Drouot-Documentation, the library of the oldest auction house in the world, began the 21st century by putting its furniture and furnishings database onto the Internet. This has given access not only to the 12,000 objects Drouot sells and photographs for its sales catalogues each year, but also to selected data in this specialised subject field from provincial sales in France and from others overseas, notably American and English ones. And there are plans eventually to convert the remaining manual indexes, which cover many other hard-to-find topics like the art of glass, ceramics and goldsmiths’ work.

In recent years many museums and art galleries in Europe have remodelled their libraries, often funding the physical changes by means of sponsorship, while at the same time re-thinking access and the services to be provided. This article analyses some current examples in Paris, London and the Netherlands and describes a range of different approaches. But it finds most successful the British Museum’s Paul Hamlyn Library, housed in the famous circular Reading Room and open to all visitors: these will discover, that, alongside modern databases, the Library has kept its traditional links with the book.

This article looks at the many problems that art libraries experience in developing video art collections. It considers a range of issues, from why it is often difficult to acquire video art, to reasons why many of the respected art library collections do not actively collect such material. Most of the findings arise from a workshop called Diverse practices, which was held at Kent Institute of Art and Design in February 2003.

A research team within the Textiles Department at the University of Manchester Institute of Science and Technology has since 2001 been involved in designing and realising an internet-based resource for textile students and staff at higher education institutions in the UK. The project was funded by the Arts and Humanities Research Board (AHRB). Members of the team here provide an overview of the main issues involved in planning and implementing a digitisation project, discussing technical and design details and describing the construction of textile terminology relevant to design students.

Much of the research which has been carried out in the field of art history would have been impossible without the use of art sales catalogues. Furthermore, the use of historical art sales catalogues would never have been possible without the impressive four-volume reference work, Répertoire des catalogues de ventes publiques intéressant Vart ou la curiosité, created by Frits Lugt. IDC Publishers have combined the strengths of both in their new publication.

Student graphic designers want fast, easy and cheap access to high-resolution images. As well as using the image-rich art books in their libraries, these students can now use stock photography: those images of cute children, attractive couples, active seniors, funky pets, and preternaturally fresh fruit, plants and flowers that are used to communicate, influence, and sell something, somewhere, to someone.

In recent years museums and galleries have come under scrutiny following claims that artworks confiscated or looted during the Second World War, and still unaccounted for, have made their way into public collections. In response, many such institutions worldwide have been endeavouring to reaffirm the integrity of their collections. The Queensland Art Gallery has established a Provenance Research Team to complete its records for artworks of European origin which have missing provenance details during the period 1933-1945. This paper highlights the role the Gallery Library is taking in supporting the project.

The artist’s multiple is difficult to define, but could be described as an original artwork produced in an edition of two or more. At Chelsea College of Art and Design, the artists’ multiples collection was developed to give students first-hand experience of original work by artists, something that is rarely included in the special collections of art libraries. This article examines the history and development of this unique collection of objects, and how it has enabled the library to play an active part in the life and work of the academic community it serves.

Illuminated manuscripts, Islamic books, rare maps and first editions are amongst the many items registered on the Art Loss Register database of stolen art, antiques and collectibles. Once they have catalogued and recorded an object the company’s experienced art historians are able to search the database as part of the process of recovering missing goods. But to maximize the chance of recovery it is essential that each item is carefully and accurately described, and preferably accompanied by an image of the object, and to be most effective this of course needs to be done in advance of theft or other loss.