Auction Catalogue Research Articles

Colored Copies of Blair’s <i>Grave</i> (1808, 1813): A Census

The information in this census derives from auction catalogues and from the copies themselves when traced. They are not described at all in Martin Butlin, The Paintings and Drawings of William Blake (1981), or in Blake Books (1977), Blake Books Supplement (1995), and “William Blake and His Circle” in Blake (1994–), except incidentally.

Miejsce powstania i historia pasjonału theol. lat. oct. 162 ze zbiorów Biblioteki Państwowej w Berlinie

Codex theol. lat. oct. 162 (Staatsbibliothek Berlin) plays an important role in Polish medieval studies due to its containing the sole witness of Vita Quinque Fratrum (BHL 1147) by Bruno of Querfurt. The article traces history of the codex from the origin until its discovery in the family library of Reinhard Kade, the first editor of VQF. The oldest part of the codex is a passionale (12/13th cent.), which was written at (or at least very early belonged to) the Benedictine monastery in Huysburg. In the 15th century – still in Huysburg – it was bound together with two later unrelated manuscripts to form the current composite codex. During the secularization of the monastery at the beginning of the 19th century it came into possession of Friedrich Gottlieb Julius von Bulow (1760–1831), an assessor and book collector. After von Bulow’s death his collection was put up at auction, the printed catalogue of which lists our manuscript. The codex was bought by Kade’s paternal grandfather, Anton Kruger of Dresden a noted engraver. The rest of manuscript’s history is well known. The second part of the article examines a couple of hypothetical routes, through which the source copy for our witness (i.e. a very early copy or even Bruno’s draft) or the witness itself could have been transferred to Huysburg, by tracing both direct and indirect connections of Querfurt counts and the monastery. Those hypothetical routes from Querfurt (Eilversdorf monastery?) to Huysburg – both in the diocese of Halberstadt – also try to make sense of the apparent interest that the passionale compiler had taken in Magdeburg. A brief addendum discusses the implications of the re-discovery of a codex from Ebrach, previously considered lost, that was suspected by G. Waitz to be identical with our witness or, by W. Ketrzynski and W. Meysztowicz, to be a source for Cosmas’ of Prague version of Five Brothers text. Late in the publishing process the author became aware the new description of theol. lat. oct. 162 (Beate Braun-Niehr, Manuscripta Mediaevalia database: [access: 29.09.2016]. This new description independently and concisely provides some of the article’s findings (ownership note from Huysburg, auction catalogue of „Bibliotheca Buloviana”, lost codex of EbrachNepomuk). Still available is the previous catalogue description, which was known to the author in February 2014, during the autopsy of Huysburg codices in Berlin [access: 29.09.2016].

Review: Paris Ville Lumière: Une transformation urbaine et sociale, 1855–1937, by Joanne Vajda

Joanne Vajda Paris Ville Lumiere: Une transformation urbaine et sociale, 1855–1937 Paris: L'Harmattan, 2015, 422 pp., 133 b/w illus. €40 (cloth), ISBN 9782343055633 Behind an imprecise title and lackluster cover lies a book that lovers of the French capital will enjoy. Joanne Vajda discusses the urban and social transformation of the City of Light that was mediated by high-class tourism in the period 1855–1937. We learn how the members of the “traveling elite” helped transform the neighborhoods they patronized, originally near the Grands Boulevards, then moving westward, always on the Right Bank; the scholastic Latin Quarter and artistic Montparnasse are not featured, and Montmartre makes only a cameo appearance. The beginning and end dates in the book's title relate to the first and last international expositions Paris hosted, and the bulk of the research concerns the Second Empire and the Belle Epoque. In this study, which originated in her doctoral research at the Ecole des Hautes Etudes en Sciences Sociales, Vajda taps into a multitude of print and archival sources, taking the painstaking path necessary to comprehend the sociocultural, financial, and environmental dynamic between, on one hand, Paris's business and high-end districts as well as residential beaux quartiers and, on the other, the rich men and women attracted to the city from all over the world. Her sources include guidebooks (including multilingual pamphlets published by hotels), essays by fashionable French writers, hotel guest books, building permits, citizenship applications, bankruptcy files, auction catalogues, and police reports. The first section sets the cultural stage for the “the city of the guidebooks,” the “Paris desœuvre, sensuel et cosmopolite” (389) shaped by, and for, foreigners. Indeed, attracting upscale tourism was one of Baron Haussmann's objectives, and such tourism remains a key economic engine for the Parisian economy. Among other intriguing facts, we learn that by 1855 foreigners were allowed entry on a daily basis into many monuments and museums that the French could patronize only on Sundays; …

