DEFINITION
The name and geographic location of the repository that
is currently responsible for the work, or, for monumental
works and architecture, the geographic location of the work.
If the work is lost, destroyed, has location unknown,
or the work is in an anonymous private collection, indicate
this. It also includes the repository number, credit line,
and other administrative information about the work.
SUBCATEGORIES
GENERAL DISCUSSION
This category records information about where the work is
currently located. The current geographic location and the
name of the repository, if any, is required by researchers
and all other users of catalog data. The repository number
is critical for researchers wishing to find the object or
information about a structure in the records of the holding
institution. If the object or structure is lost or destroyed,
it is important to know its last known location.
If catalog records are being created within a single institution,
it may seem redundant to record repository and geographic
location for every catalog record. However, this information
should be included among the core categories when data is
exchanged between institutions or when data is available online
in a larger context.
Cataloging rules
For the subcategories in this section, basic recommendations
and discussion are provided below. For a fuller, more prescriptive
set of cataloging rules for some of the subcategories, see
Chapter 5: Location and Geography in Cataloging
Cultural Objects (CCO), which deals with a critical subset
of the CDWA.
RELATED CATEGORIES and ACCESS
CURRENT LOCATION is a core category. Record
former locations and minimal information about the current
location in OWNERSHIP/COLLECTING HISTORY.Record the discovery
location in CONTEXT - ARCHAEOLOGICAL - EXACAVATION PLACE.
Record the creation place in CREATION - PLACE/ORIGINAL LOCATION.
For an original placement in an architectural work, record
the name in CONTEXT - ARCHITECTURAL - BUILDING/SITE - PLACE.
For other miscellaneous former historical locations, record
the name in CONTEXT - HISTORICAL/CULTURAL - PLACE.
For loans or exhibitions, record the name in EXHIBITION/LOAN
HISTORY - VENUE PLACE. For places where the work was temporarily
located for restoration or examination, record the names in
CONDITION/EXAMINATION HISTORY - PLACE or CONSERVATION/TREATMENT
HISTORY - PLACE.
21.1. Current Location Description
DEFINITION
A description of the current or last known location of the
work, including nuance and uncertainty.
EXAMPLES
- Vienna (Austria)
- Department of Prints and Drawings (Metropolitan Museum
of Art, New York, New York, USA)
- 51 Shangxing Street (Jinan, Shangdong, China)
- location unknown; formerly Dan Fellows Platt Collection
(Englewood, New Jersey, USA)
- destroyed in 1966; formerly Gabinetto Disegni e Stampe
(Uffizi, Florence, Italy)
- location unknown, formerly at Aghia Triadha (Iraklion
department, Crete, Greece)
DISCUSSION and GUIDELINES
Optional: If necessary, record a description
of the current location of the work of art or architecture.
If a prose description expressing the nuance and uncertainty
is appropriate, it may be recorded here or in either of two
other categories: OWNERSHIP/COLLECTING HISTORY or the DESCRIPTIVE
NOTE.
Form and syntax
Use lower case, but capitalize proper names.
If the work is lost or destroyed, indicate this, plus an
indication of the last known location. Explain when works
are on long term loan (e.g., Hart Senate Office Building
(Washington, DC); on loan from the National Portrait Gallery
(Washington, DC)), and index the names of both the institution
that has current control of the work and the name of the institution
that is the permanent or regular repository of the work in
CURRENT LOCATION - REPOSITORY NAME/GEOGRAPHIC LOCATION.
TERMINOLOGY/FORMAT
Free-text: This is not a controlled field.
Use consistent format and syntax when possible. It is required
to index the current location in CURRENT LOCATION - REPOSITORY
NAME/GEOGRAPHIC LOCATION.
21.2. Current Repository/
Geographic Location 
DEFINITION
The name of the repository that currently houses the work
and the geographic place where the work is located, including
the location of the repository, the site of a building other
large work, or the place where performance took place. If
the work is lost, stolen, or destroyed, this subcategory identifies
the last known repository or geographic location and states
that the work has been lost, stolen, or destroyed, or that
its current repository is unknown.
