auction catalogs

     In anticipation of an upcoming auction, auction houses such as Christie's, Sotheby's, Skinner, Bonham's, and others, release sale catalogs that describe the items to be sold. In addition to informing readers about what's available at future sales, these catalogs can provide enormous insight into the current art market and provenance research, as well as high quality photographs. College and university libraries specializing in art, as well as major art libraries worldwide, often collect (and often pay lots of money for) these catalogs. 
     Auction catalogs offer information valuable to researchers which is rarely found in other contexts. First, they provide an up-to-date price valuation for objects, based on the current art market. This is valuable to museums, private individuals, and other institutions who may be interested in purchasing work or in estimating the value of their own similar pieces. Secondly, these catalogs offer a glimpse into unusual and rarely seen works, such as "art that has been held in private hands and is coming onto the market for the first time in decades or centuries" (Robinson 24). In addition, these catalogs provide high-quality images, useful for museum reference and university Visual Resource Collections alike. 
     Libraries are faced with a couple challenges when collecting these print materials: their expense and their frequency of publication. Because auction houses can release hundreds of catalogs a year, it is tempting to subscribe to these resources much like serials. A single auction catalog, however, is not inexpensive; currently print catalogs from Skinner, according to their website, can be purchased for $34 each. Therefore, art librarians must prioritize these catalogs based on their own museum's collection, faculty or curatorial preference, or corresponding university curricula, much like their collection development policy for monographs would be. 
     Online resources exist, as well. Most of the major auction houses provide extensive online searchabiliy and browsabilty, coinciding with the growth of online auctions. Both auction results and, often, viewable catalogs are available online through their respective websites. Christie's, for example, provides auction results dating back to 1998. In addition, a number of online databases and indexes have been developed to help researchers sort through the vast quantities of information in these catalogs. OCLC has created and maintains an extensive database (SCIPIO) of over 300,000 auction catalogs dating back to the 16th century. In terms of indexes, "two standard and long-established names in the field are Enrique Mayer's International Auction Records and Duncan Hislop's Art Sales Index," the biggest difference between the two being that "Art Sales Index demands and higher sale price in order for an item to be recorded" (Robinson 26). Often, these indexes and others may be specific to one medium or perhaps only cover the most "important" sales, so researchers may want to consult several in order to find adequate information. 
   

Works Cited 

Robinson, Lee. "Auction Catalogs And Indexes As Reference Tools." Art Documentation: Bulletin Of The Art Libraries Society Of North America 18.1 (1999): 24-28. Art Full Text (H.W. Wilson). Web. 24 Sept. 2013.

McNulty, Tom. "A Subject Classification System For Auction House Sales Catalogues Based On The Getty Trust's Art And Architecture Thesaurus." Art Documentation: Bulletin Of The Art Libraries Society Of North America 11.(1992): 185-187. Art Full Text (H.W. Wilson). Web. 28 Sept. 2013.

Auction Catalogs

Auction catalogs are created by auction houses as a listing of items for sale in a given auction.  They are primarily intended as advertising, but also to provide information about the works.  As such they are generally well illustrated and can contain important information about both the piece and its creator.  After an auction, they are frequently updated with realized prices if the items are sold.  As with many resources, auction catalogs have become increasingly available online as well. 

            Although many auction houses maintain libraries and archives, it is important for art libraries to provide access to these resources, since most auction house libraries are not open to the public and the staff is frequently unprepared to answer research queries.  Although they were not primarily intended for research, auction catalogs provide a wide variety of valuable information.  Perhaps the most common usage is for establishing values of a work, both by looking up sales records of a particular work or comparing sales results from similar pieces.  These price records are also important for establishing historical trends and the rise and fall of art markets.

            Auction catalogs are great resources for establishing provenance as well.  In addition to establishing how much a work sold for, catalogs provide a date of sale, the previous owner and, increasingly often, a well-searched provenance up to that point.

