct categories of material are described (3F). The first
category contains photographic prints of various sizes (3D9.2).

\(3\) The second category is described in terms of the albums (3B1b),
and the dimensions give the maximum size of the albums (3D9.2).

\(4\) The relationship note ties this unit to the larger collection
(5B21); the catalog user looks to the collection description for other
notes concerning the collection as a whole.

Another subunit from the collection described above:

(1,2) Album pintoresco de la Isla de Cuba. ‑‑ \[Germany?\] :

\(3\) B. May y Ca., 1858 (Berlin : Storch & Kramer)

(4,5,6) 1 v. (28 chromolithographs, 2 maps) ; 26 x 36 cm.

\(7\) Title from first print and decorative cover. \"Isla de Cuba\"
appears on each print along with title of its own.

> Subject: Cuban land‑ and cityscapes; scenes of home and family life.
> Includes 2 maps of Havana.

\(8\) Forms part of the Gilbert H. Grosvenor Collection of Photographs
of the Alexander Graham Bell Family.

\(9\) \"Presented to AGB by Mr. Graham?\"‑‑pencil inscription inside
front cover.

\(1\) Although these prints are bound in covers, they are not being
considered as a bona fide publication and are therefore cataloged as a
collection according to these rules rather than according to those for
books (0A).

\(2\) The probable country of publication is given, since the city or
probable city is unknown (2C10.1).

\(3\) A printer appears separately from the publisher and is recorded in
the printer position as an optional addition (2G).

\(4\) The statement of extent describes the basic unit the catalog user
would see, which is also an integral part of the graphic material
(3B1c).

\(5\) Dimensions are given according to the first statement of extent,
i.e., the volume (3D9.1).

\(6\) Information on the component parts of the volume are given (3B4).

\(7\) The source of the title and a variant title are given in a note.
The variant title will be made an access point (5B2).

\(8\) The relationship note ties this unit to the larger collection
(5B21); the catalog user looks to the collection description for other
notes concerning the collection as a whole.

**Example 32** [Two subunits from the same collection, cataloged
separately]{.underline}

\(1\) Inauguration of Miguel Aleman as governor of the state

> of Veracruz, Mexico. ‑‑ 1836 Dec. 1.

\(2\) 1 album (35 photographic prints) ; 22 x 33 cm.

> Four photographic prints evidently torn out of the album before
> acquisition.
>
> Subject: Miguel Aleman (b. 1905) receiving congratulations, delivering
> speech, surrounded by crowds, posed with individuals. Images are
> uncaptioned, except one person is identified, in pencil, as Heriberto
> Jara.

\(3\) Forms part of the Josephus Daniels Collection.

> Transfer from the Manuscript Division (Josephus Daniels papers), 1948.

\(1\) Descriptive title devised by the cataloger (1C2).

\(2\) The \"container,\" which is original to the collection, and its
component parts are given (3B1c, 3B4).

\(3\) The relationship note tells the catalog user that there is a
larger collection to which this material belongs (5B21).

> Group portraits of Pres. Woodrow Wilson and members

\(1\) of his cabinet. ‑‑ ca. 1913‑1920.

> 14 photographic prints ; 10 x 8 cm.

\(2\) Photographers include G.V. Buck, Clinedinst, Edmonston, and Harris
& Ewing.

> Forms part of the Josephus Daniels Collection.
>
> Transfer from the Manuscript Division (Josephus Daniels papers), 1948.

\(1\) Span dates for the unit are given (2H1).

\(2\) Because there are more than three known photographers, in addition
to unknown photographers, the names are given in a note (1G5, 5B7b).

**ILLUSTRATIONS**

**Figure 1** (see Example 1) Neg. no. LC‑USZ62‑79248

**Figure 2** (see Example 2) Neg. no.
LC‑USZ62‑44066![](media/image2.png){width="5.472222222222222in"
height="4.081944444444445in"}

**Figure 3** (see Example 8) Neg. no.
LC‑USZ62‑79252![](media/image3.png){width="5.022916666666666in"
height="6.470138888888889in"}

![](media/image4.png){width="5.516666666666667in" height="4.5125in"}

**Figure 4** (see Example 12) Neg. no. LC‑USZ62‑79255

**Figure 5** (see Example 14) Neg. no.
LC‑USZ62‑79251![](media/image5.png){width="5.472222222222222in"
height="3.8555555555555556in"}

![](media/image6.png){width="5.472222222222222in"
height="3.8868055555555556in"}

**Figure 6** (see Example 17) Neg. no. LC‑USZ62‑2523

![](media/image7.png){width="4.688194444444444in"
height="6.632638888888889in"}

**Figure 7** (see Example 19) Neg. no. LC‑USZ62‑79253

**Figure 8** (see Example 25) Neg. no. LC‑USZ62‑79249 and
79250![](media/image8.png){width="5.438888888888889in"
height="6.616666666666666in"}

![](media/image9.png){width="5.490277777777778in"
height="2.8055555555555554in"}

**Figure 9** (see Example 30) Neg. no.
LC‑USZ62‑79254![](media/image10.png){width="5.516666666666667in"
height="2.8722222222222222in"}

**CONCORDANCE BETWEEN GRAPHIC MATERIALS AND MARC
21**![](media/image11.png){width="5.044444444444444in"
height="6.138888888888889in"}

[GM]{.underline} [MARC Field, Subfield]{.underline}

Chapter 1 245

1D 245 ╪h

1G 245 ╪c

Chapter 2 260

2C 260 ╪a

2D, 2E 260 ╪b

2F, 2H 260 ╪c

2G 260 ╪e, ╪f, ╪g

Chapter 3 300

3B 300 ╪a

3C 300 ╪b

3D 300 ╪c

3E 300 ╪e

Chapter 4 4XX

Chapter 5 5XX

5B1 to 5B11 500

5B12 510

5B13 534, 535

5B14 520

5B15 545

5B16 351

5B17 505

5B18 555

5B19 500

5B20 581

5B21 580

5B22 500

5B23 501

5B24 506, 540

5B25 561

5B26 541

The following note fields are used in visual materials cataloging but
are not yet specifically addressed in *Graphic Materials*:

> 530 ‑ Additional physical form available note
>
> 533 ‑ Reproduction note
>
> 544 ‑ Location of other archival materials note
>
> 585 ‑ Exhibitions note

**EXAMPLES OF MARC RECORDS FOR GRAPHIC MATERIALS**

**Introduction**

When *Graphic Materials* rules govern the content of MARC fields 245
through 590, the cataloging source is given as \"gihc\" in field 040
subfield \'e\'. The following MARC records, created between 1987 and
1995, describe pictures in the Library of Congress Prints and
Photographs Division (P&P). They illustrate a variety of media and
genres; published and unpublished materials; minimal-level and
full-level cataloging. The examples also show varying levels of
description. Readers will find sample records for single items, groups,
and collections.

The examples help clarify the relationship of *Graphic Materials*
descriptive conventions to the headings and MARC control fields for
which *Graphic Materials* does not provide guidelines. The examples
represent only how the descriptive guidelines in *Graphic Materials*
rules are applied in P&P cataloging; other combinations of description
and indexing tools are possible. Proper noun access points are taken
from the Library of Congress Name Authorities (LCNA) or Library of
Congress Subject Headings (LCSH), or are formulated according to AACR2
and the Library of Congress *Subject Cataloging Manual*, as appropriate.
Topical headings and genre and physical characteristics terms are taken
from the *Thesaurus for Graphic Materials* (designated \"lctgm\" and
\"gmgpc\" in subfield 2 of MARC fields 650 and 655).

Readers should consult the *MARC 21 Format for Bibliographic Data* for
the most current information on field definitions and coding used in the
examples. The Web address is: [http://lcweb.loc.gov/marc]{.underline}.

**Example 1** [Single item (minimal-level record)]{.underline}

Leader/06: k Leader/07: m

007 kf\|\|\|\|

007 cr\|\|\|\|

008 920825s1957\_\_\_\_xx_nnn\_\_\_\_\_\_\_\_\_kn\_\_\_\_\_

010 ╪a 92515486

037 ╪a LC‑USZ62‑105354 ╪b DLC ╪c (b&w film copy neg.)

040 ╪a DLC ╪c DLC ╪e gihc

245 00 ╪a \[Shepherdess holding two lambs in Azerbaijan\] ╪h
\[graphic\].

260 ╪c \[1957\]

300 ╪a 1 photomechanical print (postcard) : ╪b color.

