Graphical Sheet Research Articles

#2530 “HOME-MADE” REMOTE MANAGEMENT IN CAPD

Abstract Background and Aims Remote control of dialysis parameters has become an essential routine in the Centers that perform Peritoneal Dialysis. For patients in APD there are Cloud-based platforms or with VPN connection that allow daily monitoring and which have proved to be very useful for reducing hospital visits and treatment complications, especially during the recent pandemic. The same cannot be said of CAPD patients for whom the procedures are carried out manually, without electromedical devices, with a paper report of the parameters. Furthermore, to date, there are no dedicated applications able to communicate these important measurements to the Centres. Method In March 2021 we created a calculation table file, with limited data entry, divided by days, daily exchanges and monthly sheets. Patients and/or caregivers can insert loading and drainage volumes, type of bags used, blood pressure values, weight and diuresis at an agreed time. The system automatically calculates and graphically displays the total daily and monthly average ultrafiltration for each exchange, the daily balance as well as the average of all the aforementioned parameters for the entered period (Figure 1). There is also a graphic sheet with an annual summary of the average values (Figure 2). The file is uploaded online, subject to the patient's consent, via a free file hosting service that allows modification and reading shared and protected by password between patients and Center operators. Results To date, 9 CAPD patients in our Center have been included in the program with good acceptance by patients and caregivers, who enter data based on their availability of time and regularly in anticipation of the monthly outpatient visit. The staff of the Centre, both Doctors and Nursing, access the file periodically, in case of need and in preparation for the visit. In this way, regular checks and evaluations of prescription compliance, ultrafiltration efficacy, maintenance within the expected ranges of weight, blood pressure and fluid balance of patients in CAPD are obtained, as is the case for patients in APD. Conclusion The creation of a shared file for monitoring the dialysis parameters of CAPD patients could be able to reduce the existing gap with those in APD, at least as regards the vital and dialysis parameters, since the functioning of the catheter in individual exchanges cannot be evaluated. A more extensive experience is needed, and is being studied, to confirm the usefulness of this approach which currently already guarantees a reduction in hospital admissions and integrates and structures the clinical information that can be obtained in the traditional way.

Bookplate in the context of Ukrainian printmaking at the turn of the XX and XXI centuries: Typological aspect

The article is dedicated to the examination of the bookplate of modern Ukraine, which starting from the 1990s entered the state of its revival and flourishing. A version of the bookplate typology, formed on the basis of pictorial motifs as the main classification criteria is proposed, while typologically bookplate is usually divided into groups based on the scope of use or the technique for creating graphic sheets. The reasons for the actualization of bookplate as a type of engraving at the turn of the 20th and 21st centuries, the factors that influenced its popularization outside the country, and the transformation of the functions of bookplate are considered. The role of collecting as one of the most powerful stimuli for the popularization of bookplate in the modern world of graphic arts is emphasized; the leading centers for the development of the bookplate in Ukraine at the beginning of the 21st century and the technique preferred by artists are indicated.

Artistic path of Dumitru Trifan in the field of satirical graphics

The objectives of this study are to mirror the fruitful activity of the plastic artist Dumitru Trifan in the field of satirical graphics by highlighting the particularities of the graphic sheets signed by him. As a result of extensive analysis, it is noted that the plastic artist Dumitru Trifan has excelled in the field of caricature for several decades. Thus, the protagonist, together with other established cartoonists, intensively publishes ironic and humorous cartoons on the pages of the most famous periodicals, such as the magazines Scînteia Leninistă and Femeia Moldovei and the satire and humor magazine Chiparuş. At the same time, at the beginning of the 1980s of the last century, as an illustrator for the weekly Literatura si Arta, Dumitru Trifan elaborates and publishes an impressive number of caricatures on the pages of this newspaper. I am constantly amazed by how these scenarios are twisted from reality and how boldly the crises' core is handled. Dumitru Trifan practiced a vast thematic spectrum through which he brought to the fore the relations between spouses and those between the working man and the bureaucrat; he also presented humorously but also sarcastically the images of the chilling and the trickster, of irresponsible people, and others. Thus, the artist is sometimes sarcastic in the distortion of the image and sometimes cordial and kind to the character or landscape. And the tonal stain, like an arbitrary game, is intense and expressive.

