bluuebunny/crossref_metadata_2025_split huggingface dataset:
A policy for the development of collections in museum art libraries in the United States
Authors: Schimansky Donya-Dobrila 
Published: July 2016

This paper examines the problem of the formulation and implementation of a collection development policy in museum art libraries in the United States.While there is literature on acquisition policy in academic and public libraries, there is nothing specific on museum art libraries. Because of the proliferation of art literature and budget restrictions it is of paramount importance for museum art libraries to formulate and follow a collection development policy. Once this is presented to the museum administration, the latter will better understand the library’s functions and will recognise its vital role both within the institution and outside.
The words about us
Authors: Jantjes Gavin 
Published: July 2016

This article challenges the history and interpretation of the visual arts of Africa promulgated by much of the documentation on African art found in British art libraries — both that based on the colonial archaeological, ethnographic and anthropological approach, and that stemming from the influence of African arts on early twentieth century European art. Drawing parallels between the false picture of African history produced by colonial historians, and the perception of African art history by non-African art historians, the author draws attention to the need for Africans to document their own art, and to the lack of documentation on the contribution of Black artists to British cultural life.The author is a South African artist and writer living in Britain, who will be exhibiting with the Midlands Art Group, Nottingham, January – February 1984. The article is a revised version of a paper delivered at the ARLIS/UK course ‘Visual art documentation for a multi-cultural society’, held on 11 November 1983 at the Commonwealth Institute, London.
The Golden Cockerel Press 1921~1961: a history, bibliography and index
Authors: Pike Nancy 
Published: July 2016

This paper provides a history of the Golden Cockerel Press, an English private press active between 1921 and 1961. There were three major periods in the Press’s development. Under Harold Taylor the Press was an idealistic attempt to provide an opportunity for the publication of new writers not yet well-enough known for the larger publishing market. The second owner was Robert Gibbings who had helped found the Society of Wood-Engravers and used the Press as a showcase for his own and fellow engravers’ work. Finally, during the longest period in the Press’s history, Christopher Sandford continued both the innovative approach to text and the interest in wood engraving for illustrations. He produced 122 books, most on handmade paper in limited editions, and contrived to keep the cost within the price range of the average book collector by using mechanical typesetting at a commercial press while yet overseeing and revising the work at every stage of its design. Sandford sold the Press to Thomas Toseloff, an American, in 1959.The work of the Press is exceptionally fine and contains a unique record of British wood engraving over a period of forty years. Following the history of the Press are three appendices: a chronological list of the Press books, an index to authors, and an index to illustrators.
CéCILE: une base de donnees de design au Centre National d’Art et de Culture Georges Pompidou
Authors: Mihailovic C. 
Published: July 2016

The Centre de Création Industrielle of the Centre Georges Pompidou has created and made accessible a bibliographic research tool covering the fields of design, architecture and other elements of the everyday environment in the form of a database, CéCILE, which may be accessed through Telesystemes-Questel.The article describes the background and setting-up of the database, along with details of its scope, and the structure of its entries and information retrieval elements.This paper was originally delivered to the Section of Art Libraries at the 1983 IFLA Council. The English summary is abstracted from the translation by Ian Sheridan.
Viewpoint
Authors: French Sonia 
Published: July 2016

The articles in this issue of the Art Libraries Journal all relate to developments in fine art services in public libraries in the United Kingdom. Denmark and Germany.Within the United Kingdom the City of Westminster’s Fine Art Library has been in existence for twenty years; the great Mitchell Library in Glasgow opened its Fine Arts Department in 1981; Essex County Library has an innovative and expanding Fine Arts service. Subject specialisation, it would seem, is alive, well and flourishing.
Subject departments: their rise and fall at Bradford Metropolitan Libraries
Authors: Duckett R.J. 
Published: July 2016

Bradford had the first central library building in this country designed specifically on the subject departmentalised principle. Bradford is also the first to abandon it. The rise and fall of Bradford’s subject departments are charted and reasons are given why they were no longer felt to be appropriate in the 1980s. Some of the disadvantages of subject departments are noted.The views expressed here are the author’s own and not necessarily those of the City Librarian or his Management Team.
The universal availability of art publications: a global context
Authors: Pacey Philip 
Published: July 2016