540 ╪a Rights status not evaluated. For general information see
"Copyright and Other Restrictions \..."
(http://lcweb.loc.gov/rr/print/195_copr.html)

650 -7 ╪a Women ╪z Azerbaijan ╪y 1950‑1960. ╪2 lctgm

650 -7 ╪a Shepherdesses ╪z Azerbaijan ╪y 1950‑1960. ╪2 lctgm

650 ‑7 ╪a Sheep ╪z Azerbaijan ╪y 1950‑1960. ╪2 lctgm

655 ‑7 ╪a Postcards ╪x Color ╪y 1950‑1960. ╪2 gmgpc

655 -7 ╪a Photomechanical prints ╪x Color ╪y 1950‑1960. ╪2 gmgpc

852 ╪a Library of Congress ╪b Prints and Photographs Division ╪e
Washington, D.C. 20540 USA ╪n dcu

856 41 ╪3 b&w film copy neg. ╪d cph ╪f 3c05354 ╪g
urn:hdl:loc.pnp/cph.3c05354 ╪u http://hdl.loc.gov/loc.pnp/cph.3c05354

**Example 2** [Single item (full-level record)]{.underline}

Leader/06: k Leader/07: m

007 kj\|bo\|

007 cr\|\|\|\|

008 920218s1957\_\_\_\_nyunnn\_\_\_\_\_\_\_\_\_kneng\_\_

010 ╪a 92504636

037 ╪a LC‑USZC2‑3758 ╪b DLC ╪c (color film copy slide)

037 ╪a LC‑USZ62‑22 ╪b DLC ╪c (b&w film copy neg.)

040 ╪a DLC ╪c DLC ╪e gihc

043 ╪a np\-\-\-\--

110 2 ╪a Currier & Ives.

245 14 ╪a The Rocky Mountains, emigrants crossing the plains ╪h
\[graphic\] / ╪c F.F. Palmer, del. ; Currier & Ives lith., N.Y.

260 ╪a New York : ╪b Published by Currier & Ives, ╪c c1866.

300 ╪a 1 print : ╪b lithograph, b&w ;╪c image and text 49 x 66 cm.

500 ╪a Artist: Frances F. Palmer.

510 4 ╪a Currier & Ives : a catalogue raisonné / compiled by Gale
Research. Detroit, MI : Gale Research, c1983, ╪c no. 5633.

540 ╪a No known restrictions on publication.

650 -7 ╪a Westward movement ╪y 1860‑1870. ╪2 lctgm

651 -4 ╪a Great Plains ╪y 1860-1870.

655 -7 ╪a Lithographs ╪y 1860‑1870. ╪2 gmgpc

700 1- ╪a Palmer, F. F. ╪q (Frances Flora), ╪d ca. 1812‑1876, ╪e artist.

852 ╪a Library of Congress ╪b Prints and Photographs Division ╪e
Washington, D.C. 20540 USA ╪n dcu

856 41 ╪3 color film copy slide ╪d cph ╪f 3f03758 ╪g
urn:hdl:loc.pnp/cph.3f03758 ╪u http://hdl.loc.gov/loc.pnp/cph.3f03758

856 41 ╪3 b&w film copy neg. ╪d cph ╪f 3a04024 ╪g
urn:hdl:loc.pnp/cph.3a04024 ╪u http://hdl.loc.gov/loc.pnp/cph.3a04024

**Example 3** [Single item (full-level record)]{.underline}

Leader/06: k Leader/07: m

007 kj\|bo\|

008 871020s1952\_\_\_\_xxunnn\_\_\_\_\_\_\_\_\_kn\_\_\_\_\_

010 ╪a 87708677

040 ╪a DLC ╪c DLC ╪e gihc

100 1 ╪a Shahn, Ben, ╪d 1898‑1969, ╪e artist.

245 10 ╪a \[Phoenix\] ╪h \[graphic\] / ╪c Ben Shahn.

260 ╪c \[1952\]

300 ╪a 1 print : ╪b silkscreen, printed in black ; ╪c image 58 x 54 cm.,
on sheet 78 x 57 cm.

500 ╪a Title and date from American prints in the Library of Congress /
compiled by Karen Beall. Baltimore : Johns Hopkins Press, 1970.

500 ╪a Signed in red ink.

500 ╪a Edition of 59.

500 ╪a Library has 14/59. ╪5 DLC

541 ╪c Purchase (Pennell Fund); ╪d 1958.

650 -7 ╪a Phoenix (Mythical bird) ╪y 1950-1960. ╪2 lctgm

655 -7 ╪a Silkscreen prints ╪y 1950-1960. ╪2 gmgpc

852 ╪a Library of Congress ╪b Prints and Photographs Division ╪e
Washington, D.C. 20540 USA ╪n dcu

**Example 4** [Single item (full-level record)]{.underline}

Leader/06: k Leader/07: m

007 kj\|co\|

007 cr\|\|\|\|

008 950503s1919\_\_\_\_xxunnn\_\_\_\_\_\_\_\_\_kneng\_\_

010 ╪a 95506484

037 ╪a LC‑USZC4‑3690 ╪b DLC ╪c (color film copy transparency)

040 ╪a DLC ╪c DLC ╪e gihc

100 1 ╪a Barney, Maginel Wright, ╪d 1877‑ ╪e artist.

245 10 ╪a War gardens over the top‑‑the seeds of victory insure the
fruits of peace ╪h \[graphic\] / ╪c Maginel Wright Enright.

260 ╪c c1919.

300 ╪a 1 print (poster) :╪b color ;╪c 74 x 57 cm.

520 0 ╪a Woman with hoe chasing fleeing vegetables.

500 ╪a Copyright by National War Garden Commission.

500 ╪a Promotional goal: U.S. J7. 1919.

540 ╪a No known restrictions on publication.

650 ‑7 ╪a Victory gardens ╪z United States ╪y 1910‑1920. ╪2 lctgm

650 ‑7 ╪a Vegetables ╪z United States ╪y 1910‑1920. ╪2 lctgm

650 ‑4 ╪a World War, 1914‑1918 ╪x Economic & industrial aspects ╪z
United States.

655 ‑7 ╪a War posters ╪x American ╪y 1910‑1920. ╪2 gmgpc

655 -7 ╪a Prints ╪x Color ╪y 1910‑1920. ╪2 gmgpc

710 2‑ ╪a National War Garden Commission, ╪e funder/sponsor.

852 ╪a Library of Congress ╪b Prints and Photographs Division ╪e
Washington, D.C. 20540 USA ╪n dcu

856 41 ╪3 color film copy transparency ╪d cph ╪f 3g03690 ╪g
urn:hdl:loc.pnp/cph.3g03690 ╪u http://hdl.loc.gov/loc.pnp/cph.3g03690

**Example 5** [Single item (full-level record)]{.underline}

Leader/06: k Leader/07: m

007 kj\|bo\|

007 cr\|\|\|\|

008 940810s1885\_\_\_\_riunnn\_\_\_\_\_\_\_\_\_kneng\_\_

040 ╪a DLC ╪c DLC ╪e gihc

110 2 ╪a What Cheer Show Print, ╪e lithographer, ╪e publisher.

245 10 ╪a Coming! Aitken & Watson Mesmeric Co. will commence a series of
entertainments in mesmerism! ╪h \[graphic\] : ╪b to be held in G.A.R.
Hall, Attleboro, Mass. on Tuesday & Wednesday evenings, April 28 & 29,
1885.

260 ╪a Providence, R.I. : ╪b What Cheer Show Print, ╪c \[1885\]

300 ╪a 1 print (poster) : ╪b lithograph, b&w ; ╪c 107 x 73 cm.

500 ╪a Created by \"What Cheer Show Print, 129 & 131 Eddy Street,
between Broad & Pine, Providence, R.I.\"

500 ╪a \"The most amusing, instructive and laughable entertainment ever
witnessed.\"

540 ╪a No known restrictions on publication.

541 ╪c Transferred from; ╪a LC Rare Book and Special Collections
Division; ╪d 1956.

580 ╪a Forms part of the McManus‑Young Collection.

650 - 7 ╪a Hypnotism ╪y 1880-1890. ╪2 lctgm

650 - 7 ╪a Magic ╪y 1880-1890. ╪2 lctgm

655 - 7 ╪a Theatrical posters ╪x American ╪y 1880-1890. ╪2 gmgpc

655 - 7 ╪a Lithographs ╪y 1880-1890. ╪2 gmgpc

710 2- ╪a Aitken & Watson Mesmeric Co.

773 1 ╪t Magic Poster Collection (Library of Congress) ╪w (DLC) 95861316

852 ╪a Library of Congress ╪b Prints and Photographs Division ╪e
Washington, D.C. 20540 USA ╪n dcu

856 41 ╪3 intermediary roll film ╪d var ╪f 2041 ╪g
urn:hdl:loc.pnp/var.2041 ╪u http://hdl.loc.gov/loc.pnp/var.2041

**Example 6** [Single item (full-level record)]{.underline}

Leader/06: k Leader/07: m

007 kd\|bo\|

007 cr\|\|\|\|

008 970625s1956\_\_\_\_xxunnn\_\_\_\_\_\_\_\_\_kneng\_\_

040 ╪a DLC ╪c DLC ╪e gihc

100 1 ╪a Marcus, Edwin, ╪d 1885-1961, ╪e artist.

245 10 ╪a Brought their own \"red\" carpet ╪h \[graphic\] / ╪c Marcus.

260 ╪c c\[1956 Apr.\]

300 ╪a 1 drawing : ╪b ink and white-out over pencil ; ╪c 39 x 33 cm.

520 0 ╪a Cartoon shows Soviet leaders Khrushchev and Bulganin, outside a
door labeled \"London,\" unrolling two carpets, one labeled \"\`End\' of
Cominform\" and the other \"Middle East \`Peace\' Gestures.\" In April
1956, the two leaders made a state visit to London. In an apparent
effort to make this visit a success, the Soviet Union announced that it
would be willing to endorse a UN effort to settle the Arab-Israeli
conflict and that the Cominform (the international organization of
Communist parties) had been dissolved. Despite these moves, the
Communist leaders received a cool reception in London.