Изображения вещей из коллекции К. А. Эттера в собрании МАЭ РАН: к проблеме атрибуции предметов «из старых поступлений»

The problem of attributing museum objects “from early acquisitions” is considered on the example of two graphic sheets from the MAE RAS collection — the drawing of the guardian lion shishi MAE No. 7365-1 and the engraving depicting an Indian god MAE No. 719-108/9-7. Both images are studied, the inscriptions and notes are decoded. The history of the acquisition of these items to the museum collection is restored according to published and archival sources, as well as museum documentation. It has been proved that both images are the items from the collection of Karl Etter — the St. Petersburg Academy of Sciences Corresponding Member, mineralogist and collector. Etter presented the images to the Academy of Sciences in 1812, however in the course of time they lost their provenance and ended up in different museum funds. While studying the history of these images, similar pictures donated by Karl Etter to the Royal Society of Antiquaries of London were revealed. Restoring the history of acquisition of these objects fills in the gaps in the history of Kunstkamera and recovers the lost connection between the images as well. Considered together as a complex from the same collector — Karl Etter, these objects acquire a new meaning and a new value, including a memorial one. The appendix provides the list of items donated by Karl Etter to the St. Petersburg Academy of Sciences, mainly to the Library and the Cabinet of Mineralogy of the Kunstkamera.

Graphic Heritage as a Tool for the Attribution and Style Analysis of Works of the Imperial Ekaterinburg Lapidary Factory of the Last Third of the 19th — Early 20th Centuries

Belonging to the style of late eclectics, products of the Ekaterinburg Lapidary Factory are scarce in the collections of Russian museums. Their small size and complex forms did not correspond to the notion of objects worthy of preservation. For this reason, most of the works created by Ural masters in the 1870s–1900s did not enter their collections at the early stage of the formation of Soviet museums. The insignificant presence of these works in available collections, the possibility of becoming acquainted with many of them only from graphic materials, together with a general negative attitude towards the decorative arts of late eclecticism and historicism, led to a lack of systematic analysis, often replaced by general phrases about decadence and insufficient artistic level. Meanwhile, more and more works by the Imperial Lapidary Factory in Ekaterinburg appearing on the antique market during this period are evidence of a strenuous search for new forms. The absence of a recognizable approach to form makes the attribution of such items extremely difficult, and often impossible without reference to the graphic heritage of the factory. Scattered and still awaiting systematization, it indicates the involvement of artists of different trends in the search for new forms and principles of decorating stone works. The article considers the existing complexes of graphic works connected with the activity of the Ekaterinburg Lapidary Factory, restoring the fate of previously undescribed objects. Also, the author provides information on the known materials, analyzing the style of proposed and executed designs and providing examples of attributions made based on drawings. Several graphic sheets are introduced into scholarly circulation for the first time.

Neznámý plzeňský tiskař Antonín Bardoun

The article summarises information on the Pilsen amateur printer, graphic artist and bibliophile Antonín Bardoun. It contains an inventory of his prints and graphic sheets. It records significant events of his life and describes his fate.

Daniel Gran und die Anfänge seines Schaffens in den böhmischen Ländern

Paintings by François Roëttiers (1685–1742) delivered in 1732 for the side altars of the Church of St John of Nepomuk in Krahulčí near Telč, whose builders and patrons were Count Franz Anton of Liechtenstein-Kastelkorn and his wife Marie Anna of Halleweil, are the unique contribution in the Czech Lands of this painter of Flemish origin, who later settled in Vienna. However, the artist of the original image on the high altar of the same church, St John of Nepomuk adoring the crucifix, now missing, is not this painter. The original Baroque painting was replaced in 1890 by the current painting by the academic painter and restorer Čeněk Neumann. Contemporary records of his painting refer to it as a copy of the original Baroque painting. However, the distinctive visages of St John of Nepomuk and the attending angels evoke strikingly the work of the famous Viennese painter Daniel Gran (1694–1757), whose first contacts with clients in the Czech Lands are documented in the late 1720s. Apart from several indirect indications, Gran's presumed authorship is significantly supported by the finding of a Baroque graphic sheet with the figure of John of Nepomuk adoring the crucifix, whose very specific rendered face evidently corresponds to the matching part of Neumann's copy of the Baroque original. Johann Ernst Mansfeld (1739–1796), the creator of the graphic transcript, identified Daniel Gran as the author of the original which was used.