             Catalogs can also be used to provide information on more contemporary artists whose works have only recently begun to be sold and smaller auctions may also be able to provide information on the works of lesser-known local artist that have passed through their halls. 

            In addition to fine arts, auctions can be a great resource for information on decorative arts.  Items that are treated more as crafts, such as antique furniture, are sometimes neglected in traditional art resources, but are the bread-and-butter of many auction houses.  Auction houses will generally employ or work with experienced antiques professionals and their catalogs will contain expert descriptions and analysis.   The high quality images in auction catalogs are sometimes used as inspiration or guidelines for reproductions as well.

            Those high quality images, generated to show the items for sale in the best possible light, are also useful for getting an accurate representation of the work and its condition.  Frequently there are also high quality images of signatures, which can be useful for establishing authenticity through comparison.

            There are a wide variety of print indexes to auction catalogs available.  Some of the most well-known references include Mayer’s International Auction Records, Gordon’s Print Price Annual and Davenport’s Art Reference and Price Guide.  Because of space limitations in printed books and numerous auctions taking place worldwide, most indexes must limit their content somehow, and it is important to be aware of an index’s selection process before searching.  Indexes may limit their listings to a certain medium, auctions in a given location, auctions that took place in a certain time period, thematically or geographically linked works or only items which sold for a given minimum price.

            Currently there are also a wide variety of indexes available online as well.  Many auction houses, such as Skinner’s and Sotheby’s have comprehensive archives of their past auction results as well as online catalogs of upcoming sales.  Other online databases include subscription services such as ArtPrice, AskArt and findartinfo.com, and free services such as academically oriented Jstor Beta and Blouin.  All of these indexes have strength and weaknesses.  (JStor, for example doesn’t allow the user to search for artists or individual pieces, only for a given auction or catalog and AskArt only has records on international works dating back to 2006.)  However, the linking functionality of online resources allows for a variety of valuable cross-references.  For example, AskArt provides links to museums that hold works by the artist being searched.

            Overall, these resources provide a multifaceted perspective on the arts and have become a valuable resource for artists and researchers.  As such, they should be an important part of any art library’s collection development policy.

Catalogue Raisonné What is it?

Blog Post by Christian Guerra 

What is it?

A Catalogues Raisonnés is a methodical list that is assembles, compartmentalized and details the works of artists. Through a process of inventory and documentation, providing both an overview and a detailed description of a collection.

 

 

 How is it created?

Each individual piece of artwork is described, analyzed and placed in the context of the artist's creative process. Each of the works is reproduced and accompanied by detailed notes: technical information, bibliographical and historical data along with commentary and sometimes with related information. The development of a catalogue is a painstaking process, involving sifting through the data and cross-checking, undertaking additional research in the field, verifying facts and interdisciplinary research (such as the records census records, medical documentation of infectious diseases, and financial records) so as to enhance both the breadth and depth of the scholarly research.

 

 

 

 

How are they organized?

Once this process of assemblage and evaluation are completed the decisions of how the work is to be ordered can be done many ways, chronologically, alphabetically, theme, major subject, and or by the choice of the scholar compiling the list. Keep in mind that not all artists date or sign their work.

Here are examples of classification gathered from NYPL’s website that might be included in the catalogue raisonné:( http://www.nypl.org/locations/tid/36/node/29583)

·        Title and title variations

·        Dimension/Size

·        Date and place a work was created

·        Medium

·        Current location/owner at time of publication

·        Provenance (history of ownership)

·        Exhibition history

·        Condition of the work

·        Bibliography/Literature that discusses the work

·        Essay(s) on the artist

·        Critical assessments and remarks

·        Full description of the work

·        Signatures, Inscriptions and Monograms of the artist

·        Reproduction of each work

·        List of works attributed, lost, destroyed and fakes

·        Catalog number

What makes them unique?