540 ╪a Publication may be restricted. For information see "Cartoon
Drawings: Rights \..."(http://lcweb.loc.gov/rr/print/res/107_cd.html)

541 ╪e Acc. no. DLC/PP-1962:R3.35.

581 8 ╪a Published in New York Times, Apr. 22, 1956.

600 10 ╪a Bulganin, Nikolay Aleksandrovich, ╪d 1895-1975.

600 10 ╪a Khrushchev, Nikita Sergeevich, ╪d 1894-1971.

610 24 ╪a Communist Information Bureau ╪y 1950-1960.

650 ‑7 ╪a International relations ╪z Soviet Union ╪y 1950-1960. ╪2 lctgm

650 ‑7 ╪a International relations ╪z Middle East ╪y 1950-1960. ╪2 lctgm

650 ‑4 ╪a Cold War ╪y 1950‑1960.

655 ‑7 ╪a Editorial cartoons ╪x American ╪y 1950‑1960. ╪2 gmgpc

655 -7 ╪a Drawings ╪y 1950‑1960. ╪2 gmgpc

852 ╪a Library of Congress ╪b Prints and Photographs Division ╪e
Washington, D.C. 20540 USA ╪n dcu

856 41 ╪3 original ╪d acd ╪f 2a10339 ╪g urn:hdl:loc.pnp/acd.2a10339 ╪u
<http://hdl.loc.gov/loc.pnp/acd.2a10339>

**Example 7** [Collection containing various media]{.underline}

Leader/06: k Leader/07: c

007 kf\|mo\|

007 kh\|mo\|

007 kj\|mo\|

007 kd\|bo\|

007 cr\|\|\|\|

008 950925i18381969xxunnn\_\_\_\_\_\_\_\_\_kneng\_\_

010 ╪a 95514327

040 ╪a DLC ╪c DLC ╪e gihc

043 ╪a n‑us‑‑‑

245 00 ╪a Visual Materials from the National Association for the
Advancement of Colored People Records (Library of Congress) ╪h
\[graphic\].

246 33 ╪a Visual Materials from the NAACP Records

246 33 ╪a National Association for the Advancement of Colored People
Collection

246 33 ╪a NAACP Collection

260 ╪c ca. 1838‑1969, bulk 1944‑1955.

300 ╪a 4,596 items : ╪b photographic prints, photomechanical prints,
lithographs, engravings, and drawings, most b&w, a few color ; ╪c
various sizes, most 8 x 10 in. or smaller, some as large as 76 x 61 cm.

351 ╪a Organized into nine categories: People and Groups, Administrative
Programs, General Programs and Related Subjects, International Events
and Views, Military Services, Miscellaneous, Exhibit Materials, Drawings
and Prints, and Supplementary Archives; ╪b Categories are further
subdivided into 49 LOTs.

520 0 ╪a Primarily images of national and local NAACP administrative
staff and programs. Almost half of the collection consists of portraits
of NAACP headquarter staff, state and national conference delegates,
branch officers, and members, as well as entertainers, sports figures,
government officials, and other professionals. Other photographs
document the Association\'s long‑term efforts to promote civil rights
legislation through litigation, public protest, and sustained monitoring
and reporting of lynchings and other injustices against African
Americans. Many photographs cover national and regional conference
activities, fundraising and membership campaigns, and marches. In
addition, the NAACP\'s efforts to integrate the Armed Forces are shown,
particularly during World War II. Of special note are snapshots taken by
NAACP staff.

555 8 ╪a Finding aid (electronic): available on the Internet at the
Library of Congress Web site.

555 8 ╪a Finding aid (unpublished): available in the Prints and
Photographs Reading Room and on microfilm.

540 ╪ a Publication of some images may be restricted. For information
see "National Association \... (NAACP) Records"
(http://lcweb.loc.gov/rr/print/086_naa.html)

**Example 7** (continued)

530 ╪a Images available on microfilm (including finding aid); ╪b Library
of Congress Photoduplication Service.

545 ╪a In 1909 the National Association for the Advancement of Colored
People (originally known as the National Negro Committee) began to work
toward the elimination of racial and social injustices against African
Americans. Images in the collection reflect the civil rights campaigns
and administrative activities of the Association. Many of the
photographs are from wire services and independent commercial
photographers. Some photos appear to have been taken by Association
staff members, in particular, Roy Wilkins, Charles Houston, and possibly
others, while investigating civil rights injustices. Numerous photos
bear stamps and other editorial markings, indicating they were acquired
and used primarily for publication in the NAACP\'s official magazine
(the \"Crisis\") and in its newsletter (the \"Bulletin\").

500 ╪a African American photographers are well represented in the work
of professionals such as James Allen, Ed Bagwell, Cecil Layne, Morgan &
Marvin Smith, Ernest Withers, James Van Der Zee, and the Scurlock
Studio. Finding aid includes index to all photographers.

500 ╪a African American artists are represented in the works of Richmond
Barthe, William Chase, Elton Fax, Laurence Foy, Hubert Harper, Louise
Jefferson, Cornelius Johnson, Frank Walts, and Garrett Whyte, among
others.

500 ╪a Associated textual materials‑‑memos describing how photos came to
the organization, hand‑ and typewritten captions, notes, press releases,
programs, and accompanying envelopes with annotations‑‑are filed with
corresponding photographs and photomechanical prints to provide
contextual information for the images. Miscellaneous supplementary and
duplicate textual materials are housed in P&P\'s Supplementary Archives
and are filed under collection name and LOT number.

500 ╪a In addition to more than 4,000 photographic prints the collection
includes special formats: 12 color transparencies, 11 16mm color film
transparencies, 1 35mm slide, 55 b&w negatives, 22 panoramic
photographs, 14 cartoons, 2 illustrations, 2 engravings, and 3 hinged
wooden panels‑‑as well as paper printing plates, engraving plates, and
printing blocks.

500 ╪a Catalog records for each LOT are available in the Library\'s
automated catalog. They provide additional access to prominent subjects
and people depicted, as well as prominent photographers associated with
each LOT.

541 ╪c Transferred in various accessions from National Association for
the Advancement of Colored People Records; ╪a LC Manuscript Division; ╪d
1968‑1993.

**Example 7** (continued)

610 24 ╪a National Association for the Advancement of Colored People ╪y
1900‑1970.

650 ‑4 ╪a African Americans ╪y 1830‑1970.

650 ‑4 ╪a African Americans ╪x Civil rights ╪y 1830‑1970.

650 ‑7 ╪a Civil rights leaders ╪y 1900‑1970. ╪2 lctgm

655 ‑7 ╪a Portraits ╪y 1900‑1970. ╪2 gmgpc

655 ‑7 ╪a Gelatin silver prints ╪y 1900‑1970. ╪2 gmgpc

655 ‑7 ╪a Snapshots ╪y 1900‑1970. ╪2 gmgpc

655 ‑7 ╪a Group portraits ╪y 1900‑1970. ╪2 gmgpc

655 ‑7 ╪a Portrait photographs ╪y 1900‑1970. ╪2 gmgpc

655 ‑7 ╪a Cartoons (Commentary) ╪y 1900‑1970. ╪2 gmgpc

655 -7 ╪a Drawings╪y 1900-1970.╪2 gmgpc

655 ‑7 ╪a Illustrations ╪y 1900‑1970. ╪2 gmgpc

655 ‑7 ╪a Lithographs ╪y 1830‑1970. ╪2 gmgpc

655 ‑7 ╪a Panoramic photographs ╪y 1900‑1970. ╪2 gmgpc

655 ‑7 ╪a Photomechanical prints ╪y 1900‑1970. ╪2 gmgpc

655 ‑7 ╪a Printing plates ╪y 1900‑1970. ╪2 gmgpc

655 ‑7 ╪a Engravings ╪y 1830‑1970. ╪2 gmgpc

710 2- ╪a National Association for the Advancement of Colored People, ╪e
donor.

710 2‑ ╪a National Association for the Advancement of Colored People ╪t
Records, 1909‑1987.

852 ╪a Library of Congress ╪b Prints and Photographs Division ╪e
Washington, D.C. 20540 USA ╪n dcu

856 41 ╪3 finding aid ╪ d eadpnp ╪f pp996001 ╪g
urn:hdl:loc.pnp/eadpnp.pp996001 ╪u
http://hdl.loc.gov/loc.pnp/eadpnp.pp996001

**Example 8** [Sub-unit from collection described in Example
7]{.underline}

Leader/06: k Leader/07: d

007 kh\|bo\|

008 951017s1961\_\_\_\_nyunnn\_\_\_\_\_\_\_\_\_kneng\_\_

010 ╪a 95517578

040 ╪a DLC ╪c DLC ╪e gihc

043 ╪a n‑us‑ny

100 1 ╪a Bagwell, Ed, ╪e photographer.

245 10 ╪a NAACP photographs of a Freedom Fund drive, membership
campaign, and NAACP rally in Harlem (New York, N.Y.), during the summer
of 1961 ╪h \[graphic\].

260 ╪c 1961.