Evgeny Kibrik’s Unknown Artworks in the Context of Pavel Filonov’s Natural Philosophy

This study focuses on the development and changes in the visual language of E.A. Kibrik in the conditions of co-participation in the system of philosophical values of P.N. Filonov and his school. There is explored the process of sign interpretation in illustrations of graphic and symbolic art language of E.A. Kibrik as a component of P.N. Filonov’s natural philosophy doctrine. The notion of “analytic art” or “analytic method” can be considered primarily as an innovative development of P.N. Filonov, which is characterized by the concept of artist-researcher based on the disclosure of the “purity” of forms by analytical means.In the context of studying the creative thinking of E.A. Kibrik during the Filonov period, it seems significant to consider the conjunction of problems in illustrating literary works with the method of natural philosophical pictorialism and technical expressiveness of details. E.A Kibrik’s works allow us to identify the themes, psychological and social motivations that are characteristic of Filonov’s doctrine, as well as to raise the question of the incompleteness of the search for style and artistic language in that period of time.The ideology of the new time, identical to the innovative content of the Russian avant-garde, was also manifested in the works of E.A. Kibrik in the late 1920s — early 1930s. His role in the general process of creating a paradoxical art reality is defined primarily by the influence of P.N. Filonov, a theorist and master of analytical art. The study is especially relevant because it analyzes previously unexplored and unpublished works by E.A. Kibrik of the Filonov period (1930) from the family collection of art historian A.A. Agamirova and Academician of the Russian Academy of Arts B.F. Belsky. The article presents E.A. Kibrik’s unknown drawings that are the result of the artist’s first creative business trip. The unexplored graphic sheets reveal the multi-variant nature of the artist’s method and his experimental approach, which has largely remained unknown to a wide audience.

"Rose and Quail". Metamorphoses in the Graphics of A.V. Nikolaev (Usto Mumin) of the 1930s

The heyday of the creative life of Uzbekistan, which fell on the 1920s - 1930s, was due not only to the lively activity of art groups, exhibitions and creative assignments, but also to the active work of artists in periodicals of various kinds. The graphic cycles published on the pages of newspapers and magazines significantly expand the established ideas about themes, plots and images in the work of the masters of Soviet Uzbekistan. Sometimes these publications remain the only documentary evidence of the existence of works that are now lost. This article is devoted to little-known graphics by A.V. Nikolaev, who worked under the name of Usto Mumin, its classification, description and establishment of links between the easel painting of the artist and graphic sheets, which he performed for such publications as “Maşala” (“Mash'ala”), “Muştum” (“Mushtum”) and “Pravda East". In the 1930s, the poetic contemplation inherent in the early painting of Usto Mumin gave way to the construction of a new social myth. At this stage, a significant role in the transformation of the artistic manner of the master was played by his departure in 1929 to Leningrad, where he devoted himself to work on book and magazine illustration. At the same time, the artist managed to find that delicate balance, which allowed, with a clear ideological component, to maintain the high artistic quality of the drawing. He filled the his works with images borrowed from earlier works. However, extracted from the mythologized context, they, as a rule, lost their semantic ambiguity, acquiring a mundane character. At the same time, the ruthless appeal of the master to such emblematic symbols for his painting of the 1920s as a rose and a quail suggests that the changes that took place in his work in the 1930s were not only external in nature, but were due to deeper reasons.

Несколько слов о правде и искренности в искусстве: творческий опыт Татьяны Назаренко и Алены Дергилевой

The paper analyzes works of two distinguished contemporary Russian artists: Tatyana Nazarenko and Alena Dergileva, who began their artistic career in Moscow in the 1970s. They are among the most prominent representatives of realistic art, the formation of which had nothing to do with the “epic” praising of shock-workers of “Communist labor” in compliance with “socialist realism”, and was based on their own search for the truth in life and art, whatever it was. This truth was not always convenient for Soviet officialdom, both in terms of content and unceasing search for a new art form adequate to the content and the means of its expression. The study defines and explores the stages of development of artists from compositions with intimate images of family and friends of artists to paintings and graphic sheets dedicated to turning points of Russian history and modern life of the Fatherland. The author analyzes the features of compositional and artistic techniques found by artists and which are a contribution to the development of modern realistic art. In the text, the artists' creativity is presented in the context of the General development of Russian art in the second half of the twentieth century-the first decades of the twenty-first century, expressed both through the interest in Russian history and search for artistic truth and sincerity in art. Analysis of the correlation between the two best representatives of realistic art and the time of creation of their works allows us to understand better the features of changes in the domestic art of the 1970s – 2010s, to identify the creative aspirations of the period and their transformation. The paper focuses on the artists` experience to highlight features of the artistic experience of T. Nazarenko and A. Dergileva within the realistic direction in art and to determine the forms of further development of figurative creativity.