EXAMPLES
- Musée Historique du Château de Vitré
(Britanny, France)
- Graphische Sammlung Albertina (Vienna, Austria)
- Department of Prints and Drawings (Metropolitan Museum
of Art, New York, New York, USA)
- Tablet Collections (University Museum, University of Pennsylvania,
Philadelphia, Pennsylvania, USA)
- Piazza dei Caprettari (Rome, Italy)
- Dunhuang (Gansu province, China)
- unknown
- lost
- destroyed
- private collection
- not applicable
DISCUSSION and GUIDELINES
Required: Record the preferred name of the
geographic place, building, or repository (e.g., a museum)
where the work is currently located or was last located. Record
the most commonly used name, which is not necessarily the
fullest or "official" name. Take the name from an
authoritative source. If the work is no longer extant or the
location is unknown, this should be indicated.
This subcategory should be linked to the PERSON/CORPORATE
BODY AUTHORITY and the PLACE/LOCATION AUTHORITY, in which
the larger administrative units and geographic locations for
repositories should be recorded (e.g., as displayed in parentheses
in the Examples above). Note that for large repositories that
have facilities in diverse locations, it is useful to record
the geographic location of the administrative unit that holds
the object when this differs from the location of the main
repository buildings (e.g., the Cloisters collection of the
Metropolitan Museum).
Movable works
For works that can be moved ("movable," e.g., a
sculpture or drawing in a museum or other institution), record
the repository or private individual who currently has physical
responsibility for the object. A repository for an art work
is defined as the institution or organization that owns or
has control of the object (e.g., National Gallery of Art
(London, England, United Kingdom)). For works not housed
in a museum or other collecting institution, locations may
also include the name of the building in which the work is
located (e.g., the church of Santa Croce (Florence, Italy)),
which is not necessarily the same as the name of the institution
that has control of the work (e.g., for works in Santa Croce,
the Soprintendenza ai Beni artistici e storici per le province
di Firenze, Prato e Pistoia is responsible).
For some stationary works, it is appropriate to record the
building where the work is located.
Stationary works
For many works that are stationary or "immovable,"
there will be no repository. For monumental or architectural
works, record the geographic location where the work is found.
Geographic places may be administrative entities, such as
a city or nation (e.g., Tokyo (Japan)) or physical
features (e.g. Lascaux Cave (Dordogne, Aquitaine, France)).
Deserted settlements (e.g., Machu Picchu (Peru)) and former
nations or empires (e.g., Flanders) may be included.
If known, also record the administrative entity that has
jurisdiction over the care of the monumental work. For example,
the obelisk in Piazza Caprettari in Rome is not located in
a "repository," so the piazza should be recorded
as the current location. However, if the government entity
that has jurisdiction over the obelisk is known, it should
also be recorded in this subcategory.
Specificity
Record the most specific location applicable or known.
When an institution comprises divisions or departments, each
of which has responsibility for different objects or architectural
works, record the administrative unit that has direct responsibility
for the object. For example, the repository of a sarcophagus
could be the Department of Egyptian Antiquities (British
Museum, London, England, United Kingdom). There may be
multiple administrative levels (e.g., Department of Italian
Paintings, which is part of the Paintings Division,
which is part of the National Gallery). With a smaller
institution, there may be no administrative subdivisions.
For example, the repository of a decorated chest may be simply
the Gorey Castle Museum (Gorey, Jersey, Channel Islands).
For architecture and other monumental works, generally it
is sufficient to record the city where the work is found,
but a street address may be included.
Avoid anachronisms, if possible. If the last known repository
or location was known by a historical name, index it here
in REPOSITORY/GEOGRAPHIC LOCATION using the historical name,
if possible. If this is not possible, use the historical name
in the LOCATION DESCRIPTION (e.g., Rhakotis, now called
Alexandria (Egypt)), and index it using the modern name
here in REPOSITORY/GEOGRAPHIC LOCATION.