Establishing the catalogue of the complete work of artists is a culmination of a (professional) lifetime of work: 35 years for Alexandre Ananoff’s Fragonard catalogue raisonné, 40 years for Daniel Wildenstein’s Monet catalogue raisonné, and 60 years for Antoine Salomon and Guy Cogeval’s Vuillard catalogue raisonné.  

The catalogue is the concentrated mixture of the visual representations of the collection and the intellectual documentations that are assembled into easily transportable document. These catalogue raisonnés don't become "outdated" the unique information that is produced is used to build the cannon of scholarly discussion.

Issues: Authentication

During the process of assembling the catalogue, a consultative committee plays an essential role in deciding whether or not a work should be included. Most committees are formed of art historians, and/or the descendants or legal beneficiaries of the painter concerned, and of the author(s) of the catalogue.

The inclusion or the exclusion of items in the catalogue have serious financial/legal repercussions for owners, dealers, scholars, and other experts in the field that have staked their credibility or investments on works attributed to an artist. After the examination by the committee and based on their opinions, a recommendation is made in the form of the intention to include or not to include the work; a third option that is mostly used to protect the authors of the catalogue from litigation is to classify the work in question as "continuing the examination process."

 

 

 

Issues: Authorship

As discussed in the Lobel article there are issues that arise when denoting authorship of works of art. Issues he points out are based on the artistic process of Andy Warhol, specifically his paintings/silk screens. These issues of an individual author are present in works of old masters as well.  The use (overuse) of assistance in creating works attributes solely to a single master sometimes only done under the direction of the master. Moreover is was common that artist’s "original" version are produced with fully autograph second versions of a composition, either on commission or for the open market.

This  theme of authorship is continued on to catalogues themselves  once being attributed to a single person now most, if not all,  are produced by a large committee with research assistance, appraisers, art historians and art librarians.

 

 

Issues: Medium

The issue of a “forced” structure that applies to all mediums and modes of documentation is viewed as a hindrance to compiling multimedia collections. Artist that incorporate performances with there exhibitions don't fit easily into the catalogue raisonné paradigm. The issue of reproducing the works in a book format can be limiting, that is why many new catalogue raisonnés are being produced online.

 

 

 

 

Other sources of information:

International  Foundation for Art Research (IFAR)

   http://www.ifar.org/cat_rais.php

Catalogue Raisonné Scholars Association (CRSA)

http://www.catalogueraisonne.org/

Louise Bourgeois: The Complete Prints & Books

www.moma.org/bourgeoisprints

Gemini G.E.L. Online Catalogue Raisonné

www.nga.gov/gemini/home.htm

The Roy Lichtenstein catalogue raisonné

www.imageduplicator.com

Frederick Ferdinand Schafer

ffscat.csail.mit.edu

In the process of being completed:

Richard Diebenkorn Catalogue Raisonné

http://diebenkorn.org/index.html

The Andy Warhol Catalogue Raisonné: Paintings, Sculptures, and Drawings

http://www.warholfoundation.org/legacy/raisonne.html

List of articles used :

Franklin, J. From Inventory to Virtual Catalog: Notes on the ‘Catalogue Raisonné’. Art Documentation 22, no. 1 (2003): 41–45.

Lobel, Michael. Authorizing Warhol. Art Journal, July 20, 2004.

Catalogue Raisonné Scholars Association. CRSA Forum. Williamstown, Mass: Catalogue Raisonné Scholars Association. Accessed June 21, 2012

Lauder, Adam. "Liberty of the Compiler": Catalogue Raisonné as Metaphor for Collaborative Design. Art Documentation: Journal of the Art Libraries Society of North America , Vol. 30, No. 2 (Fall 2011), pp. 14-16, 18-22

Delahunty, Gavin. "Carl Andre: The Complete Poems". CRSA Forum. Head of Exhibitions and Display, Tate Liverpool, UK

Exhibition Catalogue

What is an exhibition catalogue?

An exhibition catalogue is an accompanying printed publication for a temporary exhibition or installation at an art gallery and documents the contents of an exhibition, often providing a forum for dialogue between curators, artists and critics.  Exhibition catalogues are invaluable resources because they typically provide interpretive text for each piece as well as scholarly essays not published elsewhere.  