Satirical graphics in the creation of the plastic artist Iurie Rumeanțev

d cultural barometer, it highlighted the perception and plastic reflection of events and changes typical of the weather. Quite a few plastic artists contributed to this, among whom the graphic artist Iurie Rumeanțev. The artist showed skill, artistry and originality in the perspective of emphasizing some interesting facets of everyday life. During his creative activity, the artist creates numerous satirical sheets that see the light of day in various publications, including the satire and humor magazine "Chipăruș", the magazine "Femeia Moldovei", the newspaper "Tinerimea Moldovei", etc. Frequently participating in international exhibitions, Iurie Rumeanțev is appreciated with diplomas and medals both for his caricatures and for his book graphics. Artistically reflecting the social life of the era in which he worked, Iurie Rumeanțev managed to create valuable graphic sheets in which, situations, frequently encountered in everyday life, are mirrored in an ironic way. At the same time, the artist excludes distortions of shape and hideousness in the representation of the characters, emphasizing the artistic revelations of the human essence. Simultaneously with the satirical graphics, Iurie Rumeanțev also manages to persevere in book graphics by making reference works.

Lechner Ödön rajzai a szegedi városházához

The paper is about the set of drawings and documents by Ödön Lechner and Gyula Pártos for the Town-hall of Szeged dated to 1881–1883 (Hungarian National Archives, Csongrád-Csanád County Archives, Szeged [MNL CSML], Collection of Building Plans and Documents of the Municipality of Szeged, marked Lecher Ödön, Pártos Gyula: A Szegedi Városházhoz készített tervek, rajzok és iratok, [Plans, drawings and documents for the Szeged Town-hall], XV.2b. 45. d.-49.d). The elaborated theme includes ground-plans, rosette, baluster and skylight plans, detail plans of staircase and main cornice, plan of the roof of the main staircase, 37 drawings of ornamental sculpture, window pillars, window frames and rail chains, painter’s stencils signed by Ödön Lechner, two façade versions, tower detail, details of the main portal, drawings of the vault around the clock, of the ornaments of room doors and cornice elements. The building logbooks, list of submissions to the competition with code-names and the contracts signed with the building contractors are also valuable sources.In addition to eighty drawings of diverse sizes and techniques, the collection includes the construction documents, accounts, correspondence, building logbooks, planning competition calls, and a colour plan for the tiling of the Szeged Town-hall now in the Architectural Collection of the Kiscelli Museum of the Budapest History Museum (inv.no. 117). I evaluate the drawings both within the conception of an architectural work and also as separate graphic sheets, and try to describe their background in terms of the history of architecture, art and ideas.I am led to conclude that the Szeged Town-hall was the first project to manifest Lechner’s ambition to lay the groundworks of a national architecture based on the more abstracted and universal basic forms of folk art but keeping abreast of European tendencies. The drawings are invaluable in that they add more information to the chronology of Lechner’s artistic career and lend stress to the fact that folklore and local history researches, the intellectual approach, the synthesis of local and international achievements, a thorough knowledge of the history of ceramics, the redefinition of traditions played at least as important roles in creating the concept of a building as individual intention and creative imagination.The paper was supported by the Ernő Kállai Art Historical Research Grant.

MTD: A Multimodal Dataset of Musical Themes for MIR Research

Musical themes are essential elements in Western classical music. In this paper, we present the Musical Theme Dataset (MTD), a multimodal dataset inspired by “A Dictionary of Musical Themes” by Barlow and Morgenstern from 1948. For a subset of 2067 themes of the printed book, we created several digital representations of the musical themes. Beyond graphical sheet music, we provide symbolic music encodings, audio snippets of music recordings, alignments between the symbolic and audio representations, as well as detailed metadata on the composer, work, recording, and musical characteristics of the themes. In addition to the data, we also make several parsers and web-based interfaces available to access and explore the different modalities and their relations through visualizations and sonifications. These interfaces also include computational tools, bridging the gap between the original dictionary and music information retrieval (MIR) research. The dataset is of relevance for various subfields and tasks in MIR, such as cross-modal music retrieval, music alignment, optical music recognition, music transcription, and computational musicology.

