Art librarians in Canada find themselves in the position of Janus, who simultaneously turns one face to the past and the other toward the future. They have the responsibility to care for collections from the past; at the same time they face a future of continuous change, escalating costs, dwindling resources and institutional agendas. Long-range planning is essential, and an up-to-date collection development policy is fundamental for identifying strengths and weaknesses, confirming commitments and setting priorities. The National Gallery of Canada Library (NGCL) has recently developed a draft collection policy which is now under review within and outside the Gallery. In addition to considerations of selection and bibliographic control, the policy deals with related companion activities such as evaluation, interpretation, and preservation.

More than 20 million images are to be found at the Bibliothèque nationale de France (BnF), in the form of book and periodical illustrations, manuscript illuminations, maps and plans, prints, drawings and photographs. The editorial context of these images means they are to be found in all fourteen collections departments of the library. However, it is the department of Prints and Photographs that, thanks to legal deposit for published images instituted in the 17th century, possesses one of the richest iconographic collections in the world: prints, posters, drawings, photographs, postcards, etc. These images have to be consulted in the reading rooms of the library’s different collection departments, which are at five different sites (François-Mitterrand (Tolbiac), Richelieu, Arsenal, Opéra, Avignon - Maison Jean Vilar). The introduction of digitisation should bring many changes to this traditional means of research, although we are still only at the beginning, with a programme that started little more than ten years ago.

The Victoria and Albert Museum’s Renier Collection of Children’s Books provides a rich resource for research into book production as well as social history. Publishers’ cloth bindings have developed in a visually vibrant way that provides clues to the production dates of the books, as well as encouraging reflections on how they were marketed across the Victorian era and early 20th century. Questions also arise, such as, what was the relationship between the reader and cover? How did the cover designs reflect the times in which they were created? And, how different are our paperback era designs to those of the period when cloth was used?

This article looks at the contributions that historical photograph collections can make to people’s lives, by examining the ideas that museums, archives and libraries explore and apply in the management of such collections. For instance, the theme of the photograph as an historical record of events will be used to examine the archivist’s approach; the photograph as a source of information for learning or enjoyment will introduce theories developed by the library community; and the value of the photograph as a physical object will form the basis for looking at how museums approach our vast and challenging photographic heritage.

The library of the Prado Museum has undergone major development in recent years and reached a highpoint with the opening, in 2009, of new premises in the Casón del Buen Retiro. During the past few years three important private libraries have been incorporated into the library and these, taken together with the holdings of early material that already existed and a number of recent acquisitions, have formed an important special collection of some 4500 rare books, mainly on the subject of art history.

The first part of this two-part article reporting on visits made by the author to art libraries in West Germany in September 1979, concentrates on the Kunstbibliothek and the Museumsbibliothek der Staatlichen Museen Preussischer Kulturbesitz in Berlin, the Bibliothek des Germanischen Nationalmuseum, Nuremberg, and the Kunst- und Museumsbibliothek der Stadt Köln. The scope and organisation of these libraries is described and general topics such as the exchange of publications between museums, and co-operation between libraries are raised. (To be concluded in the next issue).

Cataloguing Cultural Objects (CCO) is a standards-based project developed under the auspices of the Visual Resources Association (VRA). CCO addresses the metadata needs of communities that work with a broad range of artistic or cultural works and associated images of those works. CCO provides guidelines for selecting, ordering and formatting descriptive data used to populate catalog records. This article gives the background to the project and the involvement of the user communities in the development of the guide, as well as describing future directions.

The Frick Art Reference Library has one of the world’s richest historic collections of catalogs of art sold at auction. Awareness and use of this collection has increased as independent scholars and the staff of museums rigorously investigate issues of provenance. Another factor in the increasing recognition of auction sale catalogs is their value as economic documents that may shed light on broader trends, topics that sometimes resonate beyond the field of art historical scholarship.

The Materials Library at Virginia Commonwealth University in Qatar is the only one of its kind in the Arab Gulf region. The library's mission is to provide students and faculty with access to various industries’ most innovative materials and products. But collection efforts are frequently challenged by the school's geographical location. How can a diverse and eclectic materials collection develop and expand in the face of strict customs regulations, exorbitant shipping costs, and, most recently, a political crisis that has severely restricted the country's airspace and shipping routes? A supportive administration and a creative approach to materials procurement have helped the library become an academic and community hub for the research and creative productivity of students, faculty, and local artists and designers.

The PHAROS online search platform is now open and free to use by researchers of all types. The online portal at artresearch.net has been developed using ResearchSpace software and funded through grants from the Andrew W. Mellon and the Samuel H. Kress Foundations. This initial version of the portal includes the holdings of seven Pharos institutions, numbering over 2.8 million images. In the coming months, additional PHAROS members will add their holdings to the online portal, bringing the number of images represented to over 25 million.

Introduced in 1947 as an event during Charities Week, the Glasgow School of Art (GSA) Fashion Show provided an opportunity to present student designs and fundraise around the City of Glasgow. Over the years, the format, location and emphasis of the event have changed, although creativity, collaboration, team working and the Students Union remain central to organization. To commemorate the 70th anniversary of the fashion show, the development of this event has recently been re-visited and an exhibition developed. This project posed the questions: What GSA Archives and Collections’ holdings relate to the event? Are there gaps within the collection and if so can items be accessioned? What can be understood about the evolution of the GSA fashion show from this material? Is there potential for further research from this local event? These questions form the basis of this article.

The Biblioteca Marucelliana, a public amenity and a reflection of Florentine cultural life since its foundation early in the 18th century, is the home of a collection of 19th century and early 20th century fashion plates, donated in 1965 by Count Carlo Gamba. This collection is used by both scholars and students, including students training to be theatre and fashion designers.

The temporary cessation to publication of the leading and most comprehensive bibliography in the arts, the International bibliography of art (formerly Bibliography of the history of art) in 2009, led to a lively debate on the future of art bibliography. Many scholars, librarians and information specialists were in favour of saving the established model and of ensuring its continuing existence. At the same time there arose the controversial and much-debated question of whether the traditional model of the IBA – grounded in an intellectual analysis of documents (articles from journals, monographs, exhibition catalogues, etc.) and their description with standardised metadata and abstracts – still corresponds to the needs of modern research on the one hand and to the new potentialities and realities of displaying, connecting, exchanging and gaining information in digital data networks on the other. Library catalogues play a decisive role in this consideration: unlike bibliographies, which follow traditional and more or less unvaried standards, they have mutated to a great degree from inflexible registers to dynamic networks. They enrich and connect the bibliographic information with additional data, they invite the user to tag and to review the corresponding literature and they enable complex forms of unforeseeable discovery. Thus the ‘crisis’ into which art bibliography was plunged when the old IBA ceased publication, at the same time opened up the opportunity to discuss alternative, future-oriented solutions for the appropriate format of bibliographic information supply in the arts today.

Located on Treaty #13 (Toronto Purchase) territory, OCAD University offers an Indigenous Visual Culture (INVC) program that leads to a Bachelor of Fine Arts degree or an interdisciplinary minor. The curriculum combines courses in the cultural, social and political history of Indigenous peoples, preparing students to engage in global discourses in contemporary art practice through a profound understanding of story-telling as the foundation of visual culture.

A narrative framework is used to present an information literacy interaction with an INVC course from the perspectives of a librarian from the Canadian settler population and an assistant professor, who is a member of the Métis Indigenous nation. Research and evaluation models are presented; ones that emerged from traditional information literacy concepts informed and transformed by Indigenous knowledge systems. Finally, student learning outcomes from the course are presented through an exhibition of artworks and artist statements that display their visual story-telling skills.

The Prado-Recoletos axis is the main historical boulevard in Madrid, which contains the most important concentration of art museums in all of Spain: the Museo Nacional Centro de Arte Reina Sofía, the Museo Nacional del Prado and the Museo Nacional Thyssen-Bornemisza. In the last years, they have undergone extensive renovation. The different renovation projects can be used to examine how museum libraries today juggle the needs of their users while addressing the challenge of providing the services of a modern research library. The new State Museum Libraries Network (BIMUS) has been an important factor in this development.

Describes the art libraries and art collections visited in Budapest during a ten day visit sponsored by the British Council.

Sincere acknowledgements are due to the Hungarian Art Librarians and Museums staff whose genuine interest and hospitality provided the raw material for this paper.

The history of the library founded in 1897 at the Kunsthistorisches Institut in Florence is marked by a very close connection with the history and profile of the Institute itself. The demand for scientific literature for research on Florentine Renaissance art and culture was the key motivation for establishing a German research library in Florence, where this art and culture flourished. But from the very beginning the holdings covered Italian art as a whole, not just the Renaissance and Florentine art. The acquisition policy as well as the internal organisation and systematic structure of the library have right up to the present day mirrored the research activities of the Institute and its scholars. With the founding of a consortium of the three German research libraries in Florence, Munich (Zentralinstitut für Kunstgeschichte) and Rome (Bibliotheca Hertziana) in 1994, a new era began. High-profile bibliographic information, additional services and the integration of the library in Florence into this co-operative network became a further characteristic of the existing identity of the Institute and its library, which were – and continue to be – closely tied to Florence and Tuscany.