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Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
Stevens presentation
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Stevens presentation

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  • 1. Stevens Institute of Technology S.C. Williams Library Michael Satalof, Project Archivist Spring 2013 Report on Antiques, Artworks, and Special Collections
  • 2. Project Summary Purpose • Create a campus-wide inventory and visual record of historic artifacts and artworks at Stevens. • Document current location and condition. • Describe historical context and provenance. Background • Used legacy inventories, donor files, and special collections. • Longtime staff and administrators were invaluable.
  • 3. Project Summary Based on 2004 appraisal inventory • 371 art and historic artifacts documented in 2004 • 355 of these objects located and inventoried in 2013 • More than half are in now new locations
  • 4. Project Summary Artifacts not inventoried • The Library’s bibliographic materials • The Library’s collection of mechanical models • The Frederick Winslow Taylor and Stevens Family collections • 16 objects not located from the 2004 inventory • Non-special collections or antique items
  • 5. Project Summary Inventory • 520 objects inventoried – 195 visual artworks – 259 furnishings – 53 documentary artifacts – 13 structural components • 1,150 images captured Locations – Wesley J. Howe Center – S.C. Williams Library – Hoxie House – Alexander House – Pond House – Edwin A. Stevens Hall – Pierce Hall – Campus grounds
  • 6. Element Definition Example Object Identifier An unambiguous and unique number assigned to each object. 01.1.3 Title Title of an object, either given or supplied. Portrait of Rachel Cox Stevens Creator The artist, agent or agency, maker or manufacturer responsible for creation of an object. Unknown (not apparently signed) Description Description of the object that can include physical, intellectual, or additional contextual information. Purportedly after an original by Gilbert Stuart (via, 2004 appraisal inventory). In 17th century giltwood frame. Date Date of creation. Circa dates are indicated as “Ca.” Mid-19th century Source Information about the object’s provenance, donor information, or former campus location. Formerly located in Castle Stevens, in the Gold Room, and later displayed in the Castle Room. Condition Description of the physical state of an object, based on visual inspection (from a vocabulary list: Good, Fair, Poor, Very Poor). Good – With minor surface cracking in spots on canvas. Dimensions Physical dimensions, in inches and feet. 40” w x 47” h Medium Medium or media comprising an object. Oil painting Location Current campus location (from a vocabulary list). Hoxie House, Drawing Room
  • 7. Inventory Process Unique ID number • Assigned to each object or set • Classification system based on The Getty’s Art & Architecture thesaurus
  • 8. Inventory Process Unique ID number The Moon and Stars 01.4.1 scw_01.4.1_1.jpg
  • 9. Inventory Process Unique ID number The Moon and Stars 01.4.1 Visual work scw_01.4.1_1.jpg
  • 10. Inventory Process Unique ID number The Moon and Stars 01.4.1 Visual work Mobile scw_01.4.1_1.jpg
  • 11. Inventory Process Unique ID number The Moon and Stars 01.4.1 [sequential #] Visual work Mobile scw_01.4.1_1.jpg
  • 12. Photographic Inventory scw_02.10.53_1.jpg
  • 13. Photographic Inventory scw_02.10.53_2.jpgscw_02.10.53_1.jpg
  • 14. Photographic Inventory scw_02.10.53_3.jpgscw_02.10.53_1.jpg scw_02.10.53_2.jpg
  • 15. Filemaker Inventory
  • 16. Filemaker Inventory
  • 17. Filemaker Inventory
  • 18. Transition to Collective Access Collective Access cataloging portal
  • 19. Transition to Collective Access Collective Access for online discovery • Direct publication of materials online • Enhance visibility of special collections • Curate digital “exhibits” and collections • Will serve as a digital image management system Maintain Filemaker database locally • Used to generate reports and for quick search • Will serve as a backup and database for local use
  • 20. Transition to Collective Access Filemaker Pro • Advantages – Powerful data-sorting abilities – Ease and speed of use – Customer service – Configurable • Disadvantages – Limited online access – Cannot support multiple or high-res images – Cannot support audio/video – Requires a license Collective Access • Advantages – Collections can be accessed online – Supports multiple/high-res images – Supports video/audio – Supports vocabularies/authorities – Configurable – Free and open-access • Disadvantages – Requires in-depth database setup – Requires an internet connection – Slower response time
  • 21. Other Project Outcomes
  • 22. Other Project Outcomes Preservation and Library storage space • Harmful storage environments identified • Artworks and historic artifacts removed • Environmental damage noted in inventory • Dedicated storage space for framed artworks • Approximately 70 framed artworks wrapped and moved
  • 23. Other Project Outcomes Preservation and Library storage space Dedicated storage room for framed artworks
  • 24. Other Project Outcomes Preservation and Library storage space 02.17.6 – Mirror previously damaged and improperly stored
  • 25. Other Project Outcomes Object Identifier system
  • 26. Other Project Outcomes Object Identifier system Workflow for tagging objects
  • 27. Other Project Outcomes Object Identifier system Workflow for tagging objects Opportunities for students • Engage students with collections and with Stevens history • Identify particular skills or expertise • Scanning, photography, tagging, some preservation work
  • 28. Next Steps Oral history recordings
  • 29. Next Steps Oral history recordings Further research of historical context
  • 30. Next Steps Oral history recordings Further research of historical context Preservation initiatives for objects
  • 31. Next Steps Oral history recordings Further research of historical context Preservation initiatives for objects Further inventory of objects not documented

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