Revisiting the Issues of Studying the Creative Heritage of Kazimir Malevich: Russian and Foreign Bibliography

The article considers issues related to the study of the creative heritage of Kazimir Malevich. It characterizes Russian and foreign researchers and their main works, highlights and analyzes the difference of domestic and foreign researchers’ approaches to the study of the artist’s heritage. Besides, the article reveals the basic principles used by researchers and including mainly a chronological study of life and creative biography, philosophical and art history analysis, art history and linguistic analysis of graphic sheets, attribution and technology in the works of K. Malevich, and determines the predominance of art history analysis in both Western and Russian bibliography

Albrecht Dürer and the Beginnings of Czech Illustration

This article deals with printed graphic sheets, cycles and illustrations by Albrecht Dürer, which penetrated into book printing in the Czech language (Nuremberg) and in Bohemia (Prague, Litomyšl) through original printing blocks as well as copies in the first half of the 16th century. Dürer’s graphic sheets were distributed by the Nuremberg printers Hieronymus Höltzel (1509, 1511) and Friedrich Peypus (1534), the Litomyšl printing workshop working for the Unity of the Brethren (Unitas fratrum) in Litomyšl (1520), and the so-called Severin Workshop, connected to the Prague printing workshop of Pavel Severin of Kapí Hora (1529, 1539). Eleven works of religious character associated with Dürer have been discovered among Czech illustrations so far – they were made by means of seven original printing blocks and four copies, which is not so much. In this respect, Dürer was greatly surpassed by his Nuremberg successor, Erhard Schön. After Schön died in 1542, the printer Jan Günther received roughly one quarter of workshop printing blocks (approximately 340 pieces). Two years later, he moved them to Moravia, where they were coming to life in Prostějov, then in Olomouc and eventually in popular books, brochures and broadsides from Skalice until the end of the 19th century. Dürer’s printing blocks that functioned in the context of Czech book printing depict: [1a] the Nativity, [2c] the apocalyptic Woman Clothed with the Sun, and [5a–e] the Saints (James the Greater, Peter, John the Evangelist, John the Baptist and Judas Thaddaeus). The following subjects were copied: [2b] the apocalyptic Woman Clothed with the Sun, [3b] Christ in the Garden of Gethsemane, [4c] Two Angels (Geniuses), and [6b] the Holy Trinity. The woodcut copies are not exact replicas. The poor artistry and craftsmanship of the copyists, whose names are not known, led to the omission of details. The problem is that the copyists were not trying to present Dürer’s graphic art but needed a cheap and simple acquisition of the biblical scene required. More detailed information on the printing blocks and copies is available in the catalogue attached.

Assessment of documentation on current medical records of patients in Accident and Emergency Hospital of Sulaimani-Iraq

The patient record is an essential patient data were the nursing documentation part is fundamental. .Competent nursing care is based on correct and complete records, and keeping record is an essential skill that needs to be developed by each and every health staff. The present study was conducted in order to assess the documentation on current medical patient’s records in the Accident and Emergency Hospital/Sulaimani city. A quantitative descriptive design. Research was accomplished, based on retrospective data made available by the Accident and Emergency Hospital. Non-probability (purposive sample) of 201 patient files were selected from 1,194 patient files during 6 months between Jun to December 2016.The present study showed that the face sheet was completely recorded about %95 which means satisfactory, other items which were recorded by physician such as chief complaint and history of present illness, radiology, laboratory, medication intervention report, consent forms, physical examination, and consultant report were unsatisfactorily recorded. Last items which were recorded by the nurse who working in Accident and Emergency Hospital medication and administration record and a graphic sheet of vital signs were unsatisfactorily recorded. Deficiency in documentation system and most of the provided medical and nursing care remains undocumented given numerous deficiencies in the documentation system. It is recommended the components of the nursing record tool can be utilized once a paperless system is implemented as planned in the hospital.