Performance art
For performance art or environmental art, record the location
where the work was performed or created in CREATION - PLACE/ORIGINAL
LOCATION. In CURRENT LOCATION, record not applicable.
Form and syntax
Capitalize all proper names, including the names of buildings,
repositories, villages, towns, cities, provinces, states,
nations, empires, kingdoms, and physical features (e.g., Agroha
(Haryana state, India)). If a name includes an article
or preposition (e.g. de, des, la, l'), generally use
lower case except when it is the first word in the name (e.g.,
Aire-sur-la-Lys (Nord-Pas-de-Calais, France), but La
Chapelle (Louisiana, USA)).
Although most place names and museum names will be in the
local language of the place, use the name in the language
of the catalog record if this name is most commonly used.
For example, if you are cataloging in English in the United
States, use the English version of the name if there is an
English name that is commonly used in authoritative sources
in English (e.g., Florence (Italy) rather than Firenze
(Italia)). Note that it is relatively common to find English
names for museums and other institutions, but rarer to find
English names for cities (although there will generally be
an English version of the name for most nations; e.g., Italy
vs. Italia). Note that capitalization of names in languages
other than English may vary. For guidance in the capitalization
of institutions' names, use official publications or the official
Web site of the institution, or other authoritative sources.
Avoid abbreviations. For the preferred name, spell out the
name of the repository; do not use abbreviations or initials
(e.g., not MoMA or NGA, not S. Gimignano).
Exceptions are those rare abbreviations that will be understood
by most end users, including the general public and those
whose native language is not English (e.g., USA). Note
that abbreviations and variant name forms should be included
in the authorities to provide access.
See the GEOGRAPHIC PLACE AUTHORITY and the PERSON/CORPORTE
BODY AUTHORITY for full discussions regarding how to formulate
names and how to designate a preferred name. If the
geographic place or repository name is not listed in an authoritative
source and common usage therefore is not known, create a name
using a standard such as Anglo-American cataloguing Rules
(AACR).
Lost works, private collections
For works that are lost or destroyed, record the last known
location; also use appropriate terminology to indicate the
current status of the work: unknown, destroyed, lost.
If only the creation location is known, record lost, destroyed,
etc. in this subcategory, and record the name of the creation
place in CREATION - PLACE/ORIGINAL LOCATION.
If the work is in a private collection, record the name of
the collection, if known. If the name of the collection is
unknown or if the owner wishes to remain anonymous, record
the phrase private collection (lower case); in addition,
include the geographic location, if known.
Unnamed locations
If a location is unnamed, record the nearest named town, city,
or physical feature. Qualify it with the phrase near in
the LOCATION DESCRIPTION (e.g., cliff face, near Huashan,
Shaanxi, China)); index the nearby named city or site
in REPOSITORY/GEOGRAPHIC LOCATION.
Optionally, if the site is named but not well known, include
the name of a better known nearby location in LOCATION DESCRIPTION,
if possible (e.g., Buxton Limeworks quarry, near Taung,
Bophuthatswana, South Africa)); index the actual location
in REPOSITORY/GEOGRAPHIC LOCATION (e.g., Buxton Limeworks
(Bophuthatswana, South Africa)).
For an unnamed site that is not near a well-known place,
record the name of the smallest administrative entity that
contains the site (e.g., a county, Franklin County (Indiana,
USA)). For archaeological sites, include the plot number,
trench number, or other specific designation, if known and
where appropriate (e.g., Tomb 7, Monte Albán, near
Oaxaca City (Mexico) or plot #125, hill 78-098 (Great
Zimbabwe Ruins National Park, Victoria, Zimbabwe)).
Uncertainty
If the location is uncertain, explain this in LOCATION DESCRIPTION,
and index the possible current locations here in REPOSITORY
NAME/GEOGRAPHIC LOCATION.
TERMINOLOGY/FORMAT
Authorities: For this subcategory, control
the names of individuals and institutional repositories with
the PERSON/CORPORATE BODY AUTHORITY. Control the names of
geographic places with the PLACE/LOCATION AUTHORITY.
Published sources of vocabulary include the following, as
well as the sources listed in the authorities chapters: include
the following, as well as the sources listed in the authorities
chapters: TGN, LCSH, LC Name Authorities, Canadiana Authorities,
LC Name Authorities, NIMA and USGS, Canadiana Authorities.
RELATED CATEGORIES and ACCESS
The current location of a work is a primary access point.
The current repository may also be recorded in OWNERSHIP/COLLECTING
HISTORY - OWNER. Note that the current owner is not necessarily
the same as the current repository. Record temporary loans
in EXHIBITION/LOAN HISTORY.
21.3. Current Repository
Numbers
DEFINITION
Any unique identifiers assigned to a work by the current
or last known repository.
EXAMPLES
1987.776.32 A
P&D 3455-90
86.DH.705.1
[Figure 10]
AR1982:0002,#145: 116
Barb. lat. 4434, folio 3
Ms. Coll. E.2.I.28
/503/1913
DISCUSSION and GUIDELINES
Required: Record any numeric or alphanumeric
code (such as an accession number, shelf number, etc.) or
phrase that uniquely identifies the object as belonging to
a collection held by the repository or one of its administrative
units. Architectural works may also have identifying numbers,
and these should be recorded here.
Form and syntax
The identifier usually contains coded information used by
the repository, such as the date of accession, donor, or physical
location of the object within the repository. For objects
that are part of volumes or groups, the identifier may be
a concatenation of unique identifiers for the object at hand
and its larger contexts (e.g., AR1982:0002, #145: 116
identifies object 116 within subgroup 145, which
in turn is in the larger group AR1982:0002).
Record multiple identifiers, if necessary. For example, when
an identifier has changed over time (e.g., Ms. Ludwig IX19
and 83.ML.115
[Figure 7]), or when a single object is composed of fragments
acquired over time.
TERMINOLOGY/FORMAT
Free-text: The format of the number will vary
depending on its type and source. When an institution is cataloging
its own works, it is recommended to enforce an appropriate
controlled format for the numbers.
RELATED CATEGORIES and ACCESS
REPOSITORY NUMBERS is a primary access point. Multiple identifiers
should be accommodated. Although the repository itself will
probably have access needs related to information coded in
the identifiers, the researcher generally needs only to know
the identifier in order to uniquely identify the object and
to locate the object within the repository.
21.3.1. Number Type
DEFINITION
The type of number or other unique identifier assigned to
a work by the current or last known repository.
EXAMPLES
accession number
shelf number
object identifier
inventory number
DISCUSSION and GUIDELINES
Optional: Record a term describing the type
of number, if known. Use lower case.
TERMINOLOGY/FORMAT
Controlled list: Control this subcategory with
a controlled list, using the terms in Examples above, and
others as necessary.
21.4. Gallery/Shelf Location
DEFINITION
The particular location of the work in a repository or the
street address of a built work.
EXAMPLES
Gallery 223, Asian Art, second floor
AF-009.45
Room 89
234 Washington Street
DISCUSSION and GUIDELINES
Optional: Record a description of the location
of the work in the repository or the street address of a built
work. Use lower case, with the exception of the official designations
of galleries or rooms that are used as proper names and with
proper names of streets.
TERMINOLOGY/FORMAT
Free-text or controlled list: In most cases,
this is not a controlled field. Use consistent format and
syntax when possible. For local usage within a single repository,
control this subcategory with a local controlled list to ensure
consistency.
21.5. Current Credit Line
DEFINITION
A brief statement indicating how the work came into the current
collection or how it came to be on view at the repository.
EXAMPLES
Rogers Fund, 1949
Bashford Dean Memorial Collection, Gift of Edward S.