300 ╪a 15 contact sheets (363 images ) : ╪b gelatin silver ; ╪c 8 x 10
in. or smaller.

300 ╪a 27 photographic prints : ╪b gelatin silver ; ╪c 8 x 10 in.

351 ╪a Organized into two categories: Contact sheets ; Enlargements.

520 0 ╪a Includes NAACP staff and volunteers soliciting memberships at
NAACP donation tables set up in the street; people posting membership
signs at area beauty salons and barber shops; workers at NAACP offices
answering phones; a parade and NAACP sponsored rally in front of the
Hotel Theresa. Some photos taken at the rally show a Black Muslim
counter demonstration with people carrying signs depicting Patrice
Lumumba and others with signs marked: \"Integration, no, separation
yes.\" Two images from this group depict Malcolm X talking with NAACP
youth secretary Herbert Wright. Includes several photos of a celebrity,
possibly Dinah Washington, talking with people at the NAACP membership
table on the street; a few photos of Roy Wilkins with A. Philip Randolph
at the rally.

555 8 ╪a Finding aid (electronic): available on the Internet at the
Library of Congress Web site.

555 8 ╪a Finding aid (unpublished): available in the Prints and
Photographs Reading Room and on microfilm.

540 ╪ a Publication of some images may be restricted. For information
see "National Association \... (NAACP) Records"
(http://lcweb.loc.gov/rr/print/086_naa.html)

530 ╪a Images available on microfilm (including finding aid); ╪b Library
of Congress Photoduplication Service.

500 ╪a Photos by Ed Bagwell.

500 ╪a Some images on the contact sheets are marked with grease pencil.

500 ╪a LOT title devised by Library staff.

**Example 8** (continued)

580 ╪a Forms part of: Visual Materials from the National Association for
the Advancement of Colored People Records (Library of Congress).

610 24 ╪a National Association for the Advancement of Colored People ╪x
People ╪z New York (State) ╪z New York ╪y 1960‑1970.

610 24 ╪a National Association for the Advancement of Colored People ╪x
Recruiting & enlistment ╪z New York (State) ╪z New York ╪y 1960‑1970.

650 ‑7 ╪a Membership campaigns ╪z New York (State) ╪z New York ╪y
1960‑1970. ╪2 lctgm

650 ‑4 ╪a Black Muslims ╪y 1960‑1970.

650 ‑7 ╪a Demonstrations ╪z New York (State) ╪z New York ╪y 1960‑1970.
╪2 lctgm

655 ‑7 ╪a Gelatin silver prints ╪y 1960‑1970. ╪2 gmgpc

655 ‑7 ╪a Contact sheets ╪y 1960‑1970. ╪2 gmgpc

773 0 ╪t Visual Materials from the National Association for the
Advancement of Colored People Records (Library of Congress) ╪w (DLC)
95514327

852 ╪a Library of Congress ╪b Prints and Photographs Division ╪e
Washington, D.C. 20540 USA ╪n dcu

856 41 ╪3 finding aid ╪ d eadpnp ╪f pp996001 ╪g
urn:hdl:loc.pnp/eadpnp.pp996001 ╪u
http://hdl.loc.gov/loc.pnp/eadpnp.pp996001

**Example 9** [Sub-unit from a collection]{.underline}

Leader/06: k Leader/07: d

007 kl\|co\|

008 950720s1921\_\_\_\_xxunnn\_\_\_\_\_\_\_\_\_lneng\_\_

010 ╪a 95858418

040 ╪a DLC ╪c DLC ╪e gihc

100 1 ╪a Ray, George N. ╪q (George Nicholas), ╪d 1887‑1959, ╪e
architect.

245 10 ╪ Architectural drawings for alterations to a house
(\"residence\") for Mrs. James R. Marwick, 1632 Rhode Island Avenue,
N.W., Washington, D.C. ╪h \[graphic\].

260 ╪c 1921.

300 ╪a 75 items : ╪b graphite, colored pencil, ink, colored ink, and
blueprint ; ╪c in folder(s) 89 x 123 cm. or smaller.

500 ╪a UNIT title devised.

500 ╪a Commission no. 182.

520 0 ╪a Includes preliminary and working drawings showing house,
mantels, and stairways as plans, elevations, sections, and details;
sketches; mechanical systems drawings; miscellaneous supplementary
materials.

580 ╪a Forms part of Waggaman & Ray Archive.

540 ╪a May be restricted: Information on reproduction rights available
in LC P&P Restrictions Notebook.

506 ╪a Original materials served by appointment only.

555 8 ╪a Finding aid (unpublished): Filed by UNIT number, available in
Prints and Photographs Reading Room.

650 ‑7 ╪a Houses ╪z Washington (D.C.) ╪y 1920‑1930. ╪2 lctgm

650 ‑7 ╪a Stairways ╪z Washington (D.C.) ╪y 1920‑1930. ╪2 lctgm

650 ‑7 ╪a Mantels ╪z Washington (D.C.) ╪y 1920‑1930. ╪2 lctgm

655 ‑7 ╪a Architectural drawings ╪y 1920‑1930. ╪2 gmgpc

655 -7 ╪a Mechanical systems drawings ╪y 1920‑1930. ╪2 gmgpc

655 ‑7 ╪a Sketches ╪y 1920‑1930. ╪2 gmgpc

773 0 ╪t Waggaman & Ray Archive (Library of Congress) ╪w (DLC) 95858230

852 ╪a Library of Congress ╪b Prints and Photographs Division ╪e
Washington, D.C. 20540 USA ╪n dcu

**Example 10** [Sub-unit from collection]{.underline}

Leader/06: k Leader/07: d

007 kl\|co\|

008 950721i19071908xxunnn\_\_\_\_\_\_\_\_\_lneng\_\_

010 ╪a 95858293

040 ╪a DLC ╪c DLC ╪e gihc

110 2 ╪a A.B. Mullett & Co., ╪e architect.

245 10 ╪a Architectural drawings for a garage (\"automobile shed\") for
U.S. Express Co., 3rd Street and G Street, N.E. (lot 42, square 777),
Washington, D.C. ╪h \[graphic\].

260 ╪c 1907‑1908.

300 ╪a 9 items : ╪b ink, wash, colored ink, graphite, watercolor, and
blueprint ; ╪c in folder(s) 71 x 102 cm.

500 ╪a UNIT title devised.

500 ╪a Commission no. 256.

500 ╪a City name from drawings by A.B. Mullett & Co. for a power plant
at same location, which were processed as ADE ‑ UNIT 33.

520 0 ╪a Includes working drawings showing garage as plans, elevations,
and sections; electrical systems and structural drawings.

541 ╪c Gift; ╪a Suzanne Mullett Smith; ╪d 1987; ╪e (DLC/PP‑1989:104).

580 ╪a Forms part of A.B. Mullett & Co. Archive.

540 ╪a May be restricted: Information on reproduction rights available
in LC P&P Restrictions Notebook.

506 ╪a Original materials served by appointment only.

555 8 ╪a Finding aid (unpublished): Filed by UNIT number, available in
Prints and Photographs Reading Room.

610 24 ╪a United States Express Company ╪x Buildings ╪z Washington
(D.C.) ╪y 1900‑1910.

650 ‑7 ╪a Garages ╪z Washington (D.C.) ╪y 1900‑1910. ╪2 lctgm

655 ‑7 ╪a Architectural drawings ╪y 1900‑1910. ╪2 gmgpc

655 ‑7 ╪a Structural drawings ╪y 1900‑1910. ╪2 gmgpc

655 ‑7 ╪a Electrical systems drawings ╪y 1900‑1910. ╪2 gmgpc

710 2‑ ╪a United States Express Company, ╪e client.

773 0 ╪t A.B. Mullett & Co. Archive (Library of Congress) ╪w (DLC)
95858231

852 ╪a Library of Congress ╪b Prints and Photographs Division ╪e
Washington, D.C. 20540 USA ╪n dcu

**Example 11** [Album with component parts described]{.underline}

Leader/06: k Leader/07: c

007 kh\|bo\|

008 931112i18511870fr_nnn\_\_\_\_\_\_\_\_\_knfre\_\_

010 ╪a 93516336

040 ╪a DLC ╪c DLC ╪e gihc

043 ╪a e‑fr‑‑-

100 1 ╪a Baldus, Edouard, ╪d 1813‑1889, ╪e photographer.

245 10 ╪a Vues de Paris et ses environs en photographies ╪h \[graphic\].

260 ╪c 1851‑1870.

300 ╪a 1 album (30 albumen prints, gold toned) ; ╪c 30.5 x 45 cm.
(album)

520 0 ╪a Scenic views, taken mid-19th century, of the major monuments in
and around Paris, France. The Arc de Triomphe, Notre‑Dame, Dôme des
Invalides, La Madeleine, Tuileries, the Panthéon, the Louvre, Hôtel de
Ville, Saint Chapelle, Pavillon Denon, Place de la Concorde, Palais du
Luxembourg, and the palace at Versailles, among others, are represented.
There is one photograph of the Ile de la Cité taken from the Louvre.

545 ╪a Édouard‑Denis Baldus was one of the leading architectural
photographers of mid‑19th century France. A founding member of the
Société Héliographique, he participated in the Comité des Monuments
Historiques, photographing historic monuments in Paris, Fontainebleau,
Burgundy, Dauphine and Provence between 1851 and 1852. Baldus is also
known for his documentary photographs taken during renovation of the
Louvre.