‘Universal Availability of Publications’ (UAP) and the universal availability of art publications should be considered in the context of ‘one world’, a world in which we all share responsibility for our fellow human beings. In this context both librarianship and art, and thus art librarianship also, should be seen as services rendered to humankind at large. IFLA’s UAP programme has been conceived as a service, intended to supply genuine human needs, and art librarians, who are constantly frustrated in their efforts to serve users of art libraries by the limitations to the availability of art documentation, can readily identify a need for ‘Universal Availability of Art Publications’. Nevertheless, a worldwide programme of this nature is in danger, first, of being pursued for its own sake (or for the sake of ‘needs’ which are imagined, over-emphasised, or misconceived), and second, of reinforcing cultural imperialism. Safeguards include acceptance of the necessity to proceed step by step in pursuit of a success which can never be complete; the fact that UAP is founded on local collections developed to meet local needs; recognition of the imbalance in the production of publications in different parts of the world; and recognition of the importance of unpublished documentation and of ‘publications’ which do not as yet exist. A greater emphasis on increasing the availability, and generating the production, of publications from countries which publish relatively little, is proposed. A fourth safeguard ought to derive from the professional ethics and grass-roots experience of librarians, who serve and identify with library users, actual and potential. The pursuit of universal availability of art publications should be based on realistic assessment of what is feasible, and on local, regional, and national resources, with all possible encouragement being given to developing countries to document their own arts. Art librarians may be paying too little attention to the needs of users and, especially, of non-users of art libraries, and should be aware of the barriers to availability which can result from the prevalence of a narrow, elitist conception of ‘Art’ and from the provision of library services primarily for an elite. Without neglecting the service of scholarship, the art library profession should try to shift the balance of its commitment towards the provision of a service for everyone, everywhere, so that our interpretation and pursuit of the ‘Universal Availability of Art Publications’ truly reflects a vision of our whole world’s heritage and practice ‘of divers arts’.This is the text of a paper presented to the Section of Art Libraries, at the 1985 IFLA Council in Chicago.
Authors: Arikha Avigdor 
Published: July 2016

Painting, true painting, is an act of revelation. Therefore it is contradictory to learning. The creative act cannot come forth without an unlearning. It is a process from within to without, contrary to reading. However, there cannot be an unlearning without previous learning. The accumulation of knowledge can be compared, if not to fuel, which it is also, at least to a guiding system: the practising artist cannot know how his work relates to historical time without this knowledge of all art and its dilemmas.The peintre-savant such as emerged in the seventeenth century, incarnated by Poussin, Rubens, and most probably Velazquez, could not possibly have come into existence without the library - the list of Velazquez’ books in that respect is telling: it included all the books a seventeenth century humanist would have wished, but the bulk of it was about art theory. But strangely enough, art history was neglected by most leading modernist artists. Kandinsky preferred the occult “sciences” to the study of art-theory and would have been surprised to discover that Lomazzo formulated some of the ideas which he, Kandinsky, considered new and revolutionary. Mondrian would have been shocked to discover that Quatremère de Quincy and ultra-idealism preceded his own ideas. Klee would have been exhilarated with Arcimboldo’s clavicello cromatico by which he equated sound and colour.Now, after the close of the modernist era, it seems as if we are left with a devastated land: the disconnection between eye and hand for the painter is followed by the one between feeling and judgement for the viewer. The decadence of art-training is followed by a growing confusion between cultural history and art history, which is the history of exceptions. But besides the devastation we have also inherited a graver sense of the limitations, which the peintres-savants of the past couldn’t have had: they still could believe in eternity. For us, eternity is lost.
Evolutions in exhibition catalogues of African art
Authors: Mount Sigrid Docken 
Published: July 2016