Harkness, 1929
Andy Warhol Foundation for the Visual Arts Gift, Joyce
and Robert Menschel Gift and Rogers Fund, 1995
DISCUSSION and GUIDELINES
Optional: Record the credit line verbatim as
indicated by the repository. The work's credit line indicates
how the work came into the collection or how it came to be
on view at the repository; it may contain words such as bequest,
gift, purchase, or loan, and the name of the benefactor.
The year or accession may be included.
Form and syntax
Copy the credit line as preferred by the repository. Capitalize
proper names.
TERMINOLOGY/FORMAT
Free-text: This is not a controlled field.
Use consistent format and syntax when possible. If provenance
is recorded for the work, repeat the credit line and index
the information in OWNERSHIP/COLLECTING HISTORY.
21.6. Object/Work Label/Identification
DEFINITION
A brief description and credit line that identifies the work
and distinguishes it from similar works.
EXAMPLES
One format:
Cypresses; painting; Vincent van Gogh (Dutch, 1853-1890);
1889; Metropolitan Museum of Art (New York, New York, USA);
Rogers Fund, 1949; 49.30.
Rosewater Bottle; vessel; Somali peoples; mid-20th
century; National Museum of African Art (Washington, DC,
USA); Gift of the Loughrans; 76-16-12.
Tournament Helm (Stechhelm); helmet; Unknown German;
ca. 1500; Metropolitan Museum of Art (New York, New York,
USA); Bashford Dean Memorial Collection, Gift of Edward
S. Harkness, 1929; 29.156.67a.
Sears Tower; skyscraper; Skidmore, Owings and Merrill
(American, established 1939); completed in 1973; 233 South
Wacker Drive (Chicago, Illinois, USA).
Another format:
Vincent van Gogh (Dutch, 1853-1890); Cypresses;
1889; oil on canvas; 93.4 x 74 cm (36 3/4 x 29 1/8 inches);
Metropolitan Museum of Art (New York, New York, USA); Rogers
Fund, 1949; 49.30.
Somali peoples; Rosewater Bottle; mid-20th century;
glass, silver alloy ; 25.5 x 7 x 7 cm (10 1/16 x 2 3/4 x
2 3/4 inches); National Museum of African Art (Washington,
DC, USA); Gift of the Loughrans; 76-16-12.
Unknown German; Tournament Helm (Stechhelm); ca.
1500; steel, brass; height: 45 cm (17 3/4 inches); Metropolitan
Museum of Art (New York, New York, USA); Bashford Dean Memorial
Collection, Gift of Edward S. Harkness, 1929; 29.156.67a.
Skidmore, Owings and Merrill (American, established 1939);
Sears Tower; completed in 1973; steel frame, clad
in bronze-tinted glass and stainless aluminum; height to
the top of the roof: 442 m (1,450 feet); 233 South Wacker
Drive (Chicago, Illinois, USA).
DISCUSSION and GUIDELINES
Optional: Record a brief description of the
work, to be used in wall labels, slide labels, illustration
captions, catalog captions, and in other situations where
the work must be identified succinctly and uniquely.
Form and Syntax
There may be multiple forms and use of syntax, generated for
various uses in different situations.
Use one or both of the options below, which are based on
the most commonly used label formats. Alternatively, devise
another scheme for syntax and punctuation, provided it is
used consistently in local practice. In any situation, create
labels that are consistent in form and syntax. Exception:
When necessary for publications, transcribe the label verbatim
as legally required by the repository or copyright holder.
Begin the label with a capital letter, and end it with a
period. Use semi-colons to separate discrete items of information.
Capitalize proper names. List items of information in the
order indicated below. For architecture or any other works
where any of the following items is unavailable, the information
may be omitted in the sequence if possible; however, this
may be impossible when labels are generated by computer algorithm.
One format: This briefer format will be appropriate
for RELATED WORKS and references to the work in a text.
1. List the title of the work (e.g., Cypresses or
Sears Tower). Use title case, not sentence case,
using TITLES OR NAMES - TEXT.