Kirsten Weld. Paper Cadavers: The Archives of Dictatorship in Guatemala. Durham, N.C.: Duke University Press, 2015. xvi, 335p. ISBN 978-0822356028. $26.95.

RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage reviews books, reports, new periodicals, databases, websites, blogs, and other electronic resources, as well as exhibition, book, and auction catalogs pertaining directly and indirectly to the fields of rare book librarianship, manuscripts curatorship, archives management, and special collections administration. Publishers, librarians, and archivists are asked to send appropriate publications for review or notice to the Reviews Editor.Due to space limitations, it may not be possible for all books received to be reviewed in RBM. Books or publication announcements should be sent to the Reviews Editor: Amy Cooper Cary, Raynor . . .

Joseph Carpue's file drawer experiment – A murder mystery from 1801

Today unpublished or “file drawer” experiments are the impetus for trial registration and reporting of all results. In 1801, Joseph Carpue, the father of modern plastic surgery, did a file drawer experiment for Benjamin West, who was President of the Royal Academy of Arts. George III had commissioned West to create the largest stained glass window ever created whose theme, the Crucifixion, was based upon Michelangelo's drawing. Subsequently, West suffered a series of political, professional and economic setbacks. In the summer of 1801, West's project was delayed. By the fall, West hoped that independent scientific confirmation of his design could salvage the project. West approached Carpue who obtained a murderer's fresh corpse that he crucified and documented the results with plaster casts created by sculptor Thomas Banks. Carpue's experiment showed that West's window design wrongly depicted the Crucifixion because West had posed the hands and shoulders incorrectly. West died in 1820 without ever being associated with Carpue's experiment. Carpue's obituary in The Lancet in 1846 contained Carpue's handwritten note that described the experiment but not West's Royal commission. As no records or publications associate the cast with West project, this can be considered to be a file drawer experiment. After 1801, West made further drawings of the Crucifixion that showed the figures in the same position as the cast. Nineteenth century auction catalogues suggest that West made a corrected Crucifixion painting, but its current location remains a mystery.

<b>Kate Theimer, ed.</b> <i>Innovative Practices for Archives and Special Collections: Educational Programs.</i> Lanham: Rowman & Littlefield, 2015. 195p. ISBN 9781442249523. $55.00

RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage reviews books, reports, new periodicals, databases, websites, blogs, and other electronic resources, as well as exhibition, book, and auction catalogs pertaining directly and indirectly to the fields of rare book librarianship, manuscripts curatorship, archives management, and special collections administration. Publishers, librarians, and archivists are asked to send appropriate publications for review or notice to the Reviews Editor.Due to space limitations, it may not be possible for all books received to be reviewed in RBM. Books or publication announcements should be sent to the Reviews Editor: Amy Cooper Cary, Raynor . . .

On Fashion

This text was written by Paul Claudel in France in 1920 and published as the preface to an auction catalog for the sale of the costumes of Princesse Murat. The essay begins with a reflection on items of eighteenth-century and nineteenth-century furniture, and then moves on to women’s clothing, relating to the period of the Directory, the Restoration, King Louis-Philippe and the early twentieth century.