Since their appearance in the early 20th century, catalogues prepared for exhibitions of African art have undergone a gradual transformation. Beginning as mere checklists many of these publications have, in the 1970s and 80s, evolved into major scholarly works whose significance transcends their original purpose as guides to the exhibitions. Changes occurring over the years are traced through examination of the form and content of representative catalogues and by review of the reception by art historians of many of these works into the corpus of literature of African art. The growing importance of exhibition catalogues as important art historical documents is also demonstrated by a chronological analysis of bibliographic citations in the major scholarly journal of African art in the United States. Finally, scrutiny of sources and annotations included in an important bibliographic guide to the literature of African art indicates how firmly established the exhibition catalogue has become as one of the most important publication forms for the dissemination of scholarly writing on African art.[This paper won the ARLIS/NA Gerd Muehsam Award for 1986. We hope to publish a sequel in a future issue, on exhibitions of African art in Africa and the development of catalogues written by Africans. Editor].
Le AAT: son adaptation en français par l’equipe du Repertoire de vedettes-matiere de l’Universite laval
Authors: Fournier Michel , Boucher Rémi 
Published: July 2016

Since the 1950s, the Library of the Université Laval has devoted a great deal of effort and time to its subject headings list. This list, the Répertoire de vedettes-matière (RVM), is an adaptation of LCSH. Sources from specialised thesauri such as the MeSH and AAT supplement the headings. Following a brief historical overview of the RVM, the methodology for integrating AAT descriptors into RVM is discussed.This article is a revised version of a paper delivered to the 23rd Annual Conference of ARLIS/NA, Montréal, March 10th-15th, 1995.
Les revues d’art canadiennes de langue française
Authors: Dauphinais Marie-Josée 
Published: July 2016

Art periodicals reflect the image of the day by their writing style, the artistic forms noted and the ideas communicated. They are essential documents to the researcher as they reveal the critical values at the time of publication. Journals are often the first venue to publish emerging theories. The journals have expanded their coverage, both linguistically and geographically, to appeal to a wider readership. Fourteen Canadian French-language and bilingual art journals are reviewed, of which six are discussed in depth.This article is a revised version of a paper delivered to the 23rd Annual Conference of ARLIS/NA, Montreal, March 10th-15th, 1995. An English translation of this article appeared in Art Documentation, vol. 14, no. 3, Fall 1995, p.3-5.
The Arbeitsgemeinschaft der Kunst- und Museumsbibuotheken (AKMB): a review one year after its foundation
Authors: Schild Margret , Steffens Monika 
Published: July 2016

Obwohl der Wunsch dazu schon länger bestand, kam es erst im Februar 1995 dazu, daß deutsche Kunst- und Museumsbibliotheken — zum ersten Mal über-haupt — ihren eigenen Verband, die AKMB, schufen. Die Ziele, Pläne und die allerersten Aktivitäten der neugegründeten AKMB sind weitreichend. Sie spiegeln auch die spezifischen Bedürfnisse in der Landschaft deutscher Kunst- und Museumsbibliotheken wider.Even though the desire had existed for quite a while, it was not until February 1995 that, for the first time ever, German art and museum libraries created their own association, the AKMB. The aims, plans, and the very first activities of the new founded AKMB are very ambitious. They also reflect the specific needs of the German art and museum library scene.
Art and museum libraries in Switzerland
Authors: Meier Nikolaus 
Published: July 2016

Die Situation der Kunstbibliotheken in der Schweiz ist durch verschiedene historische Faktoren geprägt. Die Kulturhoheit der verschiedenen Kantonsrepubliken und die vier Landessprachen haben in der Vergangenheit die Entwicklung einer einheitlichen Bibliothekslandschaft erschwert. Ebenso wenig mündete die von großen Persönlichkeiten geprägte Entwicklung der Kunstwissenschaft und des Museumswesens in eine vielfältige Landschaft von Kunstbibliotheken. Die drei Zentren für Kunstbibliotheken sind Basel, Zürich und Genf. Eine Kunstbibliothek für die italienischsprachige Schweiz, wie u.a. in einem kürzlich enstandenen Grundlagenbericht für Kunstgeschichte empfohlen wird, ist immer noch ein Desiderat.The situation of Swiss art libraries is determined by different historic developments. The different Swiss cantons, with their sovereignty in cultural matters, and the four official languages of the country, have impeded the development of a homogeneous libraries’ scene. The development of art libraries has been constrained by the slow and erratic growth of art history and museology. In Switzerland there are three centres for art libraries: Basle and Zurich, and Geneva, in French-speaking Switzerland. An art library for Italian-speaking Switzerland - as once again recommended in a recently published Grundlagenbericht für Kunstgeschichte (= Basic Report for Art History) - is still desired.
La sous-section des bibliothèques d’art de l’Association des Bibliothécaires Français a trente ans
Authors: Picot Nicole 
Published: July 2016