2. List the preferred OBJECT/WORK - TYPE.
3. List the CREATION - CREATOR - DESCRIPTION. That is,
list the natural order preferred name of the creator, followed
by his or her nationality and life dates in parentheses
(e.g., Vincent van Gogh (Dutch, 1853-1890)).
For unknown creators, list the culture of the creator (e.g.,
Somali peoples or Unknown German). Include
multiple creators when appropriate. Include the role if
necessary for clarity.
4. List the date of creation of the work, including nuance
and uncertainty when necessary (e.g., 1889 or mid-20th
century), using CREATION - CREATION DATE.
5. List the CURRENT LOCATION - REPOSITORY/GEOGRAPHIC LOCATION.
That is, list the name of the repository, with its geographic
location in parentheses (e.g., J.Paul Getty Museum (Los
Angeles, California, USA)). If there is no repository,
list the geographic location (e.g., Giza (Egypt)).
6. List the credit line, if any, as specified by the repository
and recorded in CURRENT LOCATION - CREDIT LINE (e.g., Bashford
Dean Memorial Collection, Gift of Edward S. Harkness, 1929).
7. List the accession number or other unique identifier
for the work in the repository (e.g., 82.PB.70) as
recorded in CURRENT LOCATION - REPOSITORY NUMBERS.
Another format: This longer format may be appropriate
for wall labels and citations for images of the work. It differs
from the shorter format in that it includes materials and
techniques, and measurements, and it does not include object/work
type.
1. List the natural order preferred name of the creator,
followed by his or her nationality and life dates in parentheses
and attribution information, from CREATION - CREATOR - DESCRIPTION.
2. List the title of the work from TITLES OR NAMES - TEXT.
3. List the date of creation of the work from CREATION
- CREATION DATE.
4. List the materials and technique of the work. Use lower
case (e.g., oil on canvas). Follow the guidelines
laid out in MATERIALS AND TECHNIQUE - DESCRIPTION. Optionally,
the Object/Work Type may be added for clarity, particularly
when the type of object is not apparent from the title or
materials and technique.
5. List the measurements of the work. It is recommended
to express measurements in metric units, converted to inches
or feet in parentheses (e.g., 93.4 x 74 cm (36 3/4 x
29 1/8 inches)). Follow the guidelines laid out in MEASUREMENTS
- DIMENSIONS DESCRIPTION.
6. List the name of the repository, with its geographic
location in parentheses from CURRENT LOCATION - REPOSITORY/GEOGRAPHIC
LOCATION.
7. List the credit line, if any, as specified by the repository
and recorded in CURRENT LOCATION - CREDIT LINE .
8. List the accession number or other unique identifier
for the work in the repository from CURRENT LOCATION - REPOSITORY
NUMBERS.
9. For captions that accompany images of the work, include
any copyright statements required by the copyright holders
of the object and the image (e.g., © 2002 Andy Warhol
Foundation for the Visual Arts/ARS, New York). Follow
the guidelines laid out in COPYRIGHT/RESTRICTIONS - STATEMENT
and RELATED VISUAL DOCUMENTATION - COPYRIGHT/RESTRICTIONS.
TERMINOLOGY/FORMAT
System generated: Ideally, the label should
be generated from various fields in the Object/Work record.
Free-text: If this is a free-text field, index
the information in the pertinent controlled subcategories
elsewhere in the related record.
RELATED CATEGORIES and ACCESS
Information in this subcategory will generally be concatenated
from information in the following subcategories: CREATION
- CREATOR - DESCRIPTION; TITLES OR NAMES - TEXT; CREATION
- CREATION DATE; MATERIALS AND TECHNIQUE - DESCRIPTION; CURRENT
LOCATION - REPOSITORY/GEOGRAPHIC LOCATION; CURRENT LOCATION
- CREDIT LINE; CURRENT LOCATION - REPOSITORY NUMBERS.
21.7. Remarks
DEFINITION
Additional notes or comments pertinent to information in
this category.