500 ╪a Mounts stamped: E. Baldus.

500 ╪a Captions stamped or handwritten on most mounts; numbers stamped
on some mounts.

541 ╪c Gift; ╪a Grahame T. Smallwood, Jr.; ╪d 1957.

610 24 ╪a Notre‑Dame de Paris (Cathedral) ╪y 1850‑1870.

610 24 ╪a Hôtel de ville (Paris, France) ╪y 1850‑1870.

610 24 ╪a Panthéon (Paris, France) ╪y 1850‑1870.

610 24 ╪a Louvre (Paris, France) ╪y 1850‑1870.

610 24 ╪a Bourse de Paris ╪y 1850‑1870.

610 24 ╪a Museé de Cluny ╪y 1850‑1870.

610 24 ╪a Palais de justice (Paris, France) ╪y 1850‑1870.

610 24 ╪a Château de Versailles (Versailles, France) ╪y 1850‑1870.

610 24 ╪a Tuileries Palace (Paris, France) ╪y 1850‑1870.

610 24 ╪a Dôme des Invalides (Paris, France) ╪y 1850‑1870.

610 24 ╪a Eglise de la Madeleine (Paris, France) ╪y 1850‑1870.

610 24 ╪a Saint‑Sulpice (Church : Paris, France) ╪y 1850‑1870.

650 ‑4 ╪a Arc de Triomphe (Paris, France) ╪y 1850‑1870.

650 ‑7 ╪a Cathedrals ╪z France ╪z Paris ╪y 1850‑1870. ╪2 lctgm

650 ‑7 ╪a Churches ╪z France ╪z Paris ╪y 1850‑1870. ╪2 lctgm

650 ‑7 ╪a Monuments & memorials ╪z France ╪z Paris ╪y 1850‑1870. ╪2
lctgm

650 ‑7 ╪a Plazas ╪z France ╪z Paris ╪y 1850‑1870. ╪2 lctgm

**Example 11** (continued)

650 ‑7 ╪a Castles & palaces ╪z France ╪z Versailles ╪y 1850‑1870. ╪2
lctgm

650 ‑7 ╪a Government facilities ╪z France ╪z Paris ╪y 1850‑1870. ╪2
lctgm

650 ‑7 ╪a Fountains ╪z France ╪z Paris ╪y 1850‑1870. ╪2 lctgm

650 ‑7 ╪a Memorial arches ╪z France ╪z Paris ╪y 1850‑1870. ╪2 lctgm

651 ‑4 ╪a Place de la Concorde (Paris, France) ╪y 1850‑1870.

651 ‑4 ╪a Place Vendôme (Paris, France) ╪y 1850‑1870.

651 ‑4 ╪a Seine River (France) ╪y 1850‑1870.

655 ‑7 ╪a Photograph albums ╪y 1850‑1870. ╪2 gmgpc

655 -7 ╪a Albumen prints ╪y 1850‑1870. ╪2 gmgpc

700 1- ╪a Smallwood, Grahame T., ╪e donor.

852 ╪a Library of Congress ╪b Prints and Photographs Division ╪e
Washington, D.C. 20540 USA ╪n dcu

**INDEX**

AACR 2, [see]{.underline} Anglo‑American Cataloguing Rules

Abbreviations, App. B; App. B (AACR 2)

> general rules, 0H, 0J2
>
> title, 1B1.10
>
> publication, distribution, etc., area, 2C4, 2F4, 2H4
>
> physical description area, 3B1(b), 3C4.1, 3D2.2

Abridgement

> title proper, 1B1.9

Accents

> adding ones not in source of information, 0G1

Access points

> choice and form, Introduction p. 6
>
> definition, App. C
>
> note area, 5 (footnote 1)

Access, restrictions on

> notes on, 5B24.1

Accession

> definition, App. C

Accession number

> note area, 5B26

Accession record

> as source of information, 0B1.1(c)

Accession, year(s) of, [see]{.underline} Date, accession

Accompanying material

> as source of information, 0B
>
> definition, App. C
>
> general rules, 0A(b), 0B
>
> notes on, 5B10
>
> recording of, 3E, 5B10

Acronyms, 0H2

Added entry

> definition, App. C

Addition to already cataloged collection

> physical description area, 3B2
>
> notes on, 5B22

Address of publisher, distributor, etc., 2D3, 2D6

Advertisement

> as source of information, 0B1.1(c)

Album, [see]{.underline} Container

Alphabetic designation, [see]{.underline} Numeric and/or alphabetic,
chronological, or other designation

Alternative titles

> definition, App. C

Anglo‑American Cataloguing Rules

> for description of published volumes and portfolios, 0A
>
> for form and choice of access points, Introduction p. 6
>
> history of, Preface, p. 1
>
> relationship to graphics rules, Introduction p. 3f

Anonymous source

> notes on, 5B26

Approximate dates, 2F5.1, 2H4, App. A

Arabic numerals

> statement of extent, 3B1
>
> substitution for roman numerals, 2F1

Areas of description

> definition, App. C
>
> language and script, 0E1
>
> omission of, 0C6
>
> prescribed sources for, 0B2
>
> [see also]{.underline} Elements of description; Note area; Physical
> description area; Publication, distribution, etc., area; Series area;
> Title and statement of responsibility area

Arrangement of material in collections

> notes on, 5B14, 5B16, 5B17, 5B18

Attribution, Introduction p. 4f

> definition, App. C
>
> notes on, 5B7.2
>
> statement of responsibility, 1G6

Auction catalog

> as source of information, 0B1.1(b)

Base, [see]{.underline} Negative; Primary support

Bequest

> definition, App. C
>
> notes on, 5B26

Bibliographic citations, etc.

> note area, 5A3, 5B12

Biographical note, 5B15

Blind stamp

> definition, App. C
>
> notes on, 5B9.6

Body of the entry

> definition, App. C

Box, [see]{.underline} Container

Brackets, [see]{.underline} Parentheses; Square brackets

Bulk dates

> definition, App. C, 2H1

Cabinet card

> dimensions, 3D3.4
>
> [see also]{.underline} Secondary support

Capitalization, App. A (AACR 2)

> schematic illustration of, 0D

Caption

> as source of information, 0B1

Cartes de visite

> dimensions, 3D3.4
>
> [see also]{.underline} Secondary support

Catalog

> definition, App. C

Catalogue raisonné

> as source of information, 0B1.1(b)
>
> definition, App. C
>
> note area, 5B12

Change of name

> place of publication, 2C6
>
> publisher, 2D5

Chief source of information

> definition, App. C
>
> [for rules see]{.underline} Sources of information

Circular shape

> dimensions, 3D4.1

Citations, bibliographic, [see]{.underline} Bibliographic citations

Cities, towns, etc.

> included in statement of responsibility, 1G9

Clippings

> accompanying material, 0A(b)
>
> as source of information, 0B1
>
> [see also]{.underline} Accompanying material

Collage

> definition, App. C
>
> specific material designation, 3B5

Collection

> addition of material to, 3B2, 5B22
>
> arrangement of, 5B14, 5B16
>
> chief source of information for, 0B1.2
>
> contents, 5B17
>
> definition, App. C
>
> devising title for, 1C
>
> dimensions, 3D9, 3F
>
> insufficiently descriptive title for, 1B2.3
>
> multiple categories of material, 3F
>
> recording title proper, 1B2.1
>
> series title, 1B2.2
>
> statement of extent, 3B1, 3F
>
> subject description, 5B14

Collector

> notes on, 5B25

Color

> notes on, 5B9.4
>
> other physical details, 3C4

Coloring, hand, [see]{.underline} Color

Condition, [see]{.underline} Physical condition

Conjecture, Introduction p. 4f

> interpolation of, 0J1
>
> notes on, 5B7.2
>
> [see also]{.underline} Attribution; Probable date of execution;
> Probable date of publication, distribution, etc .; Probable place of
> publication, distribution, etc.

Container

> as source of information, 0B1
>
> definition, App. C
>
> notes on, 5B9.1
>
> statement of extent, 3B1(c)

Contents

> specific listing of, 5B17
>
> summary of, 5B14
>
> Copyright date, 2F4, 2H2
>
> Copyright status
>
> notes on, 5B24.2

Corporate body

> definition, App. C

Corrections, [see]{.underline} Errors

Country, state, etc.