KRISTIJONO DONELAIČIO LAIKŲ KARALIAUČIAUS BIBLIOTEKŲ VAIZDAS

At the time when Kristijonas Donelaitis visited school and went to college in Konigsberg, five public“ libraries existed in the town: the castle library (Schlossbibliothek), the university library, the city or municipal library, the library of the noble family of Wallenrodt and the library of the Secret State Chancery (Geheime Etats-Cantzley). Together, they possessed more than 25,000 volumes – the castle library with 10,000 volumes was the largest, the library of the Secret State Chancery with less than 1,000 volumes the smallest collection, while each of the remaining three libraries boasted collections of about 5,000 volumes. For a poor student who could very seldom afford the purchase of books not only these libraries were available for his reading, but – as in other cities – they also had access to private libraries, some of which even had more books than public libraries. Their owners were often professors who allowed their students to use their collections.The largest library that ever existed throughout the early modern period in Konigsberg was the one of Daniel Salthen (Salthenius, 1701–1750), who was involved as no one else in the learned education of Donelaitis: In 1731, the year of Donelaitis’ arrival he was appointed the rectorate of the cathedral school in Konigsberg, and in 1733 was given a professorship of theology at the Albertina.Large parts of the historical collections of the former Konigsberg libraries were destroyed during the Second World War. However, in the Seven Years War, when Konigsberg was occupied by the Tsar troops, complete catalogs of all “public“ libraries were made that have been preserved to our days. From Salthen’s library, as from other private libraries in Konigsberg in the mid-18th century, an auction catalog was printed. It is thus possible to reconstruct the historical collections. And despite all the destructions several thousand old prints survived the Second World War; many of them are now in the libraries of the Lithuanian Academy of Sciences and the National Library in Vilnius and can be explored there.“The Seasons” by Kristijonas Donelaitis is regarded a poetic masterpiece, the creation of which would not have been possible without a profound knowledge of ancient and contemporary European poetry. At the same time it is an innovative poem for its age, creating something new and special out of these many traditions. There seems little doubt that Donelaitis must have acquired his indisputable knowledge through reading. There is no proof whether he owned a personal library, yet its existence might certainly be presumed. Irrespective of this question the crucial period of the intellectual socialization of Donelaitis was undoubtedly the decade spent in Konigsberg. It is likely that in this decade he read many of the books whose influence can be seen in his poetry. Therefore, it is natural to think of him as a potential reader of Konigsberg libraries. The paper shows some opportunities to identify possible reading matters of Kristijonas Donelaitis on the basis of the historical catalogs of Konigsberg libraries and the still existing prints from these collections and discusses the chances to reconstruct on the basis of this material the genesis of his great poetic masterpiece more accurately than before.

KRISTIJONO DONELAIČIO LAIKŲ KARALIAUČIAUS BIBLIOTEKŲ VAIZDAS

At the time when Kristijonas Donelaitis visited school and went to college in Konigsberg, five public“ libraries existed in the town: the castle library (Schlossbibliothek), the university library, the city or municipal library, the library of the noble family of Wallenrodt and the library of the Secret State Chancery (Geheime Etats-Cantzley). Together, they possessed more than 25,000 volumes – the castle library with 10,000 volumes was the largest, the library of the Secret State Chancery with less than 1,000 volumes the smallest collection, while each of the remaining three libraries boasted collections of about 5,000 volumes. For a poor student who could very seldom afford the purchase of books not only these libraries were available for his reading, but – as in other cities – they also had access to private libraries, some of which even had more books than public libraries. Their owners were often professors who allowed their students to use their collections.The largest library that ever existed throughout the early modern period in Konigsberg was the one of Daniel Salthen (Salthenius, 1701–1750), who was involved as no one else in the learned education of Donelaitis: In 1731, the year of Donelaitis’ arrival he was appointed the rectorate of the cathedral school in Konigsberg, and in 1733 was given a professorship of theology at the Albertina.Large parts of the historical collections of the former Konigsberg libraries were destroyed during the Second World War. However, in the Seven Years War, when Konigsberg was occupied by the Tsar troops, complete catalogs of all “public“ libraries were made that have been preserved to our days. From Salthen’s library, as from other private libraries in Konigsberg in the mid-18th century, an auction catalog was printed. It is thus possible to reconstruct the historical collections. And despite all the destructions several thousand old prints survived the Second World War; many of them are now in the libraries of the Lithuanian Academy of Sciences and the National Library in Vilnius and can be explored there.“The Seasons” by Kristijonas Donelaitis is regarded a poetic masterpiece, the creation of which would not have been possible without a profound knowledge of ancient and contemporary European poetry. At the same time it is an innovative poem for its age, creating something new and special out of these many traditions. There seems little doubt that Donelaitis must have acquired his indisputable knowledge through reading. There is no proof whether he owned a personal library, yet its existence might certainly be presumed. Irrespective of this question the crucial period of the intellectual socialization of Donelaitis was undoubtedly the decade spent in Konigsberg. It is likely that in this decade he read many of the books whose influence can be seen in his poetry. Therefore, it is natural to think of him as a potential reader of Konigsberg libraries. The paper shows some opportunities to identify possible reading matters of Kristijonas Donelaitis on the basis of the historical catalogs of Konigsberg libraries and the still existing prints from these collections and discusses the chances to reconstruct on the basis of this material the genesis of his great poetic masterpiece more accurately than before.