DISCUSSION and GUIDELINES
Optional: Record a note containing additional
information or comments on this category. Use consistent syntax
and format. For rules regarding writing notes, see DESCRIPTIVE
NOTE.
FORMAT/TERMINOLOGY
Free-text: This is not a controlled field.
Use consistent syntax and format.
21.8. Citations
DEFINITION
A reference to a bibliographic source, unpublished document,
or individual opinion that provides the basis for the information
recorded in this category.
DISCUSSION and GUIDELINES
Optional: Record the source used for information
in this category. For a full set of rules for CITATIONS, see
RELATED TEXTUAL REFERENCES - CITATIONS.
TERMINOLOGY/FORMAT
Authority: Ideally, this information is controlled
by citations in the citations authority; see RELATED TEXTUAL
REFERENCES.
21.8.1. Page
DEFINITION
Page number, volume, date accessed for Web sites, and any
other information indicating where in the source the information
was found.
DISCUSSION and GUIDELINES
Optional: For a full set of rules for PAGE,
see RELATED TEXTUAL REFERENCES - CITATIONS - PAGE.
FORMAT/TERMINOLOGY
Free-text: This is not a controlled field.
Use consistent syntax and format.
EXAMPLES
For various types of locations
[in a museum, for a Native American woven basket]
Current Location: Heard Museum (Phoenix, Arizona,
USA)
[in a building, for a fresco by Masaccio]
Current Location: Brancacci Chapel (Santa
Maria del Carmine, Florence, Italy)
[for architecture, the building Hagia Sophia]
Current Location: Istanbul (Marmara region,
Turkey)
[for an outdoor sculpture, Large Arch sculpture by Henry
Moore]
Current Location: Columbus (Indiana, USA)
[for a stationary work, for a burial mound]
Current Location: Adams County (Ohio, USA)
[street address for a church]
Current Location: 17, Rue Saint-Antoine (Le
Marais, Paris, France)
[in a named private collection, for an oil painting]
Current Location: Luciano Conti Collection
(Beverly Hills, California, USA)
[in an anonymous private collection, pastel sketch]
Current Location: private collection (Montreal,
Canada)
Current location used with other location categories
[for a piece of performance art]
Current Location: not applicable
Creation Location: Times Square (New York,
New York, USA)
[destroyed work, including creation location too, for
a stained glass window]
Current Location: destroyed
Creation Location: Gedächtniskirche (Berlin,
Germany)
[including creation location, for an amphora]
Current Location: J. Paul Getty Museum (Los
Angeles, California, USA)
Creation Location: Athens (Greece)
[including creation location, for an obelisk in a piazza]
Current Location: Piazza di Montecitorio (Rome,
Lazio, Italy)
Creation Location: Heliopolis (Egypt)
[including discovery location, for a ceramic plate]
Current Location: Freer Gallery of Art (Washington,
DC, USA)
Discovery Location: Delhi (India)
[including context architectural place, for a panel
painting]
Current Location: Pinacoteca Nazionale (Siena,Tuscany,
Italy)
Former context: Duomo (Siena, Tuscany, Italy)
Expressing nuance in the a description field
[including a description field to express "near,"
for a rock painting]
Location Description: cliff face, near Huashan,
Shaanxi, China
Current Location: Huashan (Shaanxi, China)
[including a description field to express "formerly,"
for a lost artifact]
Location Description: location unknown, formerly
at Aghia Triadha, Iraklion department, Crete, Greece
Current Location: lost
Last known location: Aghia Triadha (Iraklion
department, Crete, Greece)
Examples of labels
[shorter labels]
Object/Work Label/Identification: Aquatic Drama;
Mark Rothko (American, 1903-1970); 1946; painting; National
Gallery of Art (Washington, DC, USA); Gift of The Mark Rothko
Foundation, Inc.; 1986.43.10.
Object/Work Label/Identification: Great
Sphinx; colossal sculpture; Unknown Egyptian; Fourth
Dynasty, reign of King Khafre (ca. 2575-ca. 2565 BCE); Giza
(Egypt).
