Cataloguing Ephemera:

1
Cataloguing Ephemera

• Records of the Past

2

• A presentation by
• Samantha Duncan
• and
• Katherine Kalsbeek
• LIBR 513 Description and Name Access
• Dr. Martin Dowding
• 13 November 2003

3
Introduction

• Explore the question What is ephemera?
• Examine the reasons why ephemera is a valuable
  primary resource for researchers
• Provide you with a brief overview of the history
  of the bibliographic control of ephemera
• Identify the tools one should employ when
  cataloguing ephemera
• Examine the digitization of ephemera

4
Ephemera A definition

• Attempting to define the question, What is
  ephemera is a difficult activity most
  librarians have different responses to the
  question.
• In particular, ephemera is often confused with
  gray literature. In Library Literature and
  Information Science with Full-texts thesaurus,
  for example, gray literature is a a sub-heading
  of the main heading, ephemera. However, there
  is a clear distinction between these two types of
  materials.

5
Ephemera A definition, contd.

• Gray Literature may be defined as print materials
  that are not usually available through regular
  market channels because they were never
  commercially published, listed, or priced
  (Reitz, 2002)
• Examples reports, doctoral dissertations and
  conference proceedings.
• Gray literature is often issued by national,
  regional or local governments, universities, and
  industrial firms
•  So, what then, is ephemera?

6
Ephemera A definition, contd.

• There is one definition, composed by Maurice
  Rickards, the founder of the international
  British Ephemera Society and author of the
  Encyclopedia of Ephemera, that most people will,
  albeit uneasily, agree to.
• In particular, Maurice Rickards defines ephemera
  as the minor transient documents of everyday
  life (Holcombe, 2001).

7
Ephemera A definition, contd.

• Joan Reitz, in ODLIS The Online Dictionary of
  Library and Information Science, expands on
  Rickards definition and defines ephemeral
  materials as the materials of everyday life,
  generally considered to have little or no
  permanent value, usually because they are
  produced in large quantities or in disposable
  formats. Ephemeral items are sometimes retained
  and exhibited for their graphic qualities or for
  their association with a specific person, event,
  or activity (2002).

8
Ephemera A definition, contd.

• Examples of ephemeral materials include
• trade literature (e.g. catalogues)
• record covers
• paper dolls
• comics
• Christmas cards
• menus

Ikea Catalogue Archive, 2003
9
Types of Ephemera

• The term ephemera is difficult to define, in
  part, because there are so many different genres
  of ephemera. As well, ephemeral materials vary
  in their shape, size and format.
• At the present time, there are over 150 genres
  that may be described as ephemeral in nature.

10
Types of Ephemera, contd.

• Traditionally, these genres have been classified
  according to their format
• Visual/graphic ephemera
• Ephemeral materials that are primarily graphic in
  nature.
• Examples paintings, posters, maps
• Printed ephemera
• Ephemeral materials that are primarily textual in
  nature.
• Examples pamphlets, broadsides

11
Types of Ephemera, contd.

• 3. Electronic ephemera
• Electronic ephemera is material that has been,
  as the Working Party on Ephemera states, born
  digital (2003, p. 30). Therefore, this
  definition excludes digitized material and
  includes material that has originated from an
  electronic device and is created in a digital
  form (example an email).
• Examples web-pages, pop-up ads

12
Types of Ephemera, contd.

• However, this system of classification is
  problematic for two main reasons.
• Firstly, the boundaries between these three
  types of ephemera blur.
• Example Historic American Sheet Music, Uncle
  Sammy, 1904 (Duke University Rare Book,
  Manuscript, and Special Collections Library)
• This collection may be classified as representing
  two types of ephemera Sheet Music, Map

13
Types of Ephemera, contd.

• Secondly, it not the physical form of the
  ephemeral material that is most important.
• For example, in Ephemera The stuff of history
  (2003), the Working Party on Ephemera discusses
  the ways in which ephemeral materials develop new
  contexts when they are collected as cultural
  artifacts.

14
Types of Ephemera, contd.

• In particular, using the example of beer mats,
  the Working Party on Ephemera states that beer
  mats are not collected by people for their use as
  beer mats. Rather, beer mats are collected
  because they provide important information on the
  breweries, advertising and design of the time
  period in which they were produced.

Morean, 2001
15
Types of Ephemera, contd.

• Stephen Zietz (1992) offers cataloguers an
  alternative way in which to describe ephemeral
  materials.
• In particular, in Ephemera MARC-formatted
  cataloguing records, Zietz distinguishes between
  the more than 150 genres of ephemera. He
  classifies ephemeral materials, according to
  their use, into four main categories.

16
Types of Ephemera, contd.

• Zietzs four categories of ephemera (1992, p.
  152)
• Practical Materials
• Includes tickets, application forms, marriage
  certificates
• Promotional Materials
• Includes advertisements, industrial and
  self-promotion, and promotion of
  services/products
• Non-promotional Materials
• Includes political, artistic and literary
  productions, sociopolitical and religious
  materials
• Mixed MaterialsIncludes promotional materials
  which have an artistic, literary, sociological or
  religious bias

17
Types of Ephemera, contd.
An Example of Promotional Material Red Cloud
Chewing Tobacco (1872)
Library of Congress, Prints and Photographs
Division, Detroit Publishing Company Collection,
2003
18
Types of Ephemera, contd.

• The Red Cloud Chewing Tobacco label, from 1872,
  is an example of what Zietz terms promotional
  material.
• According to Barbara Orbach Natanson,
  nineteenth-century tobacco labels are an
  important source of cultural information for
  researchers They invite analysis of the
  connections among the marketing of particular
  products, the intended customers for the
  products, and the nature of the imagery used in
  the products' packaging (2001) .

19
Types of Ephemera, contd.

• Therefore, researchers from a variety of fields,
  such as advertising, history and cultural
  studies, may be interested in studying the Red
  Cloud Chewing Tobacco label.
• As Natanson states, although researchers have,
  to a certain extent, mined the product labels for
  illustration and for research on representation
  of racial and ethnic groups, they remain fertile
  territory for scholarly exploration, particularly
  with respect to the connections among gender
  representation, commerce, and consumption
  (2001).

20
What is the value of ephemera in an
information-based environment?

• Why should we, as librarians, invest money, time,
  and resources into collecting and cataloguing
  ephemera on an item-level basis?
• Ephemera has been described as raw, unedited
  historythe purest kind, and the other half of
  history the half without guile (Ott,1997, p.
  11)
• Ephemera is an invaluable source of cultural and
  socio-political information
• The role of ephemera may be underscored
  particularly in light of the proliferation of
  official accounts versus actual experiences.
  In all cases the official documentation proved
  to be inadequate to capture the fullest
  experience or account (Snyder,1996, p. 55)

21
What is the value of ephemera in an
information-based environment? contd.

• The costs of organizing, cataloguing, and
  providing access to ephemera are eventually
  balanced by the benefit to the library collection
  as a whole
• Many ephemera collections contain graphic
  materials and advertisements, which were meant to
  appeal to all people at the time they were
  produced, and still hold appeal for many people
  today.
• Public appreciation for access to these kinds of
  materials will be high if they are aware of their
  existence
• Vintage advertisements, for example, are now very
  popular for home décor and accents
• If ephemera is not organized, catalogued, and
  contextualized, it is only useful to researchers
  who know of its existence, and even then its
  usefulness is limited

22
What is the value of ephemera in an
information-based environment? contd.

• Ephemera, such as the Red Cloud Tobacco Label,
  may be used as primary source material for all
  sorts of subjects, including history, art
  history, sociology, advertising, and fashion
• Ephemera is a reflection of popular culture and
  symbolism. Studies of graphic and literary
  styles, as well as popular images and fashions
  from any era, can be enhanced by viewing ephemera
  from that era.
• Ephemera collections can be studied to enrich
  official historical views of events and trends,
  and to gain a deeper understanding of cultural
  experiences.
• If collections are catalogued and made available,
  researchers will in turn help by offering their
  expertise in identifying and adding value to
  them.

23
What is the value of ephemera in an
information-based environment? contd.

• When using ephemera as a primary material
  resource, however, one must be careful
• One problem with using ephemera as primary
  source material, however, is that it often
  arrives at a researchers desk with no
  attribution, provenance, natural history, or
  authority workin other words, with no context.
  This makes it hard to argue from ephemera as well
  as with it. (Ott, 1996, p. 12)
• Ephemera might be the only available information
  about certain historical events such as concerts,
  lectures, etc. There is often no means,
  therefore, of verifying dates, times, or actual
  occurrences of the events against other sources.

24
What is the value of ephemera in an
information-based environment? contd.

• Researchers must be wary because much ephemera
  was not (and still is not) subject to editorial
  restraints or review. Anyone can produce and
  disseminate ephemera, and often the wildest, most
  exaggerated ephemera is the most popular.
• Using ephemera to date catalogues or objects may
  be useful, but it may also be misleading.
  Companies often used the same printing blocks for
  cover art and images over a number of years, even
  after products were no longer sold and styles
  were out of date (Ott,1996)
• This is still a problem today, particularly with
  web sites that are not maintained or updated.
  Many web sites have no date on them, so it is
  hard to tell when they were created or whether or
  not the information in them is still current

25
Collection Management Issues

• There are at least four types of institutions
  collecting and storing ephemera museums,
  archives, libraries, and private collectors such
  as corporations and agencies
• If collections are catalogued at all, it is
  generally at collection level (i.e. list of
  artists names or titles supplied by cataloger)
• All of the different types of items in different
  sizes and formats present several issues for
  preservation and storage of collections

26
Collection Management Issues, contd.

• So much ephemera is produced today that it is
  hard to determine a collection policy that will
  include everything important and avoid overlap
  with collections of other institutions
• The difficulty in setting a policy for collecting
  modern ephemera is illustrated in Ephemera The
  stuff of history (2003)
• Some institutions collect in a regular and
  controlled way everything that can be found on a
  different day, others collect around particular
  events they hold to be important locally or
  nationally and at least one individual is known
  to have saved everything that fell through his
  letterbox over a period of decades (p. 19).

27
History of cataloguing ephemera

• Unlike serials and sheet music, for example,
  there is no tradition of cataloguing ephemera.
  If ephemera is catalogued at all, it is on a
  minimal level and, in most situations, the
  materials are usually located in vertical files.
  There are three main reasons why this is the
  case.
• Cost
• Even items from the famous John Johnson
  collection, located at the Bodleian Library, were
  thrown-out in the 1930s because there was no
  money available to catalogue this
  one-million-item collection detailing the history
  of printing from the sixteenth century to the
  twentieth century (Clinton, 1981, p.16) .

28
History of cataloguing ephemera, contd.

• 2. Time
• One need only look at the MARC record for the
  Red Cloud Chewing Tobacco label to see how much
  time would be required to catalogue ephemera on
  an item-level basis (To view the MARC record for
  this item, please click here)

29
History of cataloguing ephemera, contd.

• 3. Throwaway materials
• Traditionally, ephemera has not been valued by
  researchers as a source of historical, cultural
  and societal information. Rather, ephemeral
  materials have been and continue to be thought of
  as throwaway materials. In the 1860s, for
  example, it was calculated that over one thousand
  million items were distributed annually on the
  streets of London, England (Chartered Institute
  of Library and Information Professionals, 2003,
  p.19. Imagine how many more items, print and
  electronic, are distributed today. Do you, for
  instance, save those IKEA catalogues that you
  receive free of charge in the mail each year?

30
Cataloguing Tools and Resources

• Ephemera is an awkward customer that fits no one
  pattern easily
• Linda Stanley (1996)

31
Cataloguing Tools and Resources, contd.

• AACR2R and MARC 21 are not the only sources that
  one should consult when cataloguing ephemera.
• Why? Zietz argues that AACR2R often does not fit
  the medium.
• Instead, Zietz argues for what he terms a hybrid
  approach to cataloguing ephemera. In
  particular, this hybrid approach involves
  creating a MARC record for an item by combining
  from as many codes as necessary the most
  appropriate rules (1992, p. 155).

32
Cataloguing Tools and Resources, contd.

• Anglo-American Cataloguing Rules, 2nd Edition,
  Revised (AACR2R)
• (Chapters 2, 4, 8)
• Archives, Personal Papers and Manuscripts
• Encyclopedia of Ephemera
• Graphic Materials
• MARC 21
• Art and Architecture Thesaurus

33
Anglo-American Cataloguing Rules, 2nd Edition,
Revised (AACR2R)

• There is no single chapter in AACR2R that deals
  specifically with ephemera.
• Of the chapters in AACR2R, one may consult
  chapters two (Books, Pamphlets and Printed
  Sheets), four (Manuscripts), eight (Graphic
  Materials) and twelve (Serials).
• However, many of the rules in AACR2R are not
  easily applied to ephemera.
• As Zietz states, most ephemera have no real
  title, statement of responsibility area or
  edition (1992, p. 155)

34
Archives, Personal Papers and Manuscripts (APPM)

• Similar to AACR2R, this archival code is divided
  into two parts.
• Part One Concerns the description of an item and
  corresponds to chapters one and four of AACR2R.
  Specific rule number citations to AACR2R are
  provided in square brackets following each rule.
• Part Two Provides rules for the choice and form
  of headings and uniform titles.

35
Archives, Personal Papers and Manuscripts
(APPM), contd.

• In contrast to AACR2R, APPM emphasizes an
  archival approach to cataloguing
• Archival materials are dependant on the context
  of their creation.They most often exist in
  groups or collectivities and are managed at the
  collective leveland they are often unique,
  generally unpublished and usually generated as
  documentary by-products of certain kinds of human
  activity (Hensen, 1989, p. 4).
• APPMs archival approach, rather than AARC2Rs
  bibliographic approach, is more appropriate for
  describing and providing access to ephemeral
  materials.

36
Encyclopedia of Ephemera

• An essential resource for any cataloguer of
  ephemera
• From appointment cards to email messages, each of
  the 550 entries in this encyclopedia describes a
  type of ephemeral material and both its use(s) at
  the time it was published and its use(s) as a
  research tool.

37
Graphic Materials Rules for Describing Original
Items and Historical Collections

• This resource was first put together in 1982 by
  Elizabeth Betz for the Library of Congress. It
  was revised in 1996 and is now available online
  with the 1996 revisions highlighted
• Available at
• http//www.tlcdelivers.com/tlc/crs/grph0199.htm
• Graphic Materials is meant to be used, along with
  AACR2R, by cataloguers dealing with graphic
  materials as well as by people working in
  museums, archives, historical societies,
  corporations, and private collections

38
Graphic Materials Rules for Describing Original
Items and Historical Collections, contd.

• Provides help and examples for describing visual
  objects, which is a very subjective practicethe
  cataloguer must determine the best way to put
  into words how something looks, without
  detracting from the meaning or historical context
  of the item
• Equal attention is paid to item-level and
  collection-level cataloguing, because although an
  item may have historical or cultural importance
  on its own, and may be catalogued individually,
  it may also derive meaning from the collection of
  which it is a part (Betz,1982).

39
Getty Research Art and Architecture Thesaurus On
Line (AAT)

• The AAT, Union List of Artist Names (ULAN), and
  Getty Thesaurus of Geographic Names (TGN) are
  structured vocabularies that can be used to
  improve access to information about art,
  architecture, and material culture by providing
  subject terms and descriptions
• Available online at
• http//www.getty.edu/research/conducting_research
  /vocabularies/aat/

40
MARC 21

• The Machine Readable Cataloging (MARC) format was
  developed in the 1960s to automate the production
  of catalogue cards.
• Since then it has grown and evolved to
  accommodate a wider range of formats, including
  electronic records, music and video recordings,
  etc. Although it is not perfect, it is
  time-tested and widely accepted as a standard

41
MARC 21, contd.

• Benefits of using MARC 21 for cataloguing
  ephemera
• Most library cataloguers are familiar with it,
  and its use is widespread internationally
• MARC 21 accommodates for electronic resources and
  URLs, so records may be linked to a digital image
  or web site.
• Notes fields may be used to fully describe the
  object or document
• Various items within collections can be linked to
  each other in the catalogue even if they arent
  shelved together (each item could have the name
  of the collection in a searchable field so that
  every item within the collection would be
  displayed together following a keyword search)

42
MARC 21, contd.

• Disadvantages of using MARC 21 to catalogue
  ephemera
• Museum curators and archivists are not used to
  the format, and it is not that easy to use
• Many visual resource professionals are more
  familiar with other formats such as Dublin Core
  and Encoded Archival Description (EAD) to
  describe and markup images and items

43
Cataloguing ephemera

• Can standards be set and agreed upon by museum
  curators, archivists, librarians, and private
  collectors for bibliographic control of and
  access to ephemera?

44
An analysis and critique of three MARC records
for ephemera

• Library of Congress
• Collection-level MARC record
• Freer and Sackler Galleries Library
• Collection-level MARC record
• Freer and Sackler Galleries Library
• Item-level MARC record

45
MARC record example from the Library of Congress

• LC Control Number2003556727
• 00001233cam 22003134a 450
• 00113147428
• 00520030519135443.0
• 007he bmcbbca
• 008030403s1988 mau bbc 001 0 yid
• 906__ a 7 b cbc c orignew d 3 e ncip f 20
  g y-genmicro
• 955__ a vr03 2003-04-03 i vr03 2003-04-03 e
  vr03 2003-05-18 completed010__ a 2003556727
• 040__ a DLC c DLC d DLC
• 042__ a pcc05010 a Z637505000 a Hebr Fiche 35
• 1102_ a Harvard University. b Library.
• 24510 a Yiddish pamphlets h microform.
• 260__ a Cambridge, Mass. b Harvard University
  Library, c 1988.
• 300__ a 4 microfiches b negative.
• 4901_ a Judaica serials and ephemera v
  checklist no. 16
• 520__ a Provides an author and title listing of
  4,162 Yiddish-language Judaica pamphlets, all
  microfilmed under the Harvard Library's
  preservation program.
• 500__ a Cover title.
• 500__ a Includes indexes.
• 650_0 a Jews v Bibliography v Microform
  catalogs.

46
MARC record example from the Library of Congress
An Analysis

• 110 field Harvard University is listed as the
  corporate main entry point
• 260 field Harvard is also entered in the 260
  imprint field because they did the microfilming
  of the collection
• 520 field Summary note is keyword
  searchableindicates that there are over 4000
  pamphlets
• No other notes mentioning date, place, topics

47
Analysis of MARC record example from the Library
of Congress, contd

• Therefore
• Access to the collection is reduced to
  author/title, which can only be retrieved from
  this microfilmed index.
• One would have to visit Library of Congress or
  get information through document delivery to find
  out if an item of interest was even in the
  collection
• This is an example of collection-level
  cataloguing and is far from ideal in terms of
  access.
• Researchers have no way of knowing if the
  collection holds anything of value to them
  (unless they know the author or title of the
  pamphlet they are looking for) without thumbing
  through the actual pamphlets.

48
MARC record example from the Library of Congress
Solutions

• Construct publisher statements and/or date
  information for each group based on internal
  evidence, for example style of printing or
  language style.
• Categorize the pamphlets by subject, genre, date,
  or location, depending on which is the best fit
• Take advantage of the 500 fields and
  cross-reference
• Not necessarily item-level cataloguing for each
  pamphlet, but make the collection more accessible
  by adding value

49
Example The Paul Marks Collection at the Freer
and Sackler Galleries Library

• Donation received in September, 2000
• 553 items relating to James McNeil Whistler,
• Funding for cataloguing and secure storage
  cabinets provided by donor
• Nothing weeded from the collection
• 447 item level catalog records
• 6 collection level catalog records (leftover bits
  that didnt warrant individual records)
• Levels of cataloguing determined by museum
  curator, who also helped with descriptors and
  categories for collection level cataloguing
• Cataloguing was contracted out, and the
  contractor worked closely with the curator

50
Example of a collection-level MARC record from
the Freer Gallery Library

• 001 DCFO03-B533
• 003 CStRLIN 005 20030410132305.0
• 008 030408i188u2uuudcua b 00 0deng dcam a
• 040 DFGcDFG 090 ND237.W6bW957 1880
• 100 1 Whistler, James McNeill,d1834-1903.
• 245 10 Marks Collection of James McNeill
  Whistler bbrief articles and other information
  about James McNeill Whistler,f188--
• 300 lt1gt box bill.
• 520 This collection contains newspaper articles,
  magazine articles, bibliographies and other
  references, and course syllibi.
• 590 Includes photocopies.
• 600 10 Whistler, James McNeill,d1834-1903vEpheme
  ra.
• 600 10 Marks, Paul G.xArt collectionsvEphemera.
  
• 700 1 Marks, Paul G.
• 950 ND237.W6bW
• 957 1880i04/10/03 N
• 950 lFGASAd\MARKS\h12/31/1999 Nqmain
• 955 lFGASAc1sin Marksi04/10/03 C

51
Collection-level MARC record from the Freer
Gallery Library An Analysis

• This is a more useful collection-level record
• 520 field is more informativeprovides more
  description of what is held in the collection
  (articles, course syllabi, etc.)
• Main entry is more appropriate based on the
  content
• Title information has been constructed in a way
  that is informative and describes the collection
• Collection is keyword-searchable in this case

52
Item level MARC record from the Freer/Sackler
Library

• 001 DCFO02-B1474
• 003 CStRLIN
• 005 20030123065821.0
• 008 021127s1903 fr ac b 00 0dfre dcam a
• 040 DFGcDFG
• 090 ND237.W6bG44 1903
• 100 1 Geffroy, Gustave,d1855-1926.
• 245 10 Whistler /cGustave Geffroy.
• 260 Paris? bRevue Universelle,c1903
• 300 p. 441-445 bill., ports. c30 cm.
• 500 Caption title. 500 In Revue universelle, no.
  93, September 1, 1903.
• 500 Photocopy.
• 504 Includes bibliographical references.
• 600 10 Whistler, James McNeill,d1834-1903xCritic
  ism and interpretation.
• 730 0 Revue universelle.
• 950 ND237.W6bG44 1903i01/23/03 N
• 950 lFGASAd\MARKS\h12/31/1999 N
• 955 lFGASAc1sin MARKSi01/23/03 C

53
Item level MARC record from the Freer/Sackler
Library An Analysis

• One problem with the item level records in the
  Marks Collection is that they are not linked to
  the collection in any fields except 950 and 955
• This means that the only records that come up
  when a user searches for the Marks Collection are
  the six collection-level records
• The items are all shelved together, so a user
  could search by call number, but it would be
  easier if every item was linked to the Marks
  Collection in a note field

54
Original cataloguing of a trade catalogue Ikea
2004
IKEA, 2003
55
Original cataloguing of a trade catalogue Ikea
2004, contd.

• For this presentation, we decided to catalogue an
  IKEA catalogue, an example of a trade catalogue
• Trade catalogues are useful for design history,
  business history and persons studying advertising
  techniques.
• We found that constructing the following record
  was a bit problematic because it is a single item
  in the collection, yet it was published as a part
  of a series. However, after consulting Zietz and
  other writers, we concluded that the record
  should reflect the fact that the catalogue is a
  part of a series.

56
Our MARC record for the 2004 IKEA Catalogue
57
2004 IKEA Catalogue An examination of the 008
field of the MARC record

• 031106c19519999xxuarcc0a2engu

We decided to catalogue the IKEA catalogue as a
Continuing Resource currently published.
Positions 07-10 contain the beginning date of
publication (1951) and positions 11-14 contain
9999.
58
2004 IKEA Catalogue An examination of the 110
field of the MARC record

• AACR2R Rules Consulted
• 21.1B2, 24.1A, and 24.4B1
• Explanation
• According to 21.1B2, IKEA should be the main
  entry because a catalogue is an example of works
  of an administrative nature dealing with the
  corporate body itself
• The name IKEA does not convey the fact that it is
  the name of a corporate body, so according to
  24.4B1, cataloguers should add the name firm in
  parentheses.

59
2004 IKEA Catalogue An examination of the 245
field of the MARC record

• AACR2R Rules Consulted
• 12.0B1, 12.0B2, 12.1B1, 12.1E1iii, 12.1C1, 1.1C,
  12.7B3
• Explanation
• Often with trade catalogues, cataloguers must
  supply the name for the item in square brackets
  (as is the case for most ephemera). If there was
  no title for an item, the rules in Graphic
  Materials may supplement those in AACR2R.
• However, in this case, there was a clear title
  and subtitle for the item.
• The title is listed both on the cover and spine
  of the catalogue.

60
2004 IKEA Catalogue An examination of the 260
field of the MARC record

• AACR2R Rules Consulted
• 12.4C1, 1.4C, 12.4C, 12.4D1, 1.4F6
• Explanation
• As Bernadette Archer notes, formal statements
  relating to the place, name and date of
  publication are not usually present in trade
  literature, but it is generally assumed to be
  the manufacturer or retailer of the product
  (2001, p. 27).

61
2004 IKEA Catalogue An examination of the 260
field of the MARC record, contd.

• If the publication information was not available,
  similar to cartographic material, one should
  consider the style of the printing and
  illustration.evidence from the objects featured
  in the catalogueor external evidence (such as
  inserted price lists or supplements) to date
  items.
• In this case, the publication information is
  located vertically on the back of the catalogue.
• We did place the place of publication (sub field
  a) in parentheses with a question mark, because
  we were not completely certain that the USA is
  the place of publication.

62
2004 IKEA Catalogue An examination of the 300
field of the MARC record

• AACR2R Rules Consulted
• 12.5B1, 12.5C1, 12.5D1
• Explanation
• Detailed Information concerning the physical
  extent of an item is also very important to
  include.
• Ephemera varies widely in size and shape, so a
  statement describing the physical extent of an
  item is often the best way to distinguish a
  single sheet from a 1,000 page catalogue
  (Archer, 2001, p. 27).
• Zietz suggests that cataloguers use Graphic
  Materials if they find that the specific material
  designations in AACR2R fail to describe their
  items in hand.

63
2004 IKEA Catalogue An examination of the 310
field of the MARC record

• AACR2R Rules Consulted
• 12.7B1
• Explanation
• After looking at the IKEA web site, we discovered
  that the IKEA catalogue has been distributed on
  an annual basis since 1951.

64
2004 IKEA Catalogue An examination of the 500
fields of the MARC record

• AACR2R Rules Consulted
• 12.4F1, 12.7B11.1
• 12.7B3
• Explanation
• The 500 fields should be used to provide
  information that is not evident in the preceding
  fields.

65
2004 IKEA Catalogue An examination of the 520
field of the MARC record

• AACR2R Rules Consulted
• 12.7B18
• Explanation
• Summary note field
• For lengthy pieces of ephemera, use the 520 field
  to provide a detailed, yet concise description
  of the contents of the ephemeral material.

66
2004 IKEA Catalogue An examination of the 530
field of the MARC record

• AACR2R Rules Consulted
• 12.7B16
• Explanation
• The catalogue is also available in an online
  format. Therefore, in accordance with rule
  12.7B16, we included this information

67
2004 IKEA Catalogue An examination of the 580
field of the MARC record

• AACR2R Rules Consulted
• 12.7B8f
• Explanation
• The IKEA 2004 catalogue was produced in 38
  editions, 17 languages and distributed in 28
  countries. Therefore, we included a note
  indicating that this is the Canadian edition of
  the catalogue.

68
2004 IKEA Catalogue An examination of the 580
field of the MARC record, contd.

• Rule 12.7B8f instructs cataloguers that if the
  resource is one of two or more editions differing
  in partial content and/or language, give the name
  of the other editions. However, if a resource is
  published in more editions than can be named
  conveniently (which is the case), cataloguers are
  instructed to make a general note.

69
2004 IKEA Catalogue An examination of the 780
field of the MARC record

• AACR2R Rules Consulted
• 12.7B4.2
• Explanation
• Until 1980, the IKEA catalogue was named the
  IKEA katalog, so we included this information
  in the preceding entry field.

70
2004 IKEA Catalogue An examination of the 856
field of the MARC record

• AACR2R Rules Consulted
• 12.7B16
• Explanation
• In accordance with rule 12.7B16, we again
  included the URL for the online version of the
  catalogue in the 856 field.

71
Future of cataloguing ephemera

• Digitization
• Technology continues to improve, and digitization
  is becoming more reliable and less expensive.
  Media format are (hopefully) less likely to
  become obsolete as quickly as they used to
• Visual resource professionals are working hard to
  find a suitable standard for marking up,
  cataloguing, and exchanging digital images
• Library of Congress An American Time Capsule
  Three Generations of Broadsides and Other Printed
  Ephemera
• National Library of Medicine Here Today, Here
  Tomorrow Varieties of Medical Ephemera

72
Advantages of digitizing ephemera

• Preservation
• Many originals are fragile and brittle, or have
  degraded to the point that they are no longer
  usable
• Creating a digital surrogate gives the user an
  opportunity to view the item without handling it,
  which might be enough
• Access
• Scanning ephemera and linking the images to
  records in the catalog makes it much easier for a
  researcher to search the collection and find what
  he or she needs

73
Advantages of digitizing ephemera, contd.

• Multiple use
• Digital images can be made available online
  through the museum or library catalog, or even on
  the World Wide Web. Users can access the
  collection from all over the world, and any
  number of researchers can view the collection at
  once
• Widening user base
• Younger generations of students and researchers
  are used to quick results and digital formats.
  Historical image and ephemera collections can be
  used in a classroom setting to bring a new and
  enriched perspective to social and cultural
  studies

74
Disadvantages of digitizing ephemera

• Cost
• Digitizing an entire collection is an enormous
  task in terms of equipment, time, and expertise
• In many cases, however, this cost can be offset
  by sale of images
• Time
• Digitizing is not as simple as just scanning an
  image.
• Although images can be scanned and given an
  accession number or other identifying tag, and
  not fully catalogued until a request is made, it
  is better to link each image with a catalogue
  record at the start of the project.

75
Disadvantages of digitizing ephemera, contd.

• Lifespan of digital media
• Formats and markup standards have yet to be set
  across the board for image cataloguing. Until
  they are, smaller libraries and institutions will
  be wary of taking on large-scale digitization
  projects because of the threat of wasting money
  on an obsolete format

76
Future of cataloguing ephemera

• Question What level of collection development
  of current ephemera should be employed by
  librarians today?
• Pop-up ads
• Email messages
• Concert and party fliers
• Web sites
• Library of Congress Way Back Machine

77
Bibliography

• American Antiquarian Society. (2002). Ephemera at
  the American Antiquarian Society. Retrieved 7
  November, 2003, from http//www.americanantiquari
  an.org/ephemera.htmArcher, B. (2001). Tools of
  the trade cataloguing trade literature. Art
  Libraries Journal, 26(2), 25-28.Chartered
  Institute of Library and Information
  Professionals. Working Party on Ephemera.
  (2003, January). Ephemera The stuff of history.
  Retrieved 8 November, 2003, from http//www.cilip
  .org.uk/about/ephemera.pdfClinton, A. (1981).
  Printed ephemera Collection, organization,
  and access. London Bingley.Docampo, J.,
  Prado, R. L. d. (2001). Are the latest exhibition
  ephemera available? Problems and solutions for
  a neglected material in museum libraries. Art
  Libraries Journal, 26(2), 29- 37.

78
Bibliography, contd.

• Duke University. Rare Book Manuscript and
  Special Collections Library. (2003). Uncle
  Sammy, 1904. Retrieved 1 November,2003, from
  http//scriptorium.lib.duke.edu/
• Greenberg, J. (1996). Subject control of
  ephemera MARC format options. Popular Culture in
  Libraries, 4(1), 71-91.Hadley, N. (2001). Access
  and description of visual ephemera. Collection
  Management, 25(4), 39-50.
• Holcombe, E. A. