Museum Data: CCO and Big CDWA

For educational purposes only. Do not distribute.

Cataloging in the Museum CCO, CDWA, and CDWA Lite for Cataloging Museum Objects

Patricia Harpring Managing Editor, Getty Vocabulary Program Revised June 2009

CCO/CDWA Audience

• CCO is intended for a diverse audience: VR collections, museums, archives, others who catalog cultural heritage • CCO includes minimum descriptive data used by both museums and VR collections

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

CCO/CDWA Audience • Many (most) issues are the same for museums and VR collections

Display vs. Indexing Subject indexing Creators, unknown creators Etc.

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

CCO/CDWA Audience

• VR collection places more emphasis on cataloging larger numbers of works and works from various repositories • VR collection needs more discussion re. relationships to and among images

CCO/CDWA Audience

• Museums are typically cataloging fewer works, all from their own collections

• Museums place less emphasis than VR collections on complex relationships between works and images, and between images and other images

CCO/CDWA Audience

• Museums’ whole/part relationships between works are driven by curatorial or conservation requirements, acquisition or loan issues, and storage of works in physical groups

CCO/CDWA Audience

• VR collection’s arrangement of whole/part relationships between works is driven by the users’ need to retrieve • E.g., if same artist did both the lid and the vessel, why make two separate records?

CCO/CDWA Audience

• Museums place more emphasis on certain details of recording and cataloging Recording information derived from direct examination of original works, e.g., measuring

• While VR collections are transcribing information from secondary sources

CCO/CDWA Audience

• No administrative data in CCO No Provenance, Conservation History, Exhibition History, etc. For these, see big CDWA

Registrar has traditionally applied standards and rules: local or based on CDWA

CCO provides prescriptive rules on the core set of descriptive data

Example: Work Type

Adding a work type or object name is a common practice when registrars create new object records in a system, for the primary reason stated in CCO: to “identify the kind of work or works being described” and to “establish the logical focus of the catalog record” (CCO, p. 48).

CCO & CDWA provide guidance for consistency regarding Curatorial Scholarship, which is a primary activity of museums

Collection Information Professionals: The Keepers and Protectors of All Collection Data

Whereas registrars are responsible for documentation and cataloging, collection information professionals are responsible for managing, preserving, and often for disseminating, this information. Additionally, they play a crucial role in ensuring that access to information about works of art is accomplished in an accurate, standards-compliant, consistent way. Ideally record the data once, and repurpose it for record keeping, hardcopy publications, online presentations of information

Issues for Museums in CCO/CDWA

• Issues are sometimes related to significant differences between CCO/CDWA and local practice • Local practice may be less than ideal, may be driven by technical limitations

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

Name of repository Required in CCO/CDWA Not necessary as a separate field in your local system (unless you have two sites) Construct the value when you port data in CCO/ CDWA-compliant form CCO compliant: Current Location: J. Paul Getty Museum (Los Angeles, California, USA) ID:90.PA.20

CCO/CDWA compliant: Creator display: unknown Parisian Creator display: unknown Parisian 15th century

Local preference for names of “unknowns”

Creating CCO/CDWA compliant data from existing data

Museum may port data into CCO/CDWA-compliant form by programming algorithms Also, keep in mind that such issues are superficial; the more important issues re. compliance concern which data you store in which fields, etc. Record data once, port it to multiple formats as necessary © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

Local preference for names of “unknowns”

Unknown created from culture field

CCO preference: unknown Italian

Museum may port data into CCO-compliant form by programming algorithms Also, keep in mind that such issues are superficial; the more important issues re. compliance concern which data you store in which fields, etc. Record data once, port it to multiple formats as necessary © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

Measurements Instructions re. how to measure How to display and index

• Suggested fields and rules in CCO but expanded version in CDWA © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

Museum must have rules for measuring the work, left and bottom for rectangles, largest dimensions for irregular shapes, diameter for circular objects, circumference of vessels, how to take “sight measurements,” measure plate and sheet, how to round numerical values, etc. Covered by CCO, expanded in big CDWA VR collection is generally transcribing information CCO and CDWA also explain how to express dimensions in a work record, which is applicable

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

Creating CCO/CDWA compliant data from existing data

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

Record once, publish many times Creating print and online versions of the data

See CDWA also

• Users can look to big CDWA for additional information in categories covered in CCO • Users can also look to big CDWA for further categories not covered in CCO because they are not descriptive data or not considered “core” for CCO • E.g., Provenance, Conservation history, Context • CDWA includes definition, discussion, rules for form and syntax, lists of terminology, and examples for each field

CCO has only minimal info re inscriptions Covered more thoroughly in big CDWA

Transcription or Description Type Author Location Typeface/Letterform Date Earliest Date Latest Date Remarks Citations Page © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

Inscriptions/Marks - Type E.g., rules and values to DEFINITION index the inscription type

The kind of inscription, stamp, mark, or text written on or applied to the work.

DISCUSSION and GUIDELINES Optional: Record a term indicating if there is an inscription and what kind of inscription it is.

Form and syntax Record terms in lower case. If this subcategory is used, it is a priority to note the presence or absence of inscriptions (e.g., inscribed or not inscribed). It is recommended to also record the specific type(s) of inscriptions or marks, particularly signatures and dates. An inscription may be of more than one type, as for example, when a work is both signed and dated.

Example of Inscription with indexing fields

Inscription/Mark: signed lower left: G. Belloni / PARIGI; dated verso, in an unknown later hand: gen.1890 Type: signed Author: Belloni, Giorgio (Italian painter, 1861-1944) Location: lower left Type: dated Author: unknown later hand Typeface/ Letterform: open letters Date: ca. 1950 Earliest Date: 1948 Latest Date: 1952

Description Transfer Mode Cost or Value Legal Status Owner/Agent Provenance not Role Place covered in CCO Date Of great importance Earliest Date to museums Latest Date Owner's Numbers Number Type Credit Line Remarks Citations Page

Ownership/Collecting History – Description CDWA Guidelines are DEFINITION informed by the suggestions The prose description of the provenance or historyin the of the AAM owners Guide or others to in possession of a work of art or architecture, or a Provenancegroup. Research Includes rules for prose DISCUSSION and GUIDELINES description Optional: Record the work's successive owners (or those who had possession of the work), from the first owner to the present, if known. The names of ancillary individuals or firms (agents, dealers, auction houses, consignees) which, while not technically owners, played a role in the transfer of the object from one owner to another, may also be included. Include notes on the relationship of one owner to another if this elucidates the chain of ownership. Indicate if information about the provenance or ownership of a work is speculative or uncertain.

Form and syntax List the owners in chronological order, from the earliest known owner until the present. Include the following information if known for each Owner/Agent: the dates of their ownership, the names of the owners, the location where the object was located, and the means by which the work© J. Paul Gettypassed Trust, author: from Patricia one Harpring. owner Do not distribute to another.or reproduce. Include the life datesImage: Bacock of Galleries online

Ownership/Collecting History - Transfer Mode

DEFINITION The means by which a work entered the collection of a particular individual or corporate body. Also includes EXAMPLES indexing fields and commission field collected terms for collection of artist long-term loan transfer original owner lost mode, etc. bequest stolen gift destroyed purchase auction looted exchange leased theft rented confiscated unknown transfer

DISCUSSION and GUIDELINES Optional: Record a term or terms describing the method of transfer

between one owner© J. Paul and Getty Trust,the author: other. Patricia Use Harpring. lower Do not distribute case. or reproduce.

Ownership/Collecting History: 1924, sold 21 October 1924 by the artist toExample of provenance (Galerie Bernheim-Jeune, Paris, France); from 1924, sold 24 October1. 1924 Date: to 1924 Georges Earliest: 1924 Latest: 1924 Transfer Bernheim (Paris, France); Mode: collection of artist Owner/Agent: Matisse, sold to Paul Rosenberg (Paris,Henri France); Role: artist Place: Paris (France) sold to (Pierre Matisse Gallery,2. Date: New 21 York, October 1924 Earliest: 1924-10-21 New York, USA); Latest: 1924-10-21 Transfer Mode: purchase 1951, sold 1951 to (Paul RosenbergOwner/Agent: and Co.,Galerie Bernheim-Jeune Role: New York, New York, USA);dealer Place: Paris (France) Alexandre Rosenberg (New3. York, Date: New from York, 24 October 1924 Earliest: 1924-10-24 USA); Latest: 1924-10-24 Transfer Mode: purchase ca.1977, sold to (Eugene VictorOwner/Agent: Thaw andBernheim, Georges Role: owner Co., New York, New York, USA);Place: Paris (France) 1978-1985, sold January 19784. Transfer to Mr. and Mode: Mrs.purchase Owner/Agent: Paul Mellon (Upperville, Virginia,Rosenberg, USA); Paul Role: owner Place: Paris (France) 5. Transfer Mode: purchase Owner/Agent: Pierre 1985-present, gift 1985 to National Gallery of Matisse Gallery Role: dealer Place: New York (New Art (Washington, DC, USA). York, USA) 6. Date: 1951 Earliest: 1951 Latest: 1951 Transfer

Henri Matisse; Pianist and Checker Players, 1924; oil on canvas, 73.7 x 92.4 cm (29 x 36 Mode: purchase Owner/Agent: Paul Rosenberg 3/8 inches); Collection of Mr. and Mrs. Paul Mellon. National Gallery of Art, Washington, DC; 1985.64.25 and Co. Role: dealer Place: New York (New York,

Condition description and indexing fields

Description • Condition is Type important to Agent museums Date • May not be Earliest Date displayed to end users Latest Date Place Remarks Citations Page

• Conservation info is important to museums • May be hidden from end users

Treatment Mount cleaned with vinyl eraser crumbs.

• Conservation info is included in CDWA • Description and indexing fields Description Type Agent Date Earliest Date Latest Date Place Remarks Citations Page

• E.g., rules and terminology for treatment type

inpainting repainting restoration relining preservation cleaning repair washing mounting consolidation stabilizing

• Example of conservation description with indexing fields

Four areas of context covered thoroughly in big CDWA: Events, archaeological context, architectural context, historical locations Events Event Identification Archaeological Context Date Discovery/Excavation Place Earliest Date Excavation Site Sector Latest Date Excavator Place Discovery/Excavation Date Agent Earliest Date Role Latest Date Cost or Value Historical Location Architectural Context Date Building/Site Earliest Date Part/Placement Latest Date Date Remarks Earliest Date Citations Latest Date Page © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

Example of Archaeological Context

Archaeological Context: Found in situ with other Mississippian artifacts. Discovery/Excavation Place: Angel Mounds State Historic Site (Evansville, Indiana) Excavation Site/Sector: B2-3456 Excavator: Glenn A. Black Laboratory of Archaeology, Indiana University (Bloomington, Indiana) Discovery/Excavation Date: 15 June 1974

Example is for illustration purposes only. Data is not necessarily accurate.

images from Glenn A. Black Laboratory of Archaeology online © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

• Loan and exhibition history is tracked by museums and covered in CDWA

Description Exhibition Title or Name Type Curator Organizer Sponsor Venue Name/Place Date Earliest Date Latest Date Object Number Number Type Object/Work Label/Identification Remarks Citations Page

Portrait of Indigenous Men, Lorenzo Becerril (1837-1904); albumen print, ca. 1890-1900; Getty Research Institute, 99.R.17 image from csuchico.edu

Example of Exhibition History

Portrait of Indigenous Men, Lorenzo Becerril (1837-1904); albumen print, ca. 1890-1900; Getty Research Institute, 99.R.17

CDWA even includes fields for the cataloging history of the work record

Cataloging Institution Cataloger Name Action Area of Record Affected Date Earliest Date Latest Date Remarks

Librarians will use AACR and MARC for bibliographical references CDWA includes categories for museums and others who do not use library rules Not incompatible with AACR, but more friendly to museums/scholars, e.g., BHA records

• Copyright considered administrative, not descriptive • Therefore not covered in CCO • CDWA deals with copyright and other protection of the work itself • And also with rights concerning the image of that work

images from Brown University and MIT online Warrior, Jerome Bushyhead, Acrylic Paints, image: http://www.artnatam.com/bhead/n-jb008.html

Examples of CDWA copyright information for a work

Warrior, Jerome Bushyhead, Acrylic Paints, image: http://www.artnatam.com/bhead/n-jb008.html Other images from National Gallery of Art Washington online.

• Copyright of the image discussed in Related Visual Documentation

• Images: Covered by VRA Core, this section of CDWA maps to VRA Core • But with extensive cataloging rules here in CDWA, • Maybe friendlier for Museums

http://www.getty.edu/research/conducting_research/standards/cdwa Categories for the• CoreDescription categories of coveredWorks ofin CCOArt • CDWA generally has additional 512 subcategories,fields 31 categories where there is overlap • Somewhat less extensive rules X Object/Work whereX thereContext is overlap X Classification X Descriptive Note • CDWA has additional categories X Titles or Names X Critical Responses X Creation X Related Works X Styles/Periods/Movements X Current Location X Measurements X Copyright/Restrictions X Materials and Techniques X Ownership/Collecting History X Inscriptions/Marks X Exhibition/Loan History X State X X Edition Cataloging History X Facture X Related Visual Documentation X Orientation/Arrangement X Related Textual References X Physical Description X Person/Corporate Body Authority X Condition/Examination History X Place/Location Authority X Conservation/Treatment History X Generic Concept Authority X Subject Matter X Subject Authority

Sharing Data: CDWA Lite

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

• Based on the required fields, structure, guidelines discussed in CDWA • Informed by the cataloging rules in CCO

CDWA Lite: Origins

• CDWA Lite, an XML schema to describe core records for works of art and material culture, intended for contribution to union catalogs and other repositories using the Open Archives Initiative (OAI) harvesting protocol

CDWA Lite: Origins The Need: A data content standard specifically designed for unique cultural works, and a technical format for expressing this data in a machine-readable format. The Goals: • To reduce overhead for contributing to union catalogs/service providers • To reduce labor and “delivery” costs • To ensure a mechanism for updating data • To include links from contributed metadata back to records in their “home” context

CDWA Lite

The Players

XML schema developers (Getty & ARTstor) Data provider/contributor (in this case, the Getty Museum and Getty Research Institute) Service provider/content aggregator (in this case, ARTstor) “Internal service provider” (in this case, Getty Web Group, Getty Research Institute information systems department)

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

Published in 1996 Art Information Task Force (AITF) J. Paul Getty Trust College Art Association (CAA)

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

X Art Information Task Force (AITF) included art historians, museum professionals, visual resource professionals, archivists, and librarians X Consensus on categories of information for describing works of art, architecture, and other material culture For communities that use and create art information

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

X art works and material culture from all periods and all geographic areas ¾ paintings ¾ manuscripts ¾ works on paper ¾ furniture ¾ sculpture ¾ decorative arts ¾ ceramics ¾ performance art ¾ metalwork ¾ architecture ¾ artifacts ¾ volumes ¾ photographs ¾ groups X visual “surrogates” of works of art and objects ¾ photographs ¾digital images ¾ slides ¾videotapes

CDWA 31 Broad Categories

X Object/Work X Styles/Periods/Movements X Classification X Subject Matter X Orientation/Arrangement X Context X Titles or Names • Art,X architecture,Exhibition/Loan History cultural X State objectsX Related Works X Edition • CDWAX Related includes Visual discussions, Documentation basic X Measurements guidelinesX Related for Textualcataloging, References and X Materials and Techniques examples X Facture X Critical Responses X Physical Description X Cataloging History X Inscriptions/Marks X Current Location X Condition/Examination History X Descriptive Note X Conservation/Treatment History X Person/Corporate Body Authority X Creation X Place/Location Authority X Ownership/Collecting History X Generic Concept Authority X Copyright/Restrictions X Subject Authority

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

CDWA 31 Broad Categories

X Object/Work X Styles/Periods/Movements X Classification X Subject Matter X Orientation/Arrangement X Context X Titles or Names • Includes over 530 subcategories X Exhibition/Loan History X State • ExhaustiveX Related Worksfor given scope X Edition • small subset of categories are X Related Visual Documentation X Measurements considered core in that they X Related Textual References X Materials and Techniques represent the minimum information X Facture necessaryX Critical to identifyResponses and describe a X Cataloging History X Physical Description work X Inscriptions/Marks X Current Location X Condition/Examination History X Descriptive Note X Conservation/Treatment History X Person/Corporate Body Authority X Creation X Place/Location Authority X Ownership/Collecting History X Generic Concept Authority X Copyright/Restrictions X Subject Authority

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

CDWA Entity Relationship Diagram Data Structure

Person/ Related Visual Corporate Body Documentation Authority

Place/Location Authority GenericGeneric Object/ ConceptConcept Work IdentificationIdentification Related Textual Generic Concept Records Documentation Authority

Subject Authority SubjectSubjectX Links include IdentificationIdentificationX object/work to another object/work, groups X related “authorities” Entity RelationshipX Diagramrelated images,for CDWA sources © J. Paul Getty Trust

CDWA Entity Relationship Diagram Data Structure

Person/ Related Visual Corporate Body Documentation Authority

Place/Location Authority GenericGeneric Object/ ConceptConcept Work IdentificationIdentification Related Textual Generic Concept Records Documentation Authority

Subject Authority SubjectSubject CCO entity relationship IdentificationIdentificationdiagram is the same as CDWA

Entity Relationship Diagram for CDWA

CCO Entity Relationship Diagram Data Structure

Person/ Related Visual Corporate Body Documentation Authority

Place/Location Authority GenericGeneric Object/ ConceptConcept Work IdentificationIdentification SourcesRelated Textual Generic Concept Records Documentation Authority

Subject Authority SubjectSubject CCO entity relationship IdentificationIdentificationdiagram is the same as CDWA

Entity Relationship Diagram for CDWA

CCO Elements (categories of data)

Chapter 1: Object Naming Chapter 6: Subject Work Type / Title Subject Chapter 2: Creator Information Chapter 7: Class Creator / Creator Role Class Chapter 3: Physical Characteristics Chapter 8: Description Measurements / Materials and Description / Other Descriptive Techniques / Notes State and Edition/ Additional Chapter 9. View Information Physical Characteristics View Description / View Type / Chapter 4: Stylistic and View Subject / View Date Chronological Information Authority 1: Personal and Style / Culture / Date Corporate Name Authority Chapter 5: Location and Geography Authority 2: Geographic Place Current Location / Creation• CCO is moreAuthority prescriptive than CDWA Location / Discovery Location/• Less comprehensiveAuthority with3: Concept 116 elements Authority vs. Former Location 385 subcategoriesAuthority 4: Subject Authority • Based on the CDWA core and the VRA Core Categories • Published by ALA

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

http://www.getty.edu/research/conducting_research/standards/intrometadata/index.html Mapping data categories/elements

The CDWA and CCO map to other standards Metadata Standards Crosswalk

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

http://www.getty.edu/research/conducting_research/standards/intrometadata/index.html Mapping data categories/elements

CDWA CCO CDWA Lite

OBJECT/ WORK (core) . .

Object/ Work - Catalog Record . Level Type Object/Work-Type Work Type cdwalite:objectWorkT (core) ype

CDWA/CCO required categories were mapped to an XML schema = CDWA Lite

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

THE PROCESS: A simple diagram of how the CDWA Lite metadata records as well as the digital images were harvested by ARTstor.

What Is Harvesting?

Harvesting is the process of collecting metadata records from different repositories and presenting it in a “union” environment The innovation in this project: images as well as metadata are harvested

What Is Harvesting?

OAI-Protocol for Metadata Harvesting (OAI-PMH)

Defines a mechanism for harvesting records containing metadata from repositories, based on the open standards HTTP (Hypertext Transport Protocol) and XML (Extensible Markup Language).

• ARTstor records for Getty Museum object (from UC San Diego Slide Library catalogue) • Two different records, images for the same work

Standard “CDWA Lite” record exported from museum collection management system, “harvested” along with images from getty.edu Web site

Why start with a new standard?

OAI-PMH has traditionally relied upon Dublin Core as the descriptive metadata element set to use for the harvesting protocol DC is not designed, nor is it particularly effective in helping to represent works from the cultural heritage community • CDWA-Lite: A New XML Schema for the Cultural Heritage Community Data Content Standard = Cataloging Cultural Objects (CCO) Data Structure Standard = Categories for the Description of Works of Art (CDWA) Data Format Standard (technical expression) = CDWA Lite XML Schema

Objectives The Getty and ARTstor wanted to develop a replicable, standards-based way for institutions to contribute data and images relating to cultural heritage collections to union catalogs like ARTstor’s Image Gallery (and OCLC’s WorldCat, RLG’s Cultural materials, etc.) To ensure dissemination of authoritative, up-to-date information on collections To facilitate open access to collections information

Objectives (continued) Develop a data dictionary (spec.) & related XML schema suited to representing cultural objects, based on appropriate data structure (CDWA) & data content (CCO) standards Reduce overhead for contributing to union catalogs/service providers: do it once, do it right, share it with everybody Reduce labor and “delivery” costs Ensure a mechanism for updating data Include links from metadata back to records in their “home” context

Mapping data categories/elements

What is XML? "Extensible Markup Language" was developed by the World Wide Web Consortium (WC3) to provide rules for a structure and semantics for information exchange that would allow information to be encoded in a way that computers could understand and humans could read.

Uses tags in a structure to identify the data.

• CDWA/CCO required categories mapped to XML schema = CDWA Lite

Mapping data categories/elements ¾Tag in angled brackets = ¾data (here blue) painting ¾end of data indicated with slash and repeat the tag name¾May add attributes, e.g., source of the term = termsource ¾place this inside the tag, distinguishing it from data ¾May nest tags insidepainting each other, forming the structure painting painting • CDWA/CCO required altarpieceXML schema = CDWA Lite

CDWA LITE ELEMENTS

CDWA Lite is divided into descriptive metadata for the work,and administrative metadata

CDWA LITE ELEMENTS

DESCRIPTIVE METADATA 1. Element: Object/Work Type Wrapper 1.1. Sub-element: Object/Work Type 2. Element: Title Wrapper

2.1. Sub-element:ADMINISTRATIVE Title Setand RESOURCE METADATA 2.1.1. Sub-element: Title 2.1.2.20. Sub-element: Element: Rights Source for ofWork Title 3. Element:21. Element: Display Record Creator Wrapper Etc.21.1. Sub-element: Record ID 21.2. Sub-element: Record Type 21.3. Sub-element: AdministrativeRecord Source metadata, e.g., copyright, information Etc. about the image, etc.

CDWA LITE ELEMENTS

DESCRIPTIVE METADATA 1. Element: Object/Work Type Wrapper 1.1. Sub-element: Object/Work Type 2. Element: Title Wrapper 2.1. Sub-element: Title Set 2.1.1. Sub-element: Title 2.1.2. Sub-element: Source of Title 3. ¾Element:CDWA Display Lite focuses Creator on descriptive data for Etc.Works ¾ Images included, but not emphasized ¾ Authority/controlled vocabulary information is included, but structure of the authorities is not

CDWA LITE ELEMENTS

Etc.¾ CDWA Lite is designed so it could eventually be a subset of a bigger XML schema for the full CDWA ¾ Wrappers and Sets organize related elements © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

CDWA LITE ELEMENTS¾Users are referred back to CCO and CDWA for cataloging guidance

4.6. Sub-element: Attribution Qualifier Creator Element tag: Description: A qualifier used when the attribution is uncertain, is in dispute, when there is more than one creator, when there is a former attribution, or when the attribution otherwise requires explanation. Repeatable Not required Data values: attributed to, studio of, workshop of, atelier of, office of, assistant of, associate of, pupil of, follower of, school of, circle of, style of, after, copyist of, manner of, used according to the recommendations in CCO and CDWA. © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

1.1. Sub-element: Object/Work Type Element tag: Description: A term or terms identifying the specific kind of object or work being described. For a collection, include repeatable instances for terms identifying all of or the most important items in the collection. Attributes: termsource, termsourceID Repeatable Required Data values: Controlled. Recommended AAT

Tagging examples: ¾ The description, attributes, whether or not it is repeatable rhyton or required, how it is to be controlled are all based on CDWA and CCO painting

Vocabulary control in CDWA Lite

¾User is referred back to CDWA and CCO ¾Free text display fields, syntax and other rules are recommended, but vocabulary not controlled

Data values: Formulated according to data content rules for the Description element in CCO and CDWA.

Vocabulary control in CDWA Lite

¾User is referred back to CDWA and CCO ¾Free text display fields, syntax and other rules are recommended, but vocabulary not controlled ¾Format control Data values for value: whole numbers or decimal fractions.

Vocabulary control in CDWA Lite

¾User is referred back to CDWA and CCO ¾Free text display fields, syntax and other rules are recommended, but vocabulary not controlled ¾Format control ¾Controlled lists for short lists of vocabulary Data values: attributed to, studio of, workshop of, atelier of, office of, assistant of, associate of, pupil of, follower of, school of, circle of, style of, after, copyist of, manner of, used according to the recommendations in CCO and CDWA.

Vocabulary control in CDWA Lite

¾User is referred back to CDWA and CCO ¾Free text display fields ¾Format control ¾Controlled lists ¾Authorities: Local authorities should be populated with terms/names from published vocabularies (e.g., AAT) as well as local terminology; authorities would include synonyms and hierarchical structure

CDWA¾ LITEDisplay ELEMENTS and indexing guidelines in CCO and CDWA are carried through to CDWA Lite 7. lacquered iron and leather, with silk, and copper-gilt; stenciled leather breastplate

8.1. breastplate leather lacquering Do not distribute or reproduce. Image from www.metmuseum.org

CDWA LITE ELEMENTS¾ Some biographical data for the artist is included ¾May be stored in an authority 4.1. (Person/Corporate Body Authority) Tacca, Pietro Grove Dictionary of Art (1996) Italian 1577-1640 male caster

CDWA LITE ELEMENTS ¾ Relationships between works included: whole/part, others

19. Related Works preparatory for Giovanni Battista de’ Cavalieri (Italian, ca. 1525-1601); Urbis Romae aedificiorum illustrium, published 1569; plate 7 based on Lafréry, Antonio (French, 1512-1577); Speculum romanae magnificentiae; published 1545-1577

Image © Janson, H.W., History of Art. 3rd edition. New York: Harry N. Abrams, Inc., 1986, plate 64 2344 black-and-white slide historical image Janson, H.W., History of Art. 3rd edition. New York: Harry N. Abrams, Inc., 1986, plate 54 frontal view, from below before 1962 • Some information about the image (“resource”)

CCO/CDWA Relationships

Work Type Title Creator Creation Date Subject Current Location Measurements Materials

Single item record

Vase of Flowers. Jan van Huysum (Dutch, 1682-1749). 1722. Oil on panel, 31 1/4 x 24 inches (79.4 x 60.9 cm). J. Paul 2009 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. Getty Museum (Los Angeles, CA), 82.PB.70. © 2009 J. Paul Getty Trust. All rights reserved.

CCO/CDWA Relationships

Components

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

CCO/CDWA Relationships Record Type [controlled]: group Class [controlled]: tools and implements Pre-Columbian art *Work Type [link]: arrowheads kirk points netting *Title: Group of Points from Bannerstone Site (20 MR 52) *Creator Display: unknown Archaic (Great Lakes) *Role [link]: creators [link]: unknown Archaic Culture [link]: Archaic (Great Lakes, North American) *Creation Date: Archaic period (7,500 to 2,400 before present) [controlled]: Start: -5500 End: -0400 *Subject [links]: objects (utilitarian) hunting warfare *Current Location [link]: University of Michigan, Museum of Anthropology (Ann Arbor, Michigan, USA) ID: unavailable Discovery Location [link]: Great Lakes region (USA) *Measurements: 56 items, lengths range 36 mm to 64 mm (1 3/8 to 2 1/2 inches) [controlled]:Extent: items Value:56 Type:count | Qualifier: smallest Value: 36 Unit:mm Type:length | Qualifier: largest Value:64 Unit:mm Type:length *Materials and Techniques: flint, vitric tuff, and rhyolite Material [links]: flint tuff rhyolite Description: 20MR51.02: Kirk point, vitric tuff, corner-notched stemmed, distal portion missing Description Source [link]:Ahler, Stanley A. Knife River Flint Quarries: Excavations at SiteGroup-level 32DU508. Bismarck: Staterecord Historical Society(e.g., of specialNorth Dakota, 1986. collections, archives)

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

Work Record Record Type [controlled]CCO/CDWA:group Class [controlled] Relationships: prints and drawings American art *Work Type [link]: design drawings models *Title: Pei’s Drawings and Models for the East Building, National Drawings and other Gallery of Art *Creator Display: I. M. Pei & Partners (American, established documents from the 1955); chief architect: I. M. Pei (American, born in China in 1917) office of I.M. Pei for the *Role [link]: architectural firm [link]: I. M. Pei & Partners *Role [link]: chief architect [link]: Pei, I. M. East Building, National *Creation Date: 1968-1978 (inclusive dates) Gallery of Art [controlled]: Qualifier: inclusive Start: 1968 End: 1978 *Subject [links]: East Building, National Gallery of Art Early drawings (Washington, DC, USA) Later drawings *Current Location [link]: Archives, National Gallery of Art (Washington, DC, USA) ID:unavailable Architectural models *Measurements: 152 items; various dimensions [controlled] Extent:items Value: 152 Type: count *Materials and Techniques: various Description: 152 design drawings and models for the East Building project that I. M. Pei & Partners gave to the archives of the National Gallery of Art in 1986. Related Work: Relationship Type [controlled]: depicts [link to Work Record]: Pei, I. M. (American, born 1917 in China); East Building, National Gallery of Art (Washington, DC, USA); completed in 1978

Images: Copyright © 2009 National Gallery of Whole/part relationships Art, Washington D.C. 1. I. M. Pei. Early conceptual sketch for building plan, National Gallery of Art East Building. Fall 1968. Crayon and graphite on tracing paper. 2. I. M. Pei & Partners. National Gallery of Art East Hierarchical relationships between Building Design Team. Working studies. ca. October 1968. Felt-tip pen on tracing paper. 3. I. M. Pei & Partners. National Gallery of Art East Building Design Team. Study, "Stepping groups, sub-groups, and items down the geometry for light." Pen on tracing paper. 4. I. M. Pei & Partners. Scale model of East and West Buildings showing final 2009 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. design for Third Street facade, spring 1971.

CCO/CDWA Relationships Traveling Tea Service Teapot Tea Caddy Japanese Imari Sugar Bowl and Cover Chinese Famille- Verte Tea Bowl and Saucer Silver-mounted Scent Flask Two Spoons Wooden Box

Whole/Part Records for a set Image:from Museum of Fine 2009 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. Arts, Boston. www.mfa.org

Work Record CCO/CDWA Relationships Record Type [controlled]: series Class [controlled]: prints *Work Type [link to authority]: color woodcuts *Title : Thirty-six Views of Mount Fuji: First Series Alternate Title: First Series: Mt. Fuji Views *Creator Display: Katsushika Hokusai (Japanese, 1760–1849); Published by WorkEijudo JapanRecord *Role [controlled]:Record painter Type [link]: [controlled] Hokusai,:item Katsushika Class Role: [controlled][cont.] : prints and drawings Asian art publisher [link]: *WorkEijudo Type Japan[link]: color woodcut *Creation Date *Title 1827-1837: Great [controlled]: Wave at Start:Kanagawa1827 End: 1837 *Subject [links]Title: InMount the FujiHollow ocean of a Wavegenre off scenes the Coastmeisho- at Kanagawa Title Type:alternate e *Creator Display: Katsushika Hokusai (Japanese, 1760-1849); published by *Current LocationNishimura [link to authority]:Eijudo (Japnotanese, applicable 19th century) Style: Edo *Role [link]: printmaker [link]: Hokusai, Katsushika *Measurements:*Role 36 prints,[link]: publisheraverage plate size:[link] 24: Nishimura x 37 cm Eijudo [cont.] Extent: *Creation items Value: Date: 36 Unit:ca. N/A 1831/1833 Type: count [controlled]: Start: 1828 End: 1836 Qualifier: average *Subject dimensions[links] Extent:: seascape plate mark waveValue: 24 fishermen Unit: cm boat Mount Fuji (Chubu, Type: heightJapan) Value: 37 KanagawaUnit: cm Type: (Kanto, width Japan) *Materials and StyleTechniques: [link]: Edo woodcuts, polychrome ink and color on paper Culture [link]: Japanese [link] ink color*Current (pigment) Location paper [link] woodcuts: Metropolitan Museum of Art, New York, New York, Description: HokusaiUSA) ID: producedJP1847 two series of Views of Mt. Fuji. This is the first series. *Measurements: 25.7 x 37.9 cm (10 1/8 x 14 15/16 inches) [controlled]: Value: 25.7 Unit:cm Type:height | Value: 37.9 Unit:cm Type:width *Materials and Techniques: woodcut, polychrome ink and color on paper Material [links]: polychrome ink paper color (pigment) Technique [links]: Whole/Partwoodcut Records Description: The large wave dominates the scene, with the small mountain in for a theseries background. and Ita is part said to have inspired said to have inspired both Debussy's

"La Mer" and Rilke's2009 © J. Paul"Der Getty Trust, Berg." author: Patricia Harpring. Do not distribute. Rlti hi

2009 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. CCO/CDWA Relationships Related Records pendant of, copy of, etc.

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

Between Work and Image Records

CDWA LITE ELEMENTS ¾ Relationships between works included: whole/part, others

19. Related Works http://www.getty.edu/research/conducting_research/finding_aids/jnb rown.html part of Jean Brown papers, 1815-1995 (bulk 1916-1985). Jean Brown (American 1911-1994). Special Collections, Getty Research Institute (Los Angeles, California, USA)

Image: Ay-o, Tactile Box, 1963

CDWA LITE ELEMENTS ¾ Relationships between works included: whole/part, others

Dosso Dossi, from the Uffizi, Florence

Examples of data CDWA/CCO: Work Type

X Classification*: Textiles Work type identifies X Object/Work Type*: mola what the work is X Title or Names*: Kuni Mola

g X Creation-Creator*: unknown Kuni e

X Role*: artist t

X Creation-Date*: ca. 1922 w Creation-Date*: .

X s X Subject Matter*: squirrels; trees; cages .

i X Current Location*: National Museum of the n Current Location*: d

American Indian (New York); 19/8402 t

m X Measurements*: 52 x 69 cm X Materials and Techniques*: cotton appliqué X Descriptive Note: One side depicts squirrels perched in trees, the other side shows squirrels in cages.

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

Examples of data ¾ Examples show tags ¾ Mimimum and fuller CDWA LITE ELEMENTS

Data values: Controlled. Recommended AAT Tagging examples: mola

painting altarpiece

Images: NMAI; Getty Museum, Cenni di Francesco di Ser Cenni

Examples of data CDWA/CCO: Title

XX ClassClass:: printsprints andand photographsphotographs XX *Work*Work TypeType:: gelatin gelatin silversilver printprint Title discusses X *Title: Chez Mondrian X *Title: Chez Mondrian standard titles XX **CreatorCreator Display:Display: AndréAndré Kertész Kertész (American, (American, 1894-1894- 1985)1985) XX **RoleRole:: photographerphotographer XX **CreationCreation DateDate*:*: 19261926 XX **SubjectSubject:: interiorinterior view,view, staircase,staircase, door,door, light,light, flower,flower, vasevase XX **CurrentCurrent LocationLocation:: J.J. PaulPaul GettyGetty Museum,Museum, LosLos AngelesAngeles ID:ID:86.XM.706.1086.XM.706.10 XX **Measurements:Measurements: image:image: 10.910.9 xx 7.97.9 cmcm (4(4 5/165/16 xx 33 1/81/8 inches)inches) XX **MaterialsMaterials andand Techniques:Techniques: gelatingelatin silversilver printprint XX Description:Description: CharacteristicCharacteristic ofof hishis workwork asas “Naturalist-“Naturalist- Surrealist,” it combines prosaic observations of life 2009Surrealist,” © J. Paul Getty Trust,it author: combines Patricia Harpring. Dopros not distribute.aic observations of life combinedbi d with ith surrealistic li ti perspective ti

¾ Class:Examples architecture of data © 2009 J. Paul Getty Trust CDWA/CCO: Title ¾ *Work Type: memorial ¾ *Title: Lincoln Memorial ¾ *Creator Display: architect Henry Bacon (American, 1866- Title discusses 1924) and sculptor Daniel Chester French (American, 1850-1931) standard titles Also deals with names ¾ *Creation Date: designed 1911-1912; constructed 1914- 1922 and other appellations for works that have no ¾ *Subject: commemoration honor Abraham Lincoln title per se ¾ *Location: Washington (DC, USA) ¾ *Materials and Techniques: Exterior: Colorado Yule marble; Tripods: Pink Tennessee marble; Interior walls and columns: Indiana limestone; Ceiling: Alabama marble saturated with paraffin for translucency; Floor and wall base: Pink Tennessee marble; Pedestal and platform for statue: Tennessee marble; Statue: White Georgia marble

¾ *Description: Design was influenced by the Greek Parthenon. Built into the design are symbols of Union like the 36 exterior Doric columns representing the 36 states in the Union at the time of Lincoln's death… Image: ©Encyclopedia Britannica Online, accessed 1

Examples of data © 2009 J. Paul Getty Trust CDWA/CCO: Title Work Record Record Type [controlled]: item Class [controlled]: prints and drawings American art *Work Type [link]: design drawing competition drawing Title discusses *Title: Temple Design for the Lincoln Memorial standard titles *Creator Display: architect: Henry Bacon (American, 1866- Also deals with names 1924); draftsman: Jules Guéren (French, 19th-20th century) and other appellations *Role [link]: architect [link]: Bacon, Henry *Role [link]: draftsman [link]: Guéren, Jules for works that have no *Creation Date: 1912 [controlled]: Start: 1912 End: 1912 title per se *Subject [links]: architecture Lincoln Memorial (Washington, DC, USA) elevation Culture [link]: American *Current Location [link]: National Archives and Record Administration (Washington, DC, USA) ID:unavailable *Measurements: unavailable *Materials and Techniques: ink and watercolor on paper Material [links]: ink watercolor paper Related Work: Relationship Type [controlled]: depicts [link to Work Record]: Lincoln Memorial (Washington, DC, USA); Henry Bacon (American architect, 1866-1924) and Daniel Chester French (American sculptor, 1850-1931), 1915-1922

Y Work Record X Class*: tools and implements Pre-Columbian art Title discusses X Work Type*: bannerstone standard titles Also deals with names X Title *: Bannerstone and other appellations X Creator Display*: unknown Woodland Indian for works that have no X Creation Date*: Late Archaic Period title per se X Subject*: object (utilitarian) prestige hunting war X Current Location*: Gordon Hart Collection (Bluffton, Indiana) X Measurements*: 9.7 x 5 cm (3 7/8 x 2 inches) X Materials and Techniques*: banded slate X Description: Bannerstones formed part of an atlatl (spear-thrower). This one is carefully made and of decorative material and thus was probably a status symbol.

2009 © J. Paul Getty Trust, author: Patricia Harpring. Do Image from Brose, D., et al. Ancient Art of the American not distribute. Woodland Indians. New York: Harry N. Abrams, Inc., 1985

WorkExamples Record of data © 2009 J. Paul Getty Trust CDWA/CCO: Title Record Type [controlled]: item Class [controlled]: prints and Title drawings European art *Work Type [link]: poster lithograph *Title: Chat Noir Title: Poster of a Black Cat, for the Reopening of the Chat Thé ophile-Alexandre *CreationNoir Date: 1896 [controlled]: Start: 1896 End: 1896 *Subject [links]: advertising/commercial animal Chat Noir (cabaret) Rodolphe Salis (French performer, 1851-1897) shadow theater Poster Culture [link]: French *Currentof a Black Location Cat, [link] :for Santa the Barbara Reopening Museum of of Art the (Santa Barbara, California,Chat Noir USA) Cabaret ID:1991.17 Creation Location[link]:: Montmartre (Paris, France) Multiple titles *Measurements: 61.6 x 39.62 cm (24 1/4 x 15 5/8 inches) Former titles, [controlled]: Value: 61.6 Unit:cm Type:height | Value: 39.62 Unit:cm Type:width descriptive titles, *Materials and Techniques: lithograph inscribed titles, Material [links]: paper Technique [links]: lithograph Inscriptions: along right side and bottom: Prochainement / la trèsillustretranslated titles Compagnie du / Chat / Noir / avec / ses Piècesd'Ombres/ Célèbres, ses Poëtes / ses Compositeurs2009/Avec/ © J. Paul Getty RodolpheTrust, author: PatriciaSalis Harpring. /Do Steinlennot distribute.

X Class: paintings X Class: paintings © 2009 J. Paul Getty Trust XX **WorkWork TypeType:: paintingpainting CDWA/CCO: Measurements / Materials and XX **TitleTitle:: IrisesIrises Techniques / State and Edition / Inscriptions XX **CreatorCreator DisplayDisplay:: VincentVincent vanvan GoghGogh (Dutch(Dutch painter,painter, 1853-1853- 1890)1890) XX Role:Role: painterpainter XX NameName [link[link toto authority]:authority]: Gogh,Gogh, VincentVincent vanvan XX **CreationCreation DateDate:1889::1889 XX **SubjectSubject:: irisesirises regenerationregeneration soilsoil naturenature XX **CurrentCurrent LocationLocation:: J.J. PaulPaul GettyGetty MuseumMuseum (Los(Los Angeles,Angeles, California,California, USA)USA) ID:ID:90.PA.2090.PA.20 XX CreationCreation LocationLocation :: Saint-RémySaint-Rémy (Provence-Alpes-Côte (Provence-Alpes-Côte d'Azur,d'Azur, France)France) XX **Measurements:Measurements: 7171 xx 9393 cmcm (28(28 xx 3636 5/85/8 inches)inches) XX ValueValue:: 7171 UnitUnit:: cmcm TypeType:: heightheight XX ValueValue:: 9393 UnitUnit:: cmcm TypeType:: widthwidth XX **MaterialsMaterials andand Techniques:Techniques: oiloil onon canvas,canvas, appliedapplied withwith brushbrush andand palettepalette knifeknife XX MaterialMaterial:: oiloil paintpaint canvascanvas XX Technique:Technique:palettepalette knifeknife Display and Indexing brushbrush XX Inscription:Inscription: signed,signed, lowerlower right:right: VincentVincent XX Description:Description: ThisThis workwork waswas paintedpainted whenwhen thethe artistartist waswas Authority controlled recuperatingrecuperating fromfrom aa severesevere attackattack ofof mentalmental illness,illness, andand itit depictsdepicts thethe gardengarden atat thethe asylumasylum atat Saint-Rémy.Saint-Rémy. ItIt isis © 2009 J. Paul Getty Trust influencedinfluenced by by the the work work of of Gauguin Gauguin and and Hokusai Hokusai and and is is

CDWA¾ LITEDisplay ELEMENTS and indexing guidelines in CCO and CDWA is carried through to CDWA Lite

7. Element: Display Materials/Techniques Element tag: Description: An indication of the substances or materials used in the creation of a work, as well as any implements, production or manufacturing techniques, processes, or methods incorporated in its fabrication, presented in a syntax suitable for display to the end-user and including any necessary indications of uncertainty, ambiguity, and nuance. For works on paper, descriptions of watermarks may also be included. (For marks applied to the work or support by the artist or subsequently by another person, see Inscriptions.) 8.1. Sub-element: Indexing Materials/ Techniques Set Element tag: Description: Materials and techniques indexed with controlled terms for retrieval; if multiple parts of the work require separate materials and techniques, or if you are recording media and support separately, repeat this element with the type attribute and/or the extent sub-element

CDWA¾ LITEDisplay ELEMENTS and indexing guidelines in CCO and CDWA are carried through to CDWA Lite 7. lacquered iron and leather, with silk, and copper-gilt; stenciled leather breastplate

8.1. breastplate leather lacquering Image from www.metmuseum.org

XX ClassificationClassification**:: PaintingsPaintings andand ScultpureScultpure Style may be XX Object/WorkObject/Work TypeType**:: bronzebronze (sculpture)(sculpture) included X Title or Names*: Unique Forms of X Title or Names*: Unique Forms of CDWA/CCO: Style / ContinuityContinuity inin SpaceSpace Style / XX CreationCreation-Creator/Role-Creator/Role**:: artist/sculptor:artist/sculptor: Culture Boccioni,Boccioni, UmbertoUmberto (1882-1916)(1882-1916) XX CreationCreation-Date-Date**:: 19131913 XX SubjectSubject MatterMatter**:: striding,striding, walking,walking, movementmovement inin artart XX Style:Style: XX CurrentCurrent LocationLocation**:: MoMA,MoMA, NewNew YorkYork Futurist Image © The Saint Louis Art Museum 2009 XX MeasurementsMeasurements**:: 4343 1/2”1/2” (height) (height) Image from MoMA Web MoMAsite from Image Web XX MaterialsMaterials andand TechniquesTechniques**:: bronzebronze XX DescriptiveDescriptive Note:Note: TheThe FuturistFuturist movement’smovement’s idealsideals werewere dynamism,dynamism, progress,progress, andand ......

Class: Asian art calligraphy painting For an item *Work Type: handscroll *Title: Viewing the Waterfall at Longiu Range of dates *Creator Display:* primary painter and calligrapher was Dai Xi, Uncertainty, “ca.” with additional inscriptions and colophons added by other officialsprobably between 1847 and 1849 *Creation Date: probably between 1847 and 1849 Start: 1847 End: 1849 Style: Wen ren CDWA/CCO: Date *Subject: waterfalls landscape pine1847 treespoetry Longqiu/Lung-ch'iu (Dragon Pool) Yentang shan (Mount Yentang) mountains Mountain of Myriad Geese *Current1849 Location: Department of Asian Arts, The Saint Louis Art Museum ( Saint Louis, Missouri, USA) ID: 7:1985 Creation Location: Beijing (China) Image © The Saint Louis Art Museum 2009 *Measurements:31.9 cm x 133.9 cm *Materials and Techniques: ink on paper, in a brocade cover with calligraphies written on separate sheets Inscriptions: inscribed with the colophons and encomia of the artist and several other collaborators: Dai Xi, Luchuang Juren , Lun An, Meng Xin, Shun Qi, Shun Shi, Shun Si, Song Ping, Yu An, Jing Dong Juren, and Wen Jie Description: This is an example of the Wen re style, where the work, comprising painting, poetry, and calligraphy, was created by scholars and gentlemen, rather than professional painters or craftsmen. Dai Xi and the others involved with the creation were scholar-officials at the imperial court or its offices in the provinces... 2009 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Work Record Record Type [controlled]: collection Class [controlled]: photographs European For a art collection or *Work Type[link]: albumen prints 1888- *Title: Views1894 of Paris (inclusive and Environs anddates) the Exposition Universelle group *Creator Display: Neurdein Frères (French, active late 19th-early 20th centuries) *Role [link]: photographers [link]: Neurdein Frères Bulk or *Creation Date: 1888-1894 (inclusive dates) inclusive dates [controlled]: Qualifier: inclusive Start:1888 End: 1894 *Subject [links]: architecture views Paris (France) International Exposition of 1889 (Paris, France) Versailles Palace (Versailles,inclusive France) (Paris, France) Parc du Champ de Mars (Paris, France) travel *Current Location [link]: Getty Research Institute, Research Library, Special Collections (Los Angeles, California, USA) ID:188893-F101 *Materials and Techniques: albumen prints Technique [links]: albumen prints * Measurements:37 photographic prints; 1894images 13 x 19 cm (5 1/8 x 7 1/2 inches), on sheets 19 x 25 cm (7 1/2 x 9 7/8 inches) [controlled] Extent items Value: 37 Type: count || Extent: image Value:13 Unit:cm Type:height | Value: 19 Unit:cm Type: width || Extent: sheet Value:19 Unit:cm Type:height | Value: 25 Unit:cm Type:width Inscriptions: captions in French, printed on mount above and below image. Description Note: Mounted souvenir views of Paris and environs issued by Neurdein Frères for visitors to the 1889 Exposition universelle. Collection includes panoramas of Paris and views of its main avenues and monuments as well as views of Versailles and the Parc de Saint-Cloud. These images were probably printed from existing ones in the Neurdein Frères inventory. Six views of the Exposition universelle include a panoramic view taken from the Trocadero, a view of2009 the © J. Parc Paul Getty du Trust, Champ author: Patricia de Harpring.Mars, Do and not distribute. an exterior view of the Algerian pavilion.

© 2009 J. Paul Getty Trust CDWA/CCO: Current Location / Location may be a Creation Location / Discovery repository, Location / Former Location building, city, or nation XX ClassClass:: SculptureSculpture XX **WorkWork TypeType:: hachahacha XX **TitleTitle:: HachaHacha (Ceremonial (Ceremonial Ax)Ax) CE)CE) Dumbarton Oaks (Washington DC, XX ** CurrentCurrent LocationLocation:: DumbartonDumbarton OaksOaks USA) (Washington(Washington DC,DC, USA)USA) ID:ID:B38B38 VCSVCS XX DiscoveryDiscovery LocationLocation:: VeracruzVeracruz (Mexico)(Mexico) B38 VCS XX Subject:Subject: religion/mythologyreligion/mythology humanhuman figurefigure faceface gamegame sacrificesacrifice ceremonialceremonial objectobject IncaInca ballgameballgame XX **Measurements:Measurements: XX **MaterialsMaterialsVeracruz andand Techniques:Techniques: (Mexico) marblemarble XX DescriptiveDescriptive Note:Note:TheThe hachahacha had had ritualisticritualistic significancesignificance and likely served as an actual ballcourt marker. and likely served as an actual ballcourt marker. Unknown Veracruz. Hacha. Late Classic Veracruz. © Dumbarton Oaks, Washington DC 2009.

Class Paintings * Work Type painting CDWA/CCO: Subject * Title* Les Demoiselles d’Avignon * Creator Display Pablo Picasso (Spanish, *type="Creationdescription Date 1907"> women* Current Location Museum of Modern fruitArt (New termsource="AAT" York, New York, USA) termsourceID="aat300025943 "> brothel *womenSubjectwomen nudes termsource="brothel AAT prostitution" termsourceID=“aat300189568"> nudesfruit tribal art African France)fruit Style:x 236.22African cm (8 feet x 7 feet 8mask inches) * Materials and Techniques oil on canvas Description, identification, the simplified iconicinterpretation forms maidensPatricia

Class: Architecture * Work Type: • temple • rotunda • church CDWA/CCO: Descriptive Note * Title: • Pantheon • Santa Maria ad Martyres * Creator Display: unknown Roman, for the Emperor Hadrian * Creation Date*: begun in 27 BCE, completely rebuilt 118/119 - 125/128 * Current Location: Rome (Italy) dedicated* Measurements to: interior the seven diameter planetaryand height of dome: gods 43 m;in 128oculus: CE. 8.9 It m was in diameter consecrated as a church in * Materials and Techniques: constructed of stone, brick, and theaggregate early material;seventh the drum century. is strengthened It is the by huge major brick survivingarches and piers example set above of one Roman another inside concrete- the walls Description: The Pantheon was vaulted architecture. dedicated to the seven planetary gods in 128 CE. It was consecrated as a church © 2009 J. Paul Getty Trust in the early seventh century. It is the Brief descriptive MacDonald,major surviving William exampleL., The Pantheon, of Roman London:concrete-vaulted Penguin Books, architecture. Ltd., 1976 note about the work Sources: Sources may be • MacDonald, William L., The Pantheon, London: Penguin Books, Ltd., 1976 listed • Torres, Carlo Antonio. Cenni sulla forma primitiva del Pantheon fabbricato per ordine di Marco Agrippa, e sulla ristorazione da farsi al medesimo, di Carlo Antonio Torres. Imprint: Roma, Da' tipi di Giunchi e Menecanti, 1838 Photograph of the Pantheon; Getty Research Institute, Resource 2009 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. Collections (Los Angeles, California), Special Collections.

Image © Janson, H.W., History of Art. 3rd edition. New York: Harry N. Abrams,CDWA/CCO: Inc., 1986, plate 64 View Description / View Type / View Subject / View Date 2344 ¾¾Class:Class:sculpturesculpture ¾¾**WorkWork Type:Type: colossuscolossus black-and-white slide ¾¾**Title:Title:••Great Great SphinxSphinx ••Abu Abu al-Hawlal-Hawl ¾¾**CreatorCreator Display:Display: unknownunknown AncientAncient EgyptianEgyptian historical image¾¾**CreationCreation Date:Date:FourthFourth Dynasty,Dynasty, reignreign ofof KingKing KhafreKhafre (ca. 2575-ca. 2465 BCE). (ca. 2575-ca. 2465 BCE). Janson, H.W., ¾¾**WorkWork Subject:Subject:••sphinx sphinx ••portrait portrait History••King King of Khafre KhafreArt. 3rd• •Pharaonic Pharaonic edition. powerNew power York: Harry N. Abrams,¾¾**CurrentCurrent Inc., Location:Location: 1986, GizaGizaplate (Egypt)(Egypt) 54 Image Record: ¾¾**Measurements:Measurements:height:height: 2020 m.m. (66(66 feet),feet), length:length: 7373 m.m. (240 feet) Q Image Type: slide (240 feet) frontal ¾¾**MaterialsMaterials andand TechniquesTechniques:: limestone, limestone, carvedcarved fromfrom livelive Q Image Source: Janson, H.W., History view,of Art. 3fromrd edition. below New York: Harry N. Abrams, Inc., 1986, plate 64 rockrock ¾ Description: The Sphinx is a impressive embodiment of Q Image Format: Cibachrome (TM) ¾ Description: The Sphinx is a impressive embodiment of before Khafre,Khafre, Q View Description: exterior1962 althoughview,although facing laterlater generationsgenerations North believedbelieved thatthat itit waswas thethe SunSun Q View Type: oblique view, partialGodGod ...... view ¾ Note Source: Janson, H.W., History of Art. 3rdrdedition. ¾ Note Source: Janson,Discusses H.W., History issues of Art. related 3 edition. Q View Subject: the Great SphinxNewNew York:York: with HarryHarry the N.N. Great Abrams,Abrams, Inc.,Inc., 19861986 Page:Page:6060 ff.ff. Pyramid in the background to the view of the work in the image Q View Date: 1950 2009View © J. Paul Getty Date: Trust, author: Patricia Harpring. Do not distribute.

Examples of data CDWA/CCO: Creator / Creator Role

XX ClassClass:: paintingspaintings XX **WorkWork TypeType:: watercolorwatercolor XX **TitleTitle:: NousNous QuatreQuatre a a ParisParis XX **CreatorCreator DisplayDisplay:: PalmerPalmer HaydenHayden (American,(American, 1890-1973)1890-1973) XXRole:Role: painterpainter XXNameName [link[link toto authority]:authority]: Hayden,Hayden, PalmerPalmer XX **CreationCreation DateDate:: 19351935 XX **Subject:Subject: portraits,portraits, AfricanAfrican Americans,Americans, cardcard playing,playing, billiardsbilliards XX CurrentCurrent LocationLocation:: MetropolitanMetropolitan MuseumMuseum ofof Art,Art, NewNew YorkYork (New(New York);York); JosephJoseph H.H. HazenHazen Foundation,Foundation, Inc.Inc. XX **Measurements:Measurements: 43.1843.18 xx 35.5635.56 cmcm (17(17 xx 1414 inches)inches) Creator information XX **MaterialsMaterials andand Techniques:Techniques: watercolorwatercolor onon paperpaper includes the XX Style:Style: HarlemHarlem RenaissanceRenaissance identification of the maker and his/her roles 2009 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

CDWA LITE ELEMENTS Creator information

< Palmer Hayden (American, 1890-1973) Hayden, Palmer American 1890- 1973 painter Creator information includes the identification of the maker and his/her roles 2009 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Examples of data CDWA/CCO: Creator / Creator Role

Work Record Record Type [controlled]:item Class [controlled]: photographs American art *Work Type [link]: gelatin silver print *Title: Panoramic Photograph of the White House, Washington, DC *Creator Display: Haines Photography Company (American, 19th-20th century) *Role [link]: photographers [link]: Haines Photography Co. *Creation Date: ca. 1909 [controlled]: Start: 1904 End: 1914 Creator may *Subject be [links]a firm: architecture or other White House (Washington, DC, USA) corporate panoramicor administrative view body Culture [link]: American *Current Location [link]: Library of Congress (Washington, DC, USA) ID: unavailable *Measurements: 15.85 x 55.88 cm (6 1/4 x 22 inches) [controlled]: Value: 15.85 Unit:cm Type:height Value: 55.88 Unit:cm Type:width *Materials and Techniques: gelatin silver print Technique [links]: gelatin silver print Related Work: Relationship Type [controlled]: depicts [link to Work Record]: White House (Washington, DC, USA); 1792-1817

Record Type: group Class: Architecture CDWA/CCO: Creator / Creator Role * Work Type: • architectural documents * Title: • Architectural drawings relating primarily to residencesOrigin of archival and commercial and public buildings in Ottawa from the Office of Werner E. Noffke, Ottawa group * Creator Display: Office of Werner E. Noffke, Ottawa *Creator Display: Office of Werner E. Noffke (Ottawa) *Role [link]: administrative origin [link]: Noffke, Werner E., Office of * Creation Date*: 1906-1962 (inclusive dates) * Subject: • office buildings • churches • exhibition halls • residences * Current Location: Cartographic and Audio-Visual Archives Division; National Archives of Canada (Ottawa, Canada) ID: Noffke, W.E. 77803/7 * Measurements: various dimensions * Materials and Techniques: various materials Description: This collection contains 2241 drawings representing some 200 projects by Ottawa architect Werner E. Noffke over a period of 60 years. Residences, offices, and commercial buildings, exhibition halls, and churches appear in the collection, along with projects for buildings for foreign legations. A great deal of Noffke’s work was done for the Government of Canada. Sources: • National Archives of Canada

2009 © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute. Image: FDA Guide, provided by National Archives of Canada.

Work Record Record Type: item Class: architecture CDWA/CCO: Creator / CreatorDiscussion Role *Work Type:Type church includes *Title: North Christian Church multiple *Creator Display: designed by Eero Saarinen creators (American, 1910-1961); posthumously, construction was supervised by firm of Eero and extent Saarinen & Associates (American architectural firm, 1950-1961) *Role [link]: architect [link]: Saarinen, Eero *Role [link]: architectural firm [link]: Saarinen & Associates, Eero *Role [link]: general contractor [link]: Repp and Mundt, Inc. *Creation Date:Date designed 1961, completed 1964 *Subject: architecture religion/mythology church Disciples of Christ (Protestant Christianity) worship *Current Location [link to authority]:authority] Columbus (Indiana, USA) *Measurements:*Measurements spire rises 58.5 m (192 feet) *Materials and Technique:Technique hexagonal plan, concrete base, leaded copper spire, slate roof; welded steel buttresses support the roof and spire at the 6 axial corners Description: The architect was working on this building when he died

unexpectedly.2009 © J. Paul Getty Building Trust, author: hasPatricia a Harpring. hexagonal Do not distribute. plan elongated along the east-west axis; it i t b ildi ith th l l l t d i t ithi th

Examples of data CDWA/CCO: Creator / CreatorDiscussion Role includes Work Record Record Type [controlled]:volume Class [controlled]: prints and drawings European art multiple rare books creators *Work Type [link]: book etchings maps plans panoramas *Title: Theatrum civitatum nec non admirandorum Neapolis et Siciliae regnorum and extent Title: Views of the Cities and Sights of the Realm of Naples and Sicily Title Type:descriptive *Creator Display: Joan Blaeu (Dutch, 1596-1673), with Bastiaen Stopendaal (Dutch, 1637-before 1707) * Roles [link]: printmaker publisher [link]: Blaeu, Joan * Role [link]: printmaker [link]: Stopendaal, Bastiaen *Creation Date: 1663 [controlled]: Start: 1663 End: 1663 *Subject: [links]: cityscapes landscapes Sicily (Italy) Naples (Campania, Italy) maps *Current Location [link]: Getty Research Library, Special Collections (Los Angeles, California, USA) ID: 92-B27718 Publication Location [link]: Amsterdam (North Holland, Netherlands) *Measurements: 78 pages, 2 folded leaves [controlled] Extent: pages Value:78 Type:count *Materials and Techniques: hand-colored etchings, texts are printed Material [links]: paper Technique [links]: etching printing hand coloring Description: With the exception of 2 double folded leaves of plates, all etchings are on pages backed with text. There are 8 half page, 1 single and 22 double page etchings, all colored. Description Source [link]: Getty Research Library, Special Collections database.

Examples of data CDWA/CCO: CreatorDiscussion / Creator Role XX ClassClass:: sculpture sculpture XX **WorkWork Type:Type: statuestatue includes XX **TitleTitle:: GuanyinGuanyin unknown XX **CreatorCreator DisplayDisplay:: unknownunknown ChineseChinese creators XX **Role:Role: sculptorsculptor unknown XX **NameName [link[link toto authority]:authority]: unknownunknown ChineseChinese XX **CreationCreationChinese DateDate:: 12th12th centurycentury XX **Subject:Subject:GuanyinGuanyin royalroyal easeease compassioncompassion XX Style:Style:songsong DynastyDynasty artist XX **CurrentCurrent LocationLocation*:*: MuseumMuseum ofof FineFine ArtsArts (Boston,(Boston, Massachusetts,Massachusetts, USA)USA) 20.59020.590 XX **Measurements:Measurements: 141141 xx 8888 xx 8888 cmcm (55(55 1/1/22 xx 3434 5/85/8 xx 3434 5/85/8 inches)inches) XX **MaterialsMaterials andand Techniques:Techniques: lacqueredlacquered woodwood withwith paintingpainting andand gildinggilding XX Description:Description: GuanyinGuanyin is is thethe BodhisattvaBodhisattva ofof Compassion,Compassion, representedrepresented inin thethe posepose ofof “royal“royal ease”ease” and and richlyrichly ornamented.ornamented. AA BodhisattvaBodhisattva isis oneone whowho hashas attainedattained enlightenment,enlightenment, butbut chooseschooses toto remainremain amongamong humankindhumankind toto helphelp othersothers achieveachieve itit ......

Vocabulary control in CDWA Lite

¾User is referred back to CDWA and CCO ¾Free text display fields, syntax and other rules are recommended, but vocabulary not controlled

Data values: Formulated according to data content rules for the Description element in CCO and CDWA.

Vocabulary control in CDWA Lite

Image from collections.frick.org dli ibi lifi ib d

CDWA LITE ELEMENTSSource, ID for term in a published vocabulary May be stored in an authority (Place/Location Authority) Egyptian Museum (Cairo, Egypt) 1931-76-1 Karnak (Qina governorate, Egypt)

CDWA LITE Source,ELEMENTS ID for term in a published vocabulary May be stored in an authority (Generic Concept Authority)

cartes-de- visite boudoir photographs

CDWA LITE ELEMENTSSource, ID for term in a published vocabulary May be stored in an authority (Subject Authority, iconographic subjects, themes from literature, events, mythical or religious characters) religion/mythology Adoration of the Magi

The Collections at Getty (harvestable sets)

The Data “at home”

• J. Paul Getty Museum Paintings Collection (461 records and 461 digital still images) • Data lives in a collection management system (relational database) • Tapestries - Photo Study Collection of the Research Library, Getty Research Institute (4215 records and 9063 digital still images) • Data lives in a flat-file system with linking capabilities

Deciding what information to contribute

*Object/Work Type Descriptive *Title Metadata for *Display Creator Getty Museum’s •Indexing Creator Set •Name of Creator Paintings •Nationality Collection •Role •Attribution Qualifier *Display Creation Date *Indexing Dates •Earliest Date •Latest Date Display Measurements Display Materials/Techniques Style Culture Subject Indexing Term *Location/Repository •Repository Work Identification Number © J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

•How well does that map to CDWA Lite?

• Data successfully displayed in ARTstor • Link back to Getty Museum site

• Link back to Getty Museum site • There find richer data • Links to artist biography and other works

• Links to lesson plans and publications

• Links to exhibitions

• Harvested Photo Study Collection record in ARTstor • Includes more data than museum

• Link from ARTstor back to Photo Study Collection record on the Getty Web site • Even more data at home site, including shelf location

Digital Images and Collection Management Systems

TMS-TEAMS Integration

• Museums are publishing their images in many new ways • How do museums and other work repositories link image records to work records? • Records for image and work often in two different systems, e.g., TMS (museum collection management system) and TEAMS (Web-based digital assets system)

TMS-TEAMS Integration

• Getty Museum already has integration in place with TMS • Getty Research Institute (special collections houses works) is investigating how integrate with Voyager ILS (perhaps linking collection-level data to TEAMS)

• Using DAM system to generate images and metadata (perhaps with some post export massaging) for any given purpose, e.g.: Thumbnails for Collection Management System JPEG files for public Web access to our collections, for instance though some digital library application such as DigiTool OAI Harvesting

Getty Research Institute Using TEAMS-TMS

Record for GRI collection item (album) in TMS.

TEAMS has 7 records related to this album for selected plates.

Upon integration, the data from TMS will be linked to all 7 records in TEAMS.

Link to TMS via Object ID field

Nightly refresh process (TMS >TEAMS) will copy updates to selected fields such as title, maker, and creation date.

TEAMS will be fed by TMS data based on Object Number entered. When linked, field labels will indicate that data is coming from TMS. Data in TEAMS will not be editable.

Getty Museum Using TEAMS-TMS

Getty Museum uses a DAM called TEAMS Originally we imported images and performed manual data entry In March 2009 implemented data integration project, designed to wed the Museum's digital image processing workflow to a new TMS data mapping process to map object metadata from our existing collections information system (TMS) Existing TMS object images were imported en masse into TEAMS (around 17,000 images) along with a corresponding media record for each This is a one-way push of object metadata TMS remains our primary source for detailed information about the objects and rights/reproductions information, so information flows from TMS to TEAMS only

• TMS data included in TEAMS: Object tombstone Exhibition history Keywords Basic media information Rights/Copyright information

TMS data is held in its own "asset model" – a profile of fields defined specifically for this integration This merging of TMS data in TEAMS allows us to link lots of rich information to each object-related media record for more robust searching in TEAMS without duplicating data entry Rights/Copyright information is not only included for reference in TEAMS, it is also tied into the system's security to restrict access within TEAMS

For example, objects with a CHECK COPYRIGHT RESTRICTIONS flag from TMS appear in TEAMS views with the word Restricted in red. Depending on a user's security profile, this setting may prevent that user from downloading an image

TEAMS rights TEAMS restricted info

N e The Integration mechanics w l Newly processed images enter a staging area in y TEAMS p Object-related images follow specific set of file- r naming conventions, all of which are based on a o c unique numeric identifier assigned in object e records (OBJECTID) s s A subset of TMS information is refreshed in e TEAMS via a nightly, automated publish process. d TEAMS image records link to the TMS data

i snapshot via OBJECTID m Current integration is limited to Object-related a image media, but in future we'd like to include g e other types of media (audio? video?) s

N e The Integration mechanics w l Our current image processing workflow y automatically generates different images p according to need. For any given object image, r several derivatives may be generated: o original high-resolution TIFF for TEAMS c e 40Mb FPX image for interactive gallery kiosks (to s handle zoom) s low-res JPG for TMS e d low-res JPG for getty.edu

i Image files automatically transferred to m a appropriate image servers; process also generates g basic image metadata (file size, date, pixel e height/width, etc.). s

N e The Integration mechanics w l Outstanding Issues y

p Beginning to look at ways to reach into TEAMS r directly from TMS or other outside applications, o c but nothing to report yet. e s s Shared look-up tables – TMS and TEAMS use their own e sets of lookup tables for controlling vocabulary d Lookup tables in TEAMS may be shared across "asset models." i If we modify a lookup term in TMS, making the change m downstream can be complicated. If a term is shared by the a TMS model, as well as the X, Y, and Z models, you either g e need to achieve consensus or create new lookup terms s

Patricia Harpring Managing Editor Getty Vocabulary Program

1200 Getty Center Drive Los Angeles, CA 90049

[email protected]