L’Association des Bibliothécaires Français est la plus ancienne association de bibliothécaires en France. Elle fut fondée en 1906 et reconnue d’utilité publique en 1969. Elle compte environ 3 800 adhérents répartis dans deux sections: Bibliothèques d’ étude et recherche et Bibliothèques publiques. Les bibliothèques d’art représentent une sous-section des bibliothèques d’étude et recherche au même titre que la BnF, les bibliothèques spécialisées, les bibliothèques universitaires, les bibliothèques de musique. Le dynamisme et la spécificité des bibliothèques d’art ont nécessité la constitution de cette ‘sous-section’.Notre première réunion eut lieu à la bibliothèque de l’École nationale supérieure des beaux-arts de Paris, le 16 novembre 1967, à l’initiative de 24 bibliothécaires d’art et historiens d’art. Grâce à la clairvoyance de tous ses membres et à l’enthousiasme de Suzanne Damiron, Jacqueline Viaux, Huguette Rouit, Denise Gazier, Geneviève Bonté, Annie Jacques, Catherine Schmitt, cette sous-section a affirmé sa personnalité. Elle est maintenant riche de plus de 130 membres. Nos thèmes de réflexion sont toujours d’actualité: coordination des acquisitions et des échanges, réalisation de répertoires, de catalogues collectifs, enrichissement de l’indexation, affinement des systèmes de classification, évaluation des ouvrages de référence, pédagogie de l’accueil des lecteurs.
The Food Value, Quality and Grading of Meat with Special Reference to Beef
Authors: Callow E. H. 
Published: July 2016

During the war an investigation has been carried out at the Low Temperature Research Station, Cambridge, on the food value of beef. The beef animals were specially selected by Dr. J. Hammond, F.R.S. (School of Agriculture, University of Cambridge), and by the Meat and Livestock Division of the Ministry of Food, as being representative of the beef industry as a whole. The work on steers and heifers has already been published (Callow 1944), and that on cows will follow shortly.
When the data from these investigations came to be analysed, it was found that sex, age and breed have only secondary effects on the food value of beef. The important factor is the stage of growth of the animal. In the present paper it is proposed to use this new approach to the old problem of the relation between grading on the one hand, and the food value and quality of beef on the other.
Breeding Methods in Animal Improvement—Larger Stock
Authors: Nichols J. E. 
Published: July 2016

I Feel at a distinct disadvantage compared with the speakers this morning because the foundations on which to discuss breeding methods, and progress, are more clear-cut in the case of poultry than in larger farm stock. Poultry are fast-breeding—you can get a lot of offspring quickly if you want them—they can be, and to a great extent are, kept in fairly well-controlled conditions of husbandry, feeding, and management; and their performance is simply and accurately recordable. All these points are important—in contrast, for larger animals we lack a very, great deal of the factual information needed for a reasonable stocktaking of our assets, difficulties, and liabilities.
However, from what I know of the workings of our Executive Committee's minds, I believe I am expected to be provocative and to leave loose ends for open discussion. I propose therefore to try to outline the scope for breeding methods in improving our livestock and, if possible, to pick out some of the general principles that govern their use and effectiveness. In any case you will recall that some of the questions have been discussed at earlier meetings of this Society, such as the rôle of cross breeding in sheep, specialisation in pigbreeding, and recording systems in cattle. I ask you to allow me to generalize, and to note that the examples I quote are only examples—I make no pretensions at all to give a comprehensive or a detailed picture.
Inbreeding and Heterosis in Pig Breeding
Authors: Donald H. P. 
Published: July 2016