> added to place of publication, distribution, etc., 2C2, 2C3

Creator of work after whom item being cataloged was made

> notes on, 5B7.3
>
> [see also]{.underline} Reproductive print

Cubic feet or meters

> statement of extent, 3B1(d)

Daguerreotype

> description of case, 5B9.1
>
> dimensions, 3D7, 3D8

Dash, use of

> beginning of title, 1A1.2
>
> prescribed punctuation, 0C1
>
> note area, 5A3
>
> transcription of, 0C5

Date

> accession, 5B26
>
> as part of other title information, 1A3, 2H3
>
> as part of place or publisher statement, 2F2
>
> as part of title proper, 1A3, 2H3
>
> as roman numeral, 2F1
>
> bulk, [see]{.underline} Bulk dates
>
> copyright, 2F4, 2H2
>
> execution of unpublished material, 2H
>
> fictitious or incorrect, 2F3
>
> inclusive, [see]{.underline} Span dates
>
> manufacture, 2F4, 2G
>
> multiple (execution and printing), 2H2.1
>
> printing, 2G
>
> publication, distribution, etc., 2F

Dealer\'s catalog

> as source of information, 0B1.1(b)

Deposit

> definition, App. C

Depository, [see]{.underline} Repository

Detail, levels of, [see]{.underline} Levels of description

Device

> definition, App. C
>
> notes on, 5B7.2
>
> publication, distribution, etc., area, 2D7
>
> statement of responsibility, 1G7

Devising titles, 1C

Diacritical mark

> adding one not in source of information, 0G1

Diameter measurement, 3D4.1

Dimensions, 3D‑3F

Distribution area, [see]{.underline} Publication, distribution, etc.,
area

Distribution date, [see]{.underline} Date

Distributor

> added in square brackets to name of publisher, distributor, etc., 2E
>
> definition, App. C

Donor

> notes on, 5B25, 5B26

Drawing

> definition, App. C
>
> dimensions, 3D3.1
>
> specific material designation, 3B5

Edition

> definition, App. C
>
> notes on, 5B8.2

Elements of description

> adjacent elements to be bracketed, 0C11
>
> definition, App. C
>
> general rules, 0D
>
> omission of, 0C6

Ellipsis, [see]{.underline} Omissions

Equal sign, use of

> parallel titles, 1E

Errors

> recording, 0F
>
> [see also]{.underline} Fictitious or incorrect attribution to a person
> or corporate body; Fictitious or incorrect publication, distribution,
> etc., details

Exhibit catalog

> as source of information, 0B1.1(b)

Explanatory words or phrases, [see]{.underline} Words or phrases

Extent, statement of, 3B

Fictitious or incorrect attribution to a person or corporate body

> general rule, 0F
>
> notes on, 5B7.2
>
> statement of responsibility, 1G10

Fictitious or incorrect date, [see]{.underline} Fictitious or incorrect
publication, distribution, etc., details

Fictitious or incorrect place name, [see]{.underline} Fictitious or
incorrect publication, distribution, etc., details

Fictitious or incorrect publication, distribution, etc., details

> general rule, 0F
>
> publication, distribution, etc., area, 2C8, 2F3

Finding aid

> notes on, 5B18

First level of description, 0D1

Folded item

> dimensions, 3D6

Formal notes, 5A3

Framed item

> dimensions, 3D7.2

Full stop, use of, [see]{.underline} Punctuation of description

Function, designations of

> statement of responsibility, 1G8
>
> publication, distribution, etc., area, 2E

GMD, [see]{.underline} General material designation

General material designation, 1D

> adjacent to a bracketed element, 0C11
>
> definition, App. C
>
> [see also]{.underline} Extent, statement of; Specific material
> designation

General rules, 0A‑0J

Glossary, App. C

Graphic materials

> definition, App. C

Group cataloging, [see]{.underline} Collection

Hallmark

> notes on, 5B9.6

Hand coloring, [see]{.underline} Color

Heading

> definition, App. C
>
> as access point, Introduction p. 6
>
> form of, Introduction p. 6

Hierarchy note, 5B21

History of item or collection

> notes on, 5B8.3, 5B15, 5B25, 5B26

i.e., use of

> errors, 0F1, 2F3
>
> explanatory, 1G10, 2C4

ISBD, [see]{.underline} International Standard Bibliographic Description

Imprint

> definition, App. C
>
> [see also]{.underline} Publication, distribution, etc., area

Inaccuracies, [see]{.underline} Errors

Inclusive dates, [see]{.underline} Span dates

Incomplete date, number, word, or name, [see]{.underline} Abbreviations,
Interpolation

Incomplete series, 3B3

Initials and initialisms

> completion of, 0J2
>
> monograms and devices, 1G7, 2D7
>
> recording, 0H2
>
> Inscription
>
> definition, App. C
>
> notes on, 5B7.1, 5B9.5

Intaglio print

> definition, App. C
>
> dimensions, 3D3.1, 3D5

International Standard Bibliographic Description

> definition, App. C
>
> punctuation, use of, Introduction p. 5, 0C4 (footnote 3)

Interpolation, 0J

> addition to place of publication, distribution, etc., 2C2, 2C3
>
> completion of abbreviated names, words, and numbers, 0J2, 2C4
>
> conjecture, 0J1
>
> correction, 0F
>
> explanatory information, 0F1, 1G7, 1G8, 1G10
>
> language and script, 0E3
>
> statement of responsibility, 1G7, 1G8, 1G10
>
> note area, 5A2
>
> publication, distribution, etc., area, 2C2‑2C4, 2E

Inventory

> accompanying material, 0A(b)
>
> as source of information, 0B1.1(c)
>
> definition, App. C
>
> Irregular shape
>
> dimensions, 3D4.3
>
> Item
>
> definition, App. C

Items, number of, [see]{.underline} Extent, statement of

Language

> multiple titles, 1B1.7
>
> name of publisher, 2D10
>
> notes on, 5B14
>
> of description, 0E
>
> place of publication, 2C11
>
> repetition of title proper, 1E, 1F3.1
>
> translation of foreign title, 5B5

Letterpress

> definition, App. C

Letters, initial, [see]{.underline} Initials and initialisms

Levels of description, 0D

> physical description area, 3B1 (footnote 2)

Linear feet or meters

> definition, App. C
>
> statement of extent, 3B1(d)

Lithograph

> number of colors, 3C4.3
>
> [see also]{.underline} Planographic print

Location

> finding aid, notes on, 5B18
>
> original of photographic copy or photomechanical print, 5B13

Main entry

> definition, App. C

Manufacturer

> added in square brackets after name of publisher, distributor, etc.,
> 2E
>
> recording, 2B2

Manuscript material

> as source of information, 0B
>
> definition, App. C
>
> with collection, 0A(b)

Markings

> notes on, 5B9.6

Medium, [see]{.underline} Extent, statement of

Mixed media in a single item, 3C3.2

Modern copy of older photographic print

> notes on, 5B9.2

Monogram

> definition, App. C
>
> notes on, 5B7.1
>
> statement of responsibility, 1G7

Motto

> notes on, 5B6
>
> omission from title and statement of responsibility area, 1B1.4

Mounting, [see]{.underline} Secondary support

Multilevel description

> collection made up of several types of material, 3B4, 3F

Multiple dates, [see]{.underline} Date

Multiple images on one sheet

> dimensions, 3D3.1
>
> statement of extent, 3B6.1
>
> titles of, 1B1.8

Multiple publication, distribution, etc., details, 2C5

Multiple sheets composing one image

> dimensions, 3D3.2
>
> statement of extent, 3B6.2

Multiple statements of responsibility, 1G4, 1G5

Multiple techniques or processes in single item, 3C3

Multiple titles, 1B1.7, 1B1.8

n.d.

> definition, App. C
>
> use of, 2H5
>
> [see also]{.underline} No date

Nature, scope, or form of material

> notes on, 5B14

Negative

> definition, App. C
>
> description of base, 3C2.2
>
> dimensions, 3D2.2, 3D3.5
>
> other physical details, 3C2.2
>
> specific material designation, 3B5
>
> Nitrate film base
>
> physical description area, 3C2.2

No date (n.d.)

> definition, App. C
>
> [see also]{.underline} n.d.

Notes

> accession number and year, 5B26
>
> continuation of title, 5B4
>
> definition, App. C
>
> form of, 5A3
>
> formal notes, 5A3
>
> informal notes, 5A3
>
> on access, 5B24.1
>
> on accompanying material, 5B10
>
> on addition to collection, 5B22
>
> on anonymous source, 5B26
>
> on arrangement of collection, 5B14, 5B16‑5B18
>
> on attribution, 5B7.2
>
> on biography or history of creator or collector, 5B15
>
> on blind stamp, 5B9.6
>
> on collector, 5B25
>
> on conjecture, 5B7.2
>
> on container, 5B9.1
>
> on contents of collection, 5B14, 5B17, 5B18
>
> on copyright status and holder, 5B24.2
>
> on creator of work after whom item being cataloged was made, 5B7.3
>
> on donor, 5B26
>
> on edition, 5B8.2
>
> on finding aid, 5B18
>
> on hallmark, 5B9.6
>
> on inscription, 5B7.1, 5B9.5
>
> on item that is or was part of a publication, 5B8.3
>
> on language of accompanying material or captions, 5B14
>
> on markings, 5B9.6
>
> on modern copy of older photographic print, 5B9.2
>
> on monogram, 5B7.1
>
> on motto, 5B6
>
> on numerical designations, 5B19
>
> on parallel title and other title information, 5B3
>
> on photographic copy, 5B13
>
> on photomechanical print, 5B13
>
> on physical condition, 5B9.1
>
> on physical description, 5B9
>
> on provenance, 5B25
>
> on publication, distribution, etc., 5B8
>
> on relationship to larger unit or collection, 5B21
>
> on remarque, 5B9.6
>
> on reproductive print, 5B7.3
>
> on responsibility, 5B7
>
> on restrictions on access, use, or reproduction, 5B24.1
>
> on series, 5B11
>
> on signature, 5B7.1
>
> on source, 5B26
>
> on stamp, 5B9.6
>
> on state and edition, 5B8.2
>
> on studio imprint, 5B9.6
>
> on subsequent publication, 5B20
>
> on title proper, 5B1
>
> on trademark, 5B9.6
>
> on unknown source, 5B26
>
> on variations in title, 5B2
>
> on variations in place or publisher, distributor, etc., 5B8.1
>
> on watermark, 5B9.6
>
> order of, 5B
>
> picture caption, 5B6
>
> punctuation of, 5A1‑5A3, 5B17
>
> quotations in, 5A2
>
> references, 5A3
>
> references to published description, 5B12, 5B18
>
> subject description, 5B14
>
> summary of contents, 5B14
>
> translation of foreign title, 5B5
>
> \"with\" note, 5B23