A PERSONAL LIBRARY OF KARL GOTTFRIED HAGEN, PROFESSOR OF KONIGSBERG UNIVERSITY (1749–1829) (in Russian)

Karl Gottfried Hagen (1749–1829) was a famous German chemist, founder of Pharmacology, MD University of Koenigsberg, and the head of the family pharmacy business. Professor Hagen was a versatile lecturer: he lectured on chemistry, physics, mineralogy, zoology, botany at the University of Konigsberg. The son of Professor Hagen – E. A. Hagen – helped to publish “The Seasons” by K. Donelaitis. The library of Professor Hagen was one of the best in Konigsberg. In this article we have analyzed some qualitative and quantitative indicators of Professor Hagen’s library. For this purpose we considered his life events and scientific activities, and those historical events which influenced the development of Professor Hagen’s pedagogical views. The analysis of biographical facts and historical events that influenced Professor Hagen’s Path of life allowed us to identify the following three main types of his activities: scientific, educational and journalistic. The library in question played an important role in the organization of Hagen’s integrated productive activity. The Auction Catalogue “List of books of K. G. Hagen” served as the basis of our research. It was published in Konigsberg (1829) and consists of 128 pages. This document was put at our disposal by Dr. E. Neumann-Redlin von Meding, a descendant of Professor Hagen.Traditionally, we have analysed the information in the following areas: place of publication; year of publication; scientific fields; language of publication; types of publications and documents. There are over 100 places of publication in the Catalogue. We have established that the Catalogue of Hagen’s library contains the following sections: history of science; physics; chemistry; alchemy; zoology; botany; mineralogy; medicine and related sciences; history of Prussia; philosophy, theology and related sciences. The Catalogue includes such types of publications as textbooks, monographs, dictionaries, manuals and guidelines, pharmacopoeia, dissertations, manuscripts, scientific journals, descriptions of travel, newspapers. To the best of our knowledge, only part of Hagen’s publications was offered in the auction. We hope to continue the search for more relevant information. We believe that it will promote modern lecturers’ and students’ information competence and develop the dialogue “library – reader”.

Jasper Johns: Regrets by MoMA, and: Jasper Johns: Regrets by Christophe Cherix and Ann Temkin (review)