The two fundamental methods for genetical improvement of livestock are selection on die basis of performance and mating according to relationship. The most familiar forms of the latter are crossbreeding and inbreeding according as mates are chosen which are less closely or more closely related than the average of the breed.The possibilities of inbreeding, followed by crossing, were exploited in the production of ‘ hybrid corn’ in U.S.A. and the success achieved led to the hope that similar methods might be successful in livestock breeding. Accordingly the Regional Swinebreeding Laboratory organised a programme of producing inbred lines of pigs and then crossing them. During the 12 years of this programme, about 90 inbred lines have been started and about 50 still survive. Inbreeding degeneration is greatest in those characters, such as fertility and viability, which have been subject to intense natural or artificial selection. The inbreeding decline in growth rate and economy of food utilisation is considerably less. When the lines are crossed in pairs the average performance of the first cross pigs is the same as that of the initial population.
Progeny Testing of Welsh Mountain Sheep
Authors: G. L. Williams  
Published: July 2016

The progeny test is generally regarded as an important aid to selection in livestock improvement. It is by no means a new method, but it seems to be in the limelight today. The usual methods of selection have brought us to a certain standard of performance, and apparently any further imporvement can only result through the application of the progeny test.It is worth pointing out that cattle, especially dairy cattle, pigs and poultry have received more attention by the scientist than sheep. This may be due to the fact that these animals are more under the direct control of the breeder than sheep. They require daily attention whereas a hill flock of sheep may not be seen for weeks or months by the breeder. Again one has definite objectives in view when breeding dairy cows or hens; one can weigh the milk and count the eggs but the task of the hill sheep worker is considerably more complicated.
Comparative Value of Three Sources of Vitamins A and D for Fattening Pigs
Authors: Barber R. S. , Braude R. , Coates M. E. , Harrison G. F. , Mitchell K. G. , Thompson S. Y. 
Published: July 2016

The efficacy of three sources of vitamins A and D supplements was tested in an experiment with fattening pigs involving the following four treatments :(1) Control—basal meal.(2) As control, but at one week of age the pigs had been given a single intramuscular injection of a commercial preparation, supplying 500,000 i.u. of vitamin A and 100,000 i.u. of vitamin D3.(3) Basal meal + 1 % cod-liver oil (containing 500 i.u./g. of vitamin A and 68 i.u./g. of vitamin 3), supplying 2,270 i.u. of vitamin A and 309 i.u. of vitamin D3 per lb. of diet.(4) Basal meal + synthetic vitamins A and D concentrate (containing 50,000 i.u./g. of vitamin A and 5,000 i.u./g. of vitamin D3), added to supply 2,250 i.u. of vitamin A and 300 i.u. of vitamin D3 per lb. of diet.The basal meal which was the standard fattening diet used at Shinfield consisted of: fine miller’s offal 50, barley meal 30, flaked maize 10, white fish meal 10, all parts by weight. It should be noted that the diet contained a precursor of vitamin A, and it was calculated that this would provide about one-third of the recommended allowance of vitamin A for fattening pigs.
Problems of hill sheep improvement
Authors: Doney J. Mackay 
Published: July 2016

For any programme of livestock improvement to be successful it is necessary to investigate the mode of inheritance of the various economic characters and their relative importance in the given set of circumstances. Many practical attempts at agricultural improvements have failed to give satisfactory results because the objective has not been well co-ordinated with the overall economic, environmental and even social conditions.In this paper the possibilities of genetic improvement of a flock of Welsh Mountain sheep will be reviewed in the light of the results of investigations carried on at the College Farm of the University College of North Wales, Bangor, from 1949 to 1955. The investigations were made to determine the relative values and mode of inheritance of several basic measurable characters in the flock of 600 breeding ewes managed under typical hill conditions.