Most catalogues share a number of components, including:

Table of Content page from the exhibition
catalogue of The Lost World of Old Europe
 exhibition at NYU in 2010

• List of the exhibition schedule (travel itinerary, exhibition's funders and sponsors)
• Content's page (often where names of authors who wrote catalogue entries are listed)
• Sponsor's statement
• Lenders to the exhibition
• List of trustees
• Funders
• Director's forward
• Acknowledgements
• Essay(s)
• Catalogue entries
• Chronology
• Bibliography
• Index

The catalogue entries themselves have several components:

• Catalogue number

  

  Example of entries in an exhibition catalogue

• Artist
• Nationality
• Dates
• Title of work
• Where piece was created
• Material/medium
• Dimensions
• Signature/inscription information
• Accession Number
• Text
• Provenance
• Bibliography or references
• Condition
• Related works
• Remarks

Exhibition catalogues are more than books, but can be a work of art in their own right.  Design is an equally important aspect and offer an opportunity to showcase the creativity and spirit of the exhibition.   

The Rare Books and Manuscripts Section of the American Library Association presents awards for the best exhibition catalogues based on design and intellectual content, offering a great bibliographic resource of the best catalogues published each year.  

To view an example of a digitized exhibition catalogue, click here. 

Where can I find copies?

Cover of the exhibition catalogue for the
Arts & Crafts Exhibition society

Copies of exhibition catalogues can be found on most major institutions websites under the "Publications" tab, including the Met, MoMA, Musée d'Orsay, even the Auckland Art Gallery. Not all exhibition catalogues are available for purchase.  Many sites offer online viewing or digital downloads for older "notable" catalogues.  

Visiting individual sites can be time-consuming; however, a few sites specialize in bringing together exhibition catalogues, such as Worldwide Books, and ArtBook.  

What does this mean for libraries?

When cataloging exhibition catalogs, librarians encounter conflicting goals- are we cataloging a publication or an exhibition? 

Authorship Problems

First, a librarian must ask who is responsible for the intellectual and artistic content?  Should it be cataloged under the organizer of the show (curator) or writers of the catalog (artists)?  Past practice has been to identify the corporate body as the author but the increasing number of co-organized exhibitions has forced librarians to abandon that tradition.  The Library of Congress advises using "the person who wrote the catalogue if he or she is represented as the author of the catalogue in the chief source of information."  However, this is not always clear and librarians must rely on common sense when cataloging.  

Publication Problems

Past practice has been to record the museum or art gallery where the exhibition was held as the publisher.  Now, more museums are entering joint arrangements with commercial publishers, making who published the exhibition catalogue unclear.  Also, publishers may distribute different versions of an exhibition catalogue.  For example, an exhibition catalogue of a German collection may have an English translation that may or may not contain all of the content found in the original version, and including a cataloging note may clear up questions about its publication history.  

For help with cataloging exhibition catalogs, the Library of Congress distributed a helpful "Best Practices" guide.  

References

"Association of Art Editors Style Guide." Association of Art Editors. Accessed September 25, 2013. http://www.artedit.org/styleguide.htm#exhibitcat.

Berger, Sidney E.  ""The Design and Evaluation of Exhibition Catalogs."  Rare Books & Manuscript Librarianship.  Volume 7: Number 1, 45-60.  

"Exhibition Catalogue." Wikipedia. Accessed September 17, 2013. http://en.wikipedia.org/wiki/Exhibition_catalogue. 

Starr, Daniel. "Some Comments on the Cataloging of Exhibition Catalogues, or, Who was the Author of that Exhibition?"  Art Documentation. Volume 15: Number 1, 11-16.  

Journals!

Journals are an invaluable resource for information for scholars - they are consistently relevant and provide great insight into current intellectual trends, new discoveries, or ongoing debates within the field. While monographs can offer an overview of a subject or issue, periodicals can offer detailed analyses or snapshots of a particular subject.