Reviewed by: Jasper Johns: Regretsby MoMA, and: Jasper Johns: Regretsby Christophe Cherix and Ann Temkin Mena Mitrano Jasper Johns: Regrets. MoMA, New York, March 15-September 1, 2014. Jasper Johns: Regrets. Christophe Cherix and Ann Temkin. New York: The Museum of Modern Art, 2014. Pp. 72. $24.95 (paper). August 15, 2014. It’s Friday afternoon. Free entrance to MoMA. The queue for tickets is about 45 minutes. Being slowed down at the entrance somehow minimizes the emotional impact of the eventual encounter. Standing in a long line of people gives one the advantage of invisibility and coats the extraordinary with a certain protective sense of the ordinary. Once inside the building, on the third floor, making one’s way to the Paul J. Sachs drawing galleries, following the inscription “Jasper Johns—Regrets,” one crosses the threshold of the Robert Lehman Foundation Inc. Gallery, which hosts Jasper Johns’s most recent exhibition. Only a modest number of works are on show: two paintings, ten drawings, two prints, and a few other pieces created by the artist between 2012 and 2014. There is a story to them. In June 2012, Johns stumbled upon an old photograph of the artist Lucian Freud (1922–2011), which had been reproduced in an auction catalog. In the photograph, the artist sits on a bed, holding his right hand to his forehead in a gesture of weariness or despair. Johns was inspired by the damaged appearance of the photograph itself and, in the months that followed, he carried it through a succession of permutations using a variety of media and techniques. The word “regrets” is attached to the artist’s signature (“Regrets/Jasper Johns”) and so comes to be inscribed on most of the works on show. Although this title might normally carry a tone of sadness or disappointment, the word choice is not without irony. “Regrets” is also inscribed on a rubber stamp that Johns made several years ago to hallmark his declined requests and invitations to various events. Initially, the meaning of the exhibition title is helpfully illuminated by a set of monotypes on ten separate sheets of Kurotani Kozo paper bearing images of Arabic numerals. A core motif in the painter’s personal iconography, the famous “numbers” stand for his past. Their proximity to the new work suggests that the title, besides referring to what the [End Page 193]artist has not been able to do, also points to an art that has always been in existence, in excess of his ongoing work. As the visitor proceeds through the gallery space, questions arise: when is a work finished? Is it finished when it becomes public (exhibited or published)? Is the creative process or product defined by the eye of the audience? What does it mean to “make” a work of art? As the questions form, Johns becomes strangely more present; his new work has the gentle, yet determined, power of an identity statement. In a certain way, “Regrets” embodies the image of a well-known painter stepping forward to show, in the clearest terms possible, who he is: a painter of the mind, whose work intimately joins thinking and making, mind and media. The center of the room is occupied by “Regrets” (2013), oil on canvas, one of two large paintings (fig. 1). The grays, the symmetry, and the labyrinthine patterns all evoke the gesture of the mind on canvas. As the curators explain in the exhibition catalog, the dark gray form at the center of the composition was created by mirroring the jagged edge of the photograph that inspired the series. 1It is possible to recognize Johns’s signature palette made of a blend of soft hues, mauves, greens, violets, and browns; however, the routine formality of the signature quickly gives way to some other, more vibrant activity. For example, his use of the photograph raises the question of the difference between object, material, and matter. The photographic reproduction of a fellow artist may initially act as an object of attention, but soon enough it transforms neither into a material object nor into raw matter, appearing instead as a supportive structure facilitating a practice of painting that is simultaneously...

The Pont Neuf: A Paris View by Johan Barthold Jongkind Reconsidered

<i>The Pont Neuf</i>: A Paris View by Johan Barthold Jongkind Reconsidered

Historiestukken in zilver: penningen van Johannes Lutma junior

Historiestukken in zilver: penningen van Johannes Lutma junior

The Antique Chinese Embroidery in America and J.C. Morgenthau Co. in the early Twentieth Century

Accompany with the attentions in the international antique collection and auction market on Chinese embroidery, the knowledge of judgment, estimation, and evaluation is urgently needed to restore the historical imagination and the pursuit of aesthetic modernity. Researches of Chinese embroideries are mainly focused on the description of the history, pattern, stitches, styles and genres. Very few researches are about the market requirement and characteristic of collection and auction in the earlier stage. This article studied the auction catalogues and some historical documents of J.C. Morgenthau Co. in the early twentieth century. The situation of the antique market was outlined through classification and the dating records of the Chinese embroideries. We also found that the embroidered paintings had long been given more attention than the other embroidered art the similar as today. Further and more research works are needed for the potential market of the other historical Chinese embroidered art.