Procalcitonin: Promising biomarker to detect sepsis in burns – A prospective study

Background: Sepsis-3 guidelines published in the Journal of American Medical Association is thought to be a pathbreaking effort in the diagnosis of sepsis,[1],[2],[3],[4] but it has limitations with respect to burns population.[5] On the other hand, the American Burn Association (ABA) 2007 guideline[6] for sepsis in burn patients is noted for low specificity rate. However, an independent biomarker procalcitonin (PCT) could augment clinical findings and improve sepsis predictability rate in burn patients. This study is the first attempt to assess diagnostic validity of PCT in Indian population and to highlight its role in diagnosing sepsis in burns despite newer sepsis-3 guidelines. Materials and Methods: This prospective study involved 33 consecutive thermal burn patients with 66 samples estimated for PCT. Samples were sent at each suspected episode of sepsis based on ABA guidelines. Baseline PCT estimation was done when the patient did not have sepsis. The positive blood or tissue culture was taken as a reference standard. The sample was divided into sepsis and nonsepsis group. All the parameters were documented on the graphical sheet which was interpreted by an independent analyzer. The sensitivity and specificity of each coordinate were plotted on receiver operating characteristic curve to identify the predictive ability of the test. Results: The sensitivity and specificity of the test was 94.7% and 85.7%, respectively. The cutoff value to diagnose sepsis in burn patients was 3.5 ng/ml with an area under the curve of 0.974 at 95% confidence interval. Conclusion: Good correlation between documented sepsis and elevated PCT levels makes PCT a promising biomarker in burns population.

Adalék Neményi Bertalan képzőművészeti gyűjteményéhez

The Budapest lawyer Dr. Bertalan Neményi (1892-1947) was one of the notable figures of Hungarian art collection in the interwar period. He was mainly drawn to contemporary Hungarian artists, so he had considerable numbers of works by József Rippl-Rónai, Lajos Gulácsy and Tivadar Csontváry Kosztka. The reconstruction of his collection is very difficult as the bulk disappeared at the end of WWII. In early 1944 he deposited a considerable segment of his collection in thirteen locked wooden crates in the safe of the Hungarian General Credit Bank. The safe was left intact by the siege of the city, but the corps of the Soviet army specialized for gathering art works plundered the safe. On 19 March 1945 Neményi asked help for the search after his collection. The list included 98 paintings, some 350 graphic sheets and 2000 books. Several of his treasures were not put in the bank but in homes of private persons. When Neményi died unexpectedly in 1947, the existing pieces of the collection got into the art trade. Some were also found there from the stock once deposited in the bank. Most of the bank deposits, however, went to Moscow. The paper tries the reconstruct the collection and the intellectual portrait of the collector with the help of archival sources first published here.

Variációk egy témára. Oskar Kokoschka litográfia-sorozata a Hatvany Lajos Múzeum gyűjteményében

The paper is concerned with Oskar Kokoschka’s (1886–1980) set of ten lithographs entitled Variations on a theme preserved in the art collection of the Hatvany Lajos Museum in Hatvan. After detailing the genesis of the graphic sheets, the author concentrates on the provenance of the series. The large facsimile edition of the series was owned by the Hatvany family until World War II and it went to the public collection of the town of Hatvan via purchasing in 1974. The artistic connections of the Hatvan branch of the industrial magnates Deutsch family were widely ramifying. In the studied period the art patronage by painter and art collector Ferenc Hatvany (1881–1958) and patron of literature and public figure Lajos Hatvany (1880–1961) was daily practice. The series was probably not included in the excellent collection of Ferenc Hatvany, who was a resolute and conscious art collector interested first of all in the classic artists of French impressionist, post-impressionist and realist painting. Known so far only for his literary patronage, Lajos Hatvany’s explored connections with artists confirm that he was in direct contact with both Oskar Kokoschka and his art patron in Berlin, the aristocrat Paul Cassirer.

Possibilities for Standardized Cataloging of Prints: The Collection of Engravings at the Hamburg State and University Library

ABSTRACTGerman museums keep over 5,000,000 graphic prints in their graphic collections from the late Middle Ages to the present. Due to the poor availability of data it is hard to ascertain how many additional sheets “slumber” in libraries and archives. Libraries often keep conglomerations of graphic sheets, which have grown over the centuries by bequests and donations, without being accessible in a systematic way for the users of a collection. Such a collection is the small but excellent collection of engravings at the Hamburg State and University Library. This article will propose how Resource Description and Access (RDA) can be adapted in such a way that our special graphic material can be made accessible and be used and how a standardized set of elements can be developed.