There are thousands of different publications in a variety of languages that cater to a host of different interests, societies and associations, and specific areas of scholarship (White, 26). With the aid of technology we now have access to publications ranging from the mid-19th century to the present. Early examples of publications include The Crayon, which featured commentary by critic John Ruskin, and the Bulletin of the American Art Union which can both be found through JSTOR.  Due to the large number of journals it is challenging to get an overall index of what is available.

Depending on the needs of a particular institution or because of a lack of financial resources, access to art periodicals may be difficult to access both in print and electronically. A smaller institution may not have the same number of resources that a larger research institution may have the money to purchase.

It is easy to locate information about surveys on indexing periodicals, but there is very little scholarship on collection development, and what art libraries are doing to keep their collections relevant. I was about to locate one interesting article on the development of e-journals, but there is very little scholarship on the ways open access resources play a role in 21st century collections.

After assessing the literature (which was difficult to locate) I found two major discussions going on in regards to art or visual resources periodicals in academic libraries:

1. Libraries should move from using print resources and rely on electronic databases and publications.
2. The need for scholarly resources in non-traditional or previously ignored subjects is still very high.

The push to rely on electronic resources is a part of a greater trend for libraries to save money and have access to more physical space to use for other purposes. Unfortunately, not every print journal has their entire collection available online, especially recent issues of the publication (Robinson, 10). How are libraries dealing with this issue, and is there a way for academic libraries to rely on other institutions for materials they do not provide? In class we've also discussed the important of image quality, and a 2008 study at the University of Kansas goes into greater detail about how library users feel about the quality of digital images.

I may need to tailor my research, but hopefully I can find more articles about libraries making a conscious effort to diversify their collections and respond to expanding. There's a fascinating article on efforts at Northwestern to develop and organize their items in their collection related to fashion and material culture. It would be great to find more articles that go into depth about maintaining diverse collections.

Please check out this interesting article on Avant-Garde and underused publications: http://www.jstor.org/stable/10.1086/669986!

Boudewyns, Deborah K. Ultan. 2010. "Scholarly Electronic Publishing in Art History: Nineteenth-Century Art Worldwide." Art Documentation: Bulletin Of The Art Libraries Society Of North America 29, no. 2: 21-25.

King, Lindsay M.1, lindsay.king@yale.edu, and Russell T.2, r-clement@northwestern.edu Clement. 2012. "Style and Substance: Fashion in Twenty-First-Century Research Libraries." Art Documentation: Bulletin Of The Art Libraries Society Of North America 31, no. 1: 93-107.

Robinson, Adam. 2010. "University of Kansas Print and Electronic Journal Comparison Study." Art Documentation: Bulletin Of The Art Libraries Society Of North America 29, no. 1: 37-40.

White, Tony. 2005. "Journal Title Overlap Study of Four Major Online Art Indexes." Art Documentation: Bulletin Of The Art Libraries Society Of North America 24, no. 1: 26-28.

The Many Looks of Artists' Books!

        Throughout an art library’s vastly unique and varied collection, there are bound to be books on many topics, from styles and artists to materials and time periods. There is a type of book, however, that in an art library is unique from all its other information counterparts: artists’ books. An artist’s book is not a book about an artist, but is actually a work of art designed by an artist that takes the form or appearance of a book. While these works of art can closely resemble the typical book at first, as seen in Legendary, Lexical,

Legendary, Lexical, Loquacious Love by Eve Rhymer - 
"an alphabetical re-ordering of the text in a romance novel."(1)

Loquacious Love by Eve Rhymer(1), they can also be made out of any type of material, in many different shapes, sizes and colors, in expressions of many different styles or artistic techniques, and can focus solely on images, words, or a melding of both. Artists’ books are thus tricky to define (though many have tried), because the term encompasses a huge array of artistic creations. They are defined in Descriptive Cataloguing of Artists’ Books published by ARLIS/UK & Ireland as “A book or book-like object in which an artist has had a major input beyond illustration or authorship: where the final appearance of the book owes much to an artist’s interference/participation: where the book is the manifestation of the artist’s creativity: where the book is a work of art in itself.” (2) While broad, this definition seemed to me to be the best in terms of indicating what an artist’s book is without eliminating a potentially valid manifestation (though for every one definition I found, there was always a slightly different one lurking around the corner).