Object/Work Label/Identification: Femme
au chapeau (Woman with the Hat); painting; Henri Matisse
(French, 1869-1954); 1905; San Francisco Museum of Modern
Art (San Francisco, California, USA); Bequest of Elise S.
Haas; 91.161; © Succession H. Matisse, Paris / Artists
Rights Society (ARS), New York.
Object/Work Label/Identification: Closed
Burden Basket; basket; weaver: unknown, Hupa; ca. 1900;
National Museum of the American Indian (Washington, DC,
USA); 8/2943.
[longer labels]
Object/Work Label/Identification: Jacques-Louis
David (French, 1748-1825); The Oath of the Horatii;
1784; oil on canvas; 330 x 425 cm (130 x 167 5/8 inches);
Paintings department; Musée du Louvre (Paris, France);
INV.3692.
Object/Work Label/Identification: Unknown
Olmec; Were-Jaguar Head; 900-300 BCE; jadeite; 5.4
x 5.1 cm (2 1/8 x 2 inches); Dumbarton Oaks (Washington,
DC, USA); B-551.66.OJ.
Object/Work Label/Identification: Unknown
Korean (Choson Dynasty, 1392-1910); Portrait of a Buddhist
Monk; 18th century; ink and colors on silk; framed;
99.695 x 78.105 cm (39 1/4 x 30 3/4 inches); Philadelphia
Museum of Art (Philadelphia, Pennsylvania, USA): The Samuel
S. White 3rd and Vera White Collection, 1967.
Object/Work Label/Identification: Pierre
Le Pautre (1660-1744, active in Paris); Le Cabinet des
Beaux Arts; ca. 1690; engraving; plate mark: 17.6 x
26.4 cm (7 x 10 3/8 inches), sheet: 24.5 x 30.7 cm (9 5/8
x 12 inches); from Le Cabinet des Beaux arts, ou, Recueile
d'estampes gravées de'après les tableaux d'un
plafond ou les beaux arts sont representés avec explication
de ces mêmes tableaux. Paris: G. Edelinck, 1690;
Research Library; The Getty Research Institute (Los Angeles,
California); 88-B12341[plate 2].
Object/Work Label/Identification: Henry Moore (British,
1898-1986); Large Arch; installed in 1971; sand-cast
bronze, green patina; 6.25 x 3.66 m (10 feet 6 inches x
12 feet); Cleo Rogers Memorial Plaza (Columbus, Indiana,
USA).
Object/Work Label/Identification: Gustave
Eiffel (French, 1832-1923); Eiffel Tower; 1887-1889;
wrought iron, exposed iron construction; Paris (France).
Object/Work Label/Identification: Unknown
(Saqqara, Egypt); Bronze Figure of a Seated Cat (Gayer-Anderson
Cat); Late Period, after 600 BCE; bronze; 42 x 13 cm
(16 1/2 x 5 1/8 inches); British Museum (London, England,
United Kingdom); Gift of Major Robert Grenville Gayer-Anderson;
EA 64391.
Object/Work Label/Identification: Andy
Warhol (American, 1928-1987); Self-Portrait; 1979; instant
color print; 61 x 50.8 cm (24 x 20 inches); Metropolitan
Museum of Art (New York, New York, USA); Purchase, The Andy
Warhol Foundation for the Visual Arts Gift, Joyce and Robert
Menschel Gift and Rogers Fund, 1995; 1995.251; © 2002
Andy Warhol Foundation for the Visual Arts/ARS, New York.
Object/Work Label/Identification: Jan
van Huysum (Dutch, 1682-1749). Vase of Flowers; 1722;
oil on panel; 79.4 x 60.9 cm (31 1/4 x 24 inches); J.Paul
Getty Museum (Los Angeles, California, USA); 82.PB.70; ©
2005 J. Paul Getty Trust. All rights reserved.
NOTE: The outline numbers are subject to change; they are
intended only to organize this document.
Revised 6 August 2009
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