Number borne by item other than series designation

> notes on, 5B19

Number of items, [see]{.underline} Extent, statement of

Number

> within series, 4D
>
> within subseries, 4E

Numeric and/or alphabetic, chronological, or other designation

> as part of title proper, 1A3, 1B1.1
>
> notes on, 5B11
>
> within series, 4D
>
> within subseries, 4E

Oeuvre catalogue, [see]{.underline} Catalogue raisonné

Omissions

> from transcription, 0C7
>
> in abridged title, 1B1.9
>
> lacunae in source of information, 0C8
>
> of area, 0C6
>
> of data not considered part of any area, 0C9
>
> of element, 0C6
>
> of non‑title data, 1B1.4
>
> punctuation preceding, 0C10

Opaque

> definition, App. C

Opening words of text

> used as title, 1B1.5

Other title information, 1F

> date as part of, 1A3
>
> definition, App. C
>
> notes on, 5B3
>
> to supply additional information for collection, 1B2.3, 1F3.3

Oval shape

> dimensions, 3D4.2

Owner\'s mark

> notes on, 5B9.6, 5B25

Painting

> definition, App. C
>
> specific material designation, 3B5

Paragraphing areas of description

> general rule, 0C1
>
> physical description area, 3A2
>
> note area, 5A1

Parallel title, 1E

> definition, App. C
>
> notes on, 5B3
>
> series, 4C

Parentheses

> accompanying material, 3E
>
> component parts of collection, 3B4
>
> dimensions, 3D2.2
>
> in description (general rule), 0C3
>
> manufacturer information, 2A2, 2G
>
> physical description area, 3B4, 3D2.2, 3E
>
> printer information, 2A2, 2B2, 2G
>
> series area, 4
>
> statement of extent, 3B4
>
> transcription of, 0C5

Partial contents, [see]{.underline} Contents

Period, use of, [see]{.underline} Punctuation of description

Photograph, [see]{.underline} Photographic print

Photographic copy of original item, 0A(a)

> notes on, 5B9.2, 5B13

Photographic print

> definition, App. C
>
> description of mounting, 3B6.4
>
> dimensions, 3D2.2, 3D3.3, 3D3.4
>
> other physical details, 3C2.1, 3C2.4
>
> specific material designation, 3B5

Photomechanical print, 0A(a)

> definition, App. C
>
> notes on, 5B13
>
> other physical details, 3C2.5
>
> specific material designation, 3B5

Photomechanical reproduction, [see]{.underline} Photomechanical print

Photonegative, [see]{.underline} Negative

Photoprint, [see]{.underline} Photographic print

Physical condition

> notes on, 5B9.1

Physical description

> component parts of collection, 3B4
>
> dimensions, 3D
>
> definition, App. C
>
> notes on, 5B9
>
> of accompanying material, 3E
>
> of collection containing more than one distinct category of material,
> 3F
>
> of multiple images on one support, 3B6.1
>
> of multiple sheets composing one image, 3B6.2
>
> of multiple techniques or processes, 3C3
>
> of primary support, 3B6.3
>
> of secondary support, 3B6.4
>
> of color, 3C4
>
> of photographic materials, 3C2
>
> other physical details, 3C
>
> source of, 3A3
>
> statement of extent, 3B
>
> specific material designation, 3B5

Picture

> definition, App. C
>
> specific material designation, 3B5

Picture caption, 5B6

Place of creation for unpublished material, 1G9

Place of manufacture

> publication, distribution, etc., area, 2G

Place of printing

> publication, distribution, etc., area, 2G

Place of publication, distribution, etc., 2C

> abbreviations, App. B. 14 (AACR 2)

Planographic print

> definition, App. C
>
> dimensions, 3D3.1

Plate mark

> definition, App. C
>
> dimensions, 3D3.1, 3D5
>
> notes on, 5B9.1

Plus sign, use of

> accompanying material, 3E

Portfolio

> definition, App. C
>
> [see also]{.underline} Container

Prescribed sources of information, [see]{.underline} Sources of
information

Primary support

> definition, App. C
>
> physical description, 3B6.3

Print

> definition, App. C
>
> dimensions, 3D3.1, 3D5
>
> specific material designation, 3B5
>
> [see also]{.underline} Intaglio print; Planographic print; Relief
> print

Printer

> added in square brackets to name of publisher, distributor, etc., 2E
>
> equivalent to publisher, 2B1

Probable creatorship, [see]{.underline} Attribution

Probable date of execution, 2H4, App. A

Probable date of publication, distribution, etc., 2F5, App. A

Probable place of publication, distribution, etc., 2C10

Provenance

> as source of information, 0B1.1(c)
>
> definition, App. C
>
> notes on, 5B25

Provenience, [see]{.underline} Provenance

Pseudonym in statement of responsibility, 1G10

> notes on, 5B7

Publication, distribution, etc., area, 2

> addition to place of publication, etc., 2C2‑2C4
>
> address, district, or sign as name of publisher, etc., 2D6
>
> address, district, or sign as place of publication, etc., 2C9
>
> address omitted, 2D3
>
> approximate date, 2F5, App. A
>
> change in name of publisher, etc., in series, 2D5
>
> change in place of publication, etc., in series 2C6
>
> copyright date, 2F4
>
> date of publication, etc., 2F
>
> date as part of the place or publisher statement or another area, 2F2,
> 2H3
>
> date of execution of unpublished material, 2H
>
> date of manufacture, 2G
>
> date of printing, 2G
>
> device as name of publisher, etc., 2D7
>
> fictitious or incorrect date, 2F3
>
> fictitious or incorrect place of publication, etc., 2C8
>
> function of publisher, etc., 2E
>
> multiple places of publication, etc., 2C5
>
> multiple statements of publication, distribution, etc., 2D2
>
> name of publisher, distributor, etc., 2D
>
> name of publisher, etc., as address, district, or sign, 2D6
>
> name of publisher, etc., in multiple languages or scripts, 2D10
>
> name of publisher, etc., inferred from device, 2D7
>
> no date, 2F5.2, 2H3
>
> no place of publication, 2C12
>
> no publisher, etc., 2D8, 2D9
>
> notes on, 2C10.3, 5B8
>
> place of manufacture, 2G
>
> place of printing, 2G
>
> place of publication, etc., 2C
>
> place of publication, etc., as part of another area, 2C7
>
> place of publication, etc., as part of publisher statement, 2D4
>
> place of publication, etc., in multiple languages or scripts, 2C11
>
> printer and publisher explicitly stated, 2B2
>
> printer equivalent to publisher, 2B1
>
> probable date of publication, etc., 2F5
>
> qualifications to names of publishers, etc., 2D3
>
> sponsor‑advertiser as publisher, 2B3
>
> uncertain place of publication, etc., 2C10

Published description

> as source of information, 0B1.1(b)
>
> notes on, 5B12, 5B18

Publisher, distributor, etc.

> function, 2E

Punctuation of description

> general rules, 0C
>
> note area, 5A1, 5A3, 5B17
>
> physical description area, 3A2, 3C1, 3D1
>
> publication, distribution, etc., area, 2A2
>
> series area, 4A2
>
> title and statement of responsibility area, 1A

Quotation

> note area, 5A2

Question mark, use of, 0J1, 2A2, 2C10, 5B14, App. A

Reference sources

> definition, App. C; 0B1.1(b)
>
> note area, 5A3, 5B1, 5B2, 5B12

Relationship note, 5B21

Relief print

> definition, App. C
>
> dimensions, 3D3.1

Remarque

> definition, App. C
>
> notes on, 5B9.6

Repository

> definition, App. C

Reproduction, [see]{.underline} Photographic copy of original item;
Photomechanical print

Reproductive print

> definition, App. C
>
> notes on, 5B7.3

Responsibility, statement of, [see]{.underline} Statement of
responsibility

Restrictions on access, use, or reproduction

> notes on, 5B24

Roman numerals

> retention of or substitution of arabic numerals for, 2F1

s.d.

> use of, 2F5.2
>
> [see also]{.underline} Sine datum

s.l.

> use of, 2C12
>
> [see also]{.underline} Sine loco

SMD, [see]{.underline} Specific material designation

s.n.