John Peyton’s A Relation of the State of Polonia and the Accession of King James I, 1598–1603

The anonymous A Relation of the State of Polonia and the Provinces United with that Crowne, Anno 1598 is the most important early account of Poland written in English. Over the last one hundred years, the work has received considerable attention from British, German, and Polish historians. Two different authors have been proposed, George Carew (c.1556–1612) and William Bruce (c.1560–after 1613), but neither attribution has gone unchallenged. This article is based on a fresh examination of what was long thought to be the only manuscript of this work, British Library Royal MS 18 B I, which makes it possible to determine the date and the circumstances of its production. Following a thorough analysis of the handwriting in the manuscript and the discovery of the watermark, it is now possible to point to the provenance of the manuscript and its components. This new information, in turn, leads to a reassessment of the historical context commonly assigned to A Relation of the State of Polonia. With the help of significant new evidence and formerly overlooked auction catalogues, the author can now be identified as John Peyton (1579–1635). The manuscript itself, I argue, was produced for King James VI and I at the time of his arrival in London in May 1603.

Blandt talende statuer og manende genfærd. Mazarinader i Det Kongelige Biblioteks samlinger

Anders Toftgaard: Amongst speaking statues and admonishing ghosts. Mazarinades in the collections of The Royal Library&#x0D; Mazarinade is a term for political writing that was published in different forms in France during (and related to) the Fronde (1648–1653). The Fronde was a series of civil wars that first broke out when Louis XIV (born 1638) was still a child, and Mazarin was the Chief Minister of France and responsible for the young king’s education. Mazarin governed the country together with the king’s mother, Anne of Austria. The term mazarinade covers pamphlets, letters, official documents, burlesque poetry, sonnets and ballads, discourses and dialogues.The Royal Library in Copenhagen holds a collection of mazarinades. The Copenhagen collection was overlooked by scholars and Hubert Carrier (who travelled widely) because it had not been properly catalogued. The collection of mazarinades in the Royal Library has now been catalogued by the author of the article, and the catalogue is available in Fund og Forskning online. The article serves as an introduction to this hitherto unknown collection of mazarinades. After a presentation of the Fronde, and the term mazarinade and its denotation, the article lists the rare and unique mazarinades in the collections of The Royal Library, Copenhagen and where possible, traces their provenance.The collection consists of 33 volumes of mazarinades that have been put together in the 19th century in order to form a single collection: Collection de mazarinades. Apart from this Collection de mazarinades there are other mazarinades in the holdings, stemming both from the Royal Library and from the University Library. The 33 volumes (one volume has been missing for years) have been grouped together by various subsets. One of these subsets is a collection of mazarinades created by Pierre Camuset, who lived during the time of the Fronde. Camuset introduces himself as “conseiller du roi, eslu en l’election de Paris”. Archival records show that he was appointed to this position on 9 December 1622, that in 1641 he married Agnès, daughter of Jean Le Noir, lawyer to the Parliament of Parisian, and that he died some years before 1670.In the Collection de Mazarinades, there are approx. 100 mazarinades which were considered rare or “rarissime” by Célestin Moreau in his Bibliographie des mazarinades (1850–1851). There are three mazarinades, which would seem to be unique; three mazarinades, which are not recorded in the existing bibliographies of mazarinades (made by D’Artois and Carrier, in the Bibliothèque Mazarine) but of which there are copies in other libraries. There is a mazarinade printed by Samuel Brown in The Hague, which has not been recorded elsewhere. Finally, there are 11 mazarinades printed by Jean-Aimé Candy in Lyon, of which only three, judging from existing catalogues and bibliographies, seem to exist in other libraries.Only few of the mazarinades were brought to Denmark during the Fronde. Most of them were collected by Danish 18th century collectors. Surprisingly, only a small part stems from the incredibly rich library of Count Otto Thott (1703–1785). When Thott’s library was auctioned off, his mazarinades were bought by Herman Treschow (1739–1797) who acted as a commission agent for numerous book collectors, and due to the detailed cataloguing in Thott’s auction catalogue, it would probably be possible to find the volumes from his library in a foreign library.Both Hans Gram (1685–1748) and Bolle Willum Luxdorph (1716–1788) owned copies of Gabriel Naudé’s Mascurat in which they wrote handwritten notes. Luxdorph was the great collector of Danish press freedom writings. In his marginal notes he compares a passage in Naudé’s text about common people appropriating the art of printing with his own experience of a servant who came up with songs that were “assez mechants” during the fall of Struensee on 17 January 1772: “Mon valet faisait aussi d’asséz méchans vers su aujet de la revolution du 17de janvier 1772”. Luxdorph’s reading of Mascurat is thus in close connection with his interest in writings on press freedom.The Mazarinades are valuable both for studies in history, literary history and history of the book. More specifically, the collection of Mazarinades in the Royal Library, on the one hand, through the example of Pierre Camuset, shows how an individual tried to get a grasp of an abnormal period, and on the other hand, through the example of Luxdoph, very clearly testifies to the 18th century interest in the history of the book and in historical periods with de facto freedom of the press.

Results in the Cloud: Using Web Storage for Auction House Price Lists

The authors describe an effort led by The Metropolitan Museum of Art’s Thomas J. Watson Library, in collaboration with the Frick Art Reference Library, the National Gallery of Art Library, the Getty Research Institute Library, and the Ingalls Library at the Cleveland Museum of Art, to archive thousands of auction catalog price list files. Previous locally developed solutions to save and link this data to auction catalog bibliographic records meant the time-consuming effort was duplicated across several libraries. In 2011, The Metropolitan Museum opened an Amazon Simple Storage (S3) account to store its price list, developed a simple convention for linking price list files with bibliographic records based on OCLC numbers, and made the account available to other libraries so they could divide the responsibility for archiving the price lists.

Preserving Web-based Auction Catalogs at the Frick Art Reference Library

The Frick Art Reference Library (FARL) has a collection of over 90,000 auction catalogs and they are one of the most requested resources at the library, as more auction houses are publishing on-line. FARL began the Reframing Collections for a Digital Age project to address the stability of born-digital art research materials. The first phase of the project identified the basic risks and determined that Archive-It software was the best means of capturing this information. The second phase, described in this paper, identified criteria to determine preservation priorities and evaluate what has already been captured by the Internet Archive, with the goal of creating a list of websites that can and should be harvested immediately. The study also examined the pilot seed crawl results which monitor quality of materials being collected.

Biblioteka Jakuba Bliwernitza (1667–1731), burmistrza Malborka

Living at the turn of the seventeenth and eighteenth centuries, James Bliwernitz was among the well-educated elite of Malbork. He was appointed the mayor of the city several times. He studied law and was interested in the history of the region. He is also known as the owner of a sizeable book collection of about 2,000 items. After his death the collection was sold at a public auction held in Malbork on 16 July 1732. A printed auction catalog presents the contents of his library, with its character and size not very different from other private libraries of the time owned by city officials of the major provincial cities such as Torun and Elblag. The Bliwernitz collection was dominated by books on law, politics and history, supplemented with religious literature, handbooks and basic works in other fields. The mayor used the books primarily to carry out his professional duties as well as to implement his historical interests.

The value of genetic information to livestock buyers: a combined revealed, stated preference approach

AbstractDNA profile information has begun appearing in purebred bull auction catalogs; however, the value of this information is as of yet unknown. This study uses data from actual bull sales at a test station and combines it with stated‐preference survey data to determine the value of the DNA profile information. Consistent with previous research, we find that expected progeny differences (EPDs), test performance, and ultrasound information significantly influence bull‐buyers’ willingness‐to‐pay. The newer DNA profile information, however, was unrelated to buyers’ preferences. Methodologically, we find statistically significant differences (but highly correlated willingness‐to‐pay values) across the stated and revealed preference data sources.