        Ultimately, when it comes to understanding artists’ books, one of my favorite responses was from Angela Lorenz, an artist’s book creator (whose website includes an introduction to artists’ books as well as a great showcase of her current work). She says that the simplest way to “explain artist's books is by elimination, that is, by stating what they are not: They are not children's books. They are not sketch books. They are not diaries. They are not blank books. They are not exhibition catalogs. They are not reproductions of a body of an artist's work. They are not art books (a common misnomer).” (3) While many librarians, artists, and art historians seem to be in agreement with this statement of what an artist’s book is not, when it comes to what they are, “a universal definition remains elusive, and attempts to find one are still contentious”.(2)

        Overall, Artists’ books of any kind can typically be associated with one of two particular veins related to their creation: 

Filmboekje', artists' book by Beppe Kessler (6)

1. Production pieces, which gained popularity in the 60’s and 70’s as a way to revolt against the belief that art could only exist in sanctioned spaces (galleries or museums). These are done without much expense and are easy to access.
OR
2. Unique, often rare works that are made out of anything from plastic to wood and can be more sculptural pieces.

Both veins contain a multitude of different works within them, and works from both veins are valuable to an art library’s collection for many reasons. On an obvious level, keeping artists’ books within a library means that you have on hand a physical and valuable piece of art, representative of an artist, an artistic period of time, or style/movement (unlike full-scale paintings or “David”-like sculptures, which fit lousy on the shelves). In that sense, they are “natural candidates for exhibit and public display as ways to promote and publicize the library.”(2) However, you also have at your disposal a way to engage patrons or users that cannot be facilitated by most other types of art. An artist’s

'Map ed Veveiis', artist's book, by Genevieve Seille (6) 

book is often made with the intention of being touched (you have to turn the pages or lift flaps to see the content fully), and can be used in an academic or public setting to encourage those looking for information to explore beyond the typical sources that come to mind. When it comes to the purchasing and development of a supportive art collection, at least in an academic setting, faculty request artists’ books because of the learning opportunities they can afford students, as “artists’ books often recall different eras in the history (and pre-history) of the book, (and so) they can be used to make rare books and historical collections more user-friendly while making their own origins more intelligible…”(4) Though it should be noted that, like every other item in the library, the purchase of an artist’s book from either an individual or a bookseller is based on many factors, such as “cost, the artist (reputation/location/affiliation/gender/ethnicity), aesthetic value, craftsmanship, (and) other libraries’ holdings.”(4)


        Though the nature of artists’ books makes them a valuable addition to art libraries, that very nature also makes them one of the more difficult formats to include in a collection. The need for personal interaction, as well as physical limitations in terms of shelf space or storage, makes collecting, cataloging, and utilizing artists’ books a unique challenge. As works of art, they are created as an artist’s expression and should be displayed in order to be enjoyed and admired. As books, they exist as a sample of an artist’s talents, and should be properly cataloged and integrated into a collection. Their duality as both art and book means they “straddle the space between the world of art museums or galleries and that of library special collections.”(5) Thus, theories on developing and facilitating access to them are… conflicted.