> use of, 2D9
>
> [see also]{.underline} Sine nomine

Scope, nature, or form of material

> notes on, 5B14

Scope of the rules, Introduction p. 3f, Introduction p. 5f, 0A

Script, [see]{.underline} Language and script

Second level of description, 0D2

Secondary support, 3B6.4

> definition, App. C
>
> dimensions, 3D3.4

Semicolon, use of, [see]{.underline} Punctuation of description

Series

> definition, App. C
>
> notes on, 5B11
>
> physical description area, 3B3
>
> publication, distribution, etc., area, 2C6, 2D5

Series area, 4

Series designations, nonnumerical, 4D2

> notes on, 5B11

Series numbers, 4D1

sic

> use of, 0F1

Sight measurements, 3D7.1

Signature

> definition, App. C
>
> notes on, 5B7.1

Sine datum

> definition, App. C
>
> [see also]{.underline} s.d.

Sine loco

> definition, App. C
>
> [see also]{.underline} s.l.

Sine nomine

> definition, App. C
>
> [see also]{.underline} s.n.

Size, [see]{.underline} Dimensions

Slide

> definition, App. C
>
> dimensions, 3D2.2
>
> other physical details, 3C2.3
>
> specific material designation, 3B5

Source of material being cataloged

> notes on, 5B26

Sources of information

> different from sources for book cataloging, Introduction p. 4
>
> general rules, 0B
>
> note area, 5A2
>
> notes on, 5B1, 5B2
>
> physical description area, 3A3
>
> publication, distribution, etc., area, 2A3
>
> series area, 4A3
>
> title and statement of responsibility area, 1A2

Span dates

> definition, App. C
>
> recording, 2F1, 2F5.1, 2F6

Specific material designation

> definition, App. C
>
> [for rules see]{.underline} Extent, statement of

Sponsor‑advertiser

> added in square brackets to name of publisher, distributor, etc., 2E
>
> definition, App. C
>
> statement of responsibility, 2B3

Square brackets, use of

> correction of inaccuracy, 0F1
>
> in description (general rules), 0B2, 0C11, 0E2, 0F1, 0J
>
> for abbreviated titles, 1B1.10
>
> note area, 5A2
>
> publication, distribution, etc.,area, 2C2‑2C4, 2C7‑2C10, 2C12, 2D4,
> 2D6, 2D8, 2D9, 2E, 2F2, 2F3
>
> statement of responsibility, 1G6‑1G8, 1G10
>
> title for single item, 1B1.12
>
> transcription of, 0C5

State or edition

> notes on, 5B8.2

Statement of responsibility, 1G

> definition, App. C
>
> notes on, 5B7

Stereograph

> specifying whole or half, 3C2.4

Studio imprint

> notes on, 5B9.6
>
> statement of responsibility, 1G9

Subject description, 5B14

Subsequent publication

> notes on, 5B20

Subseries, 4E

> definition, App. C

Subtitle

> definition, App. C

Summary of contents of collection, [see]{.underline} Subject description

Support, primary, [see]{.underline} Primary support

Support, secondary, [see]{.underline} Secondary support

Terms of access, reproduction, and use

> notes on, 5B24

Third level of description, 0D3

Title

> definition, App. C
>
> continuation of long title in note area, 5B4
>
> insufficiently descriptive title for collection, 1B2.3
>
> insufficiently descriptive title for single item, 1B1.11
>
> omission of non‑title data from, 1B1.4
>
> translation of foreign title, 5B5
>
> variations in, [see]{.underline} Variations in title

Title proper

> abridgement of, 1B1.9
>
> date as part of, 1A3
>
> definition, App. C; 1B1.1
>
> devising title, 1C
>
> elements scattered, 1B1.6
>
> foreign source, 1B1.12
>
> insufficiently descriptive title for collection, 1B2.3
>
> insufficiently descriptive title for single item, 1B1.11
>
> lack of, 1B1.5, 1B1.12, 1C
>
> multiple titles proper, 1B1.7
>
> notes on source of title proper, 5B1
>
> notes on variations in title proper, 5B2
>
> omission of non‑title data, 1B1.4
>
> on another copy, 1B1.13
>
> recording (collection), 1B2.1
>
> recording (single item), 1B1.2
>
> separate titles for discrete images, 1B1.8
>
> series area, 4B
>
> supplied from another source, 1B1.12
>
> variant titles proper (series area), 4B2

Title and statement of responsibility area, 1

> punctuation, 1A1
>
> sources of information, 1A2

Tracing

> definition, App. C

Trade name for material

other physical details, 3C2.3, 3C2.5, 3C4

Trademark

> definition, App. C
>
> notes on, 5B9.6

Translation of foreign title, 1B1.12, 5B5

Transparency

> definition, App. C
>
> dimensions, 3D2.2
>
> other physical details, 3C2.3
>
> specific material designation, 3B5

Uncertain creatorship, 1G6

> notes on, 5B7.2

Uncertain place of publication, 2C10

Uncertain publisher, 2D8

Unknown date of execution of unpublished material, 2H5

Unknown place of publication, 2C12

Unknown publisher, 2D9

Unknown source of material, 5B26

Unnamed creator, 1G5, 1G6, 1G10

Unpublished description

> as source of information, 0B1.1(c)
>
> notes on, 5B18

Variations in place or publisher\'s, distributor\'s, etc., name

> notes on, 5B8.1

Variations in title, 1B1.3

> among sources of information, 1B1.12
>
> notes on, 5B2

Watermark

> definition, App. C
>
> notes on, 5B9.6

Words and phrases

> explanation of function in statement of responsibility, 1G8
>
> explanation of function in publisher, etc., statement, 2E

Work after another in a different medium

> notes on, 5B7.3
>
> [see also]{.underline} Reproductive print

[^1]: ^?^ This document is not meant to replace Chapter 8 of AACR2.
    Catalogers who handle modern and commercially available graphic
    materials, such as filmstrips and slide sets, should consult Chapter
    8 of AACR2.

[^2]: ^?^ Inaccurate assumptions regarding graphic materials are a
    characteristic hazard of picture cataloging. False assumptions from
    inherent picture ambiguities may be compounded with the development
    of automated systems having such capabilities as text-word
    searching. The developing technologies and a wide option for
    interpretation might lead to numerous and potentially embarrassing
    problems down the road. Interpretation is a valid and frequently
    required element of graphics cataloging, but discretion must be
    exercised.

[^3]: 1 ^1^ The rules assume the copy or reproduction is somehow
    signi­ficant, either because it is the only existing representation
    of a now destroyed or unavailable image, or the creator of the copy
    is important. If the copy is merely a record, it may be desirable to
    have the description reflect the original work, with the necessary
    notes made to indicate that only a copy is available.

[^4]: 2 ^2^ The Library of Congress uses a double hyphen to represent a
    dash.

[^5]: 3 ^3^ The Library of Congress will generally follow the
    conventions of modern punctuation in transcribing information under
    these rules, adding or substituting marks of punctuation if
    necessary for clarity. In cases in which the application of ISBD
    punc­tuation would result in double or duplicate punctuation, the
    mark of punctuation in the source is omitted.

[^6]: 4 ^4^ At the Library of Congress, the typographical facilities
    re­ferred to here and in succeeding rules comprise those charac­ters
    in the MARC character set.

[^7]: 1 ^1^ In these and some other examples, the general material
    desig­nation is given so as to make the example clearer. The use of
    the GMD does not imply that a designation is required.

[^8]: 2 ^2^ This looks suspiciously like parallel titles. However,
    be­cause the catalog record would be considerably lengthened by
    unnecessary repetition of the non‑parallel portion of the title
    proper and because this is a means of reflecting more precisely what
    appears on a graphic item, they are treated as other title
    information.

[^9]: 3 ^3^ A statement is single when its words are linguistically
    con­nected or the words clearly read together without a break.

[^10]: 1 ^1^ The Library of Congress starts a new paragraph with this
    area.

[^11]: 2 ^2^ The methods [a]{.underline} through [d]{.underline} and the
    special additions provided for in 3B6 obviously offer several
    possibilities in the level of detail that can be achieved. It is
    recognized that institutions will set their own policies in this
    respect.

[^12]: 3 ^3^ The Library of Congress generally does not record the
    number of containers or volumes unless they are contemporary with
    the material contained in them, they are an integral part of the
    material, or the number of items is very large and only a box or
    volume count is being given. Thus, if the Library has put a
    collection of 35 prints in 6 storage boxes, the state­ment of extent
    is 35 prints. If the Library has put a carte de visite album in 1
    storage box, the statement of extent is 1 album. However, if the
    Library has put a large collection of items that are too numerous to
    count into 25 storage boxes, the statement of extent is 25 boxes.

[^13]: 4 ^4^ Each institution must determine the specificity necessary
    for describing graphic media. If the holdings are solely graphics
    and the users tend to be specialists, media descriptions may be at a
    very specific level, e.g.,

    > 16 prints : woodcut
    >
    > 1 photographic print : albumen, gold toned
    >
    > 1 print : lithograph

    If, on the other hand, the holdings are to be used by researchers
    primarily interested in subject content rather than differences in
    media, the description may be at a more general level, that is
    basically the SMD and perhaps an indication of color (see 3C4).

[^14]: 1 ^1^ It should be remembered that access points are not
    necessarily obtained solely from the body of the entry. In theory,
    any piece of information in the note area can be chosen by the
    cata­loging institution as an access point in order to make the
    material as accessible as possible.