        The first of two problems most prominent with artists’ books is that an art library with an artists’ books collection must consider actual space available. Just because most artists’ books are smaller than David’s full 14 feet does not mean they flawlessly fit on standard library stacks. As Annie Herlocker says, “Artists’ books come in a wide range of oversized, undersized, and oddly-sized formats, which can pose a serious threat to their security and safety (as well as that of neighboring books) if the formats are not taken into consideration when housing them. The idea of a collection of objects so starkly different in shape and content, made from often precious and fragile materials yet produced with the intent of being handled

Poemetrie, Dieter Roth (7)

repeatedly, and stored within a facility with the capacity for organized retrieval and preservation, seems like a complex equation.”(5) Trying to come up with a solution for that equation has pushed many libraries to split between “two primary schools of thought. One remains truer to the founding democratic tenor of the artists’ book genre: keep the collection accessible (albeit shelved in restricted stacks and housed in protective enclosures) and use it. The other is closer to traditional special collections treatment where keeping the materials hidden protects them and only rarely do they see the light of display.”(2) As all good librarians know, the best way to be an advocate for your library, your collection, and your users is to ignore requests and silent away books! But while denying patrons access to such collections does keep the materials “protected”, it also goes against the theory behind artist’s books that has been developing since their rise to popularity. 

        The second problem artists’ books present is less an issue of physical access to material, and more an issue of proper catalog access to material. Because artists’ books can be made of so many different materials, cover so many different themes or conceptual ideas, and can exist as single, unique entities, cataloging them is a much more intensive task than copy cataloging from OCLC, and there is no set standard for exactly how it should be done. By using MARC records and classifying artists’ books by the same standards as conventional books, most catalogers become rule benders in order to establish an accurate description that provides useful points of access.(4) Especially when “such characteristics as the type of binding used, the press, or the method of printing” can be as important in locating an artist’s book in the catalog as who created it and why.(2)

        In the end, artists’ books are an incredible format to have access to, mainly because they bring a perspective to an art library collection that might be missing otherwise. In truth, I had absolutely no clue about them until I started research for this blog post. To imagine having access to such materials now is at once exciting and unsettling for me, because while I would be able to look at the results of an artist’s hard work, hold it in my hands and witness everything they had produced, the complications of maintaining such a collection and making sure that it was properly cared for and cataloged would be daunting. Through the articles I read I was able to see that it can be done, and effectively so, but it is not as straight forward as making sure a non-fiction text gets a call number, or that you properly spelled the last name of a popular author.

Resources

1.  "Artist's Book." Wikipedia. Wikimedia Foundation, 23 Aug. 2013. Web. 25 Sept. 2013. <http://en.wikipedia.org/wiki/Artist's_book>.

2.  Kulp, Louise1, louise.kulp@fandm.edu. "Artists' Books In Libraries: A Review Of The Literature." Art Documentation: Bulletin Of The Art Libraries Society Of North America 24.1 (2005): 5-10. Library & Information Science Source. Web. 25 Sept. 2013.

3.  Lorenz, Angela. " What Is an Artist's Book." Angelalorenzartistsbooks.com. N.p., n.d. Web. 24 Sept. 2013. <http://www.angelalorenzartistsbooks.com/whatis.htm>.

4.  Vieth, Lynne S.1, lsvieth@comcast.net. "The Artist's Book Challenges Academic Convention." Art Documentation: Bulletin Of The Art Libraries Society Of North America 25.1 (2006): 14-19. Library & Information Science Source. Web. 25 Sept. 2013

5.  Herlocker, Annie1, aeherlocker@gmail.com. "Shelving Methods And Questions Of Storage And Access In Artists' Book Collections." Art Documentation: Bulletin Of The Art Libraries Society Of North America 31.1 (2012): 67-76. Library & Information Science Source. Web. 25 Sept. 2013.

6.  "Artists' Books." Victoria and Albert Museum, Online Museum, Web Team, Webmaster@vam.ac.uk. The Victoria and Albert Museum, n.d. Web. 24 Sept. 2013. <http://www.vam.ac.uk/content/articles/a/books-artists/>.

7.  "Artists' Books." Artists' Books (Getty Research Institute). Getty Research Institute, n.d. Web. 24 Sept. 2013. <http://www.getty.edu/research/special_collections/highlights/artists_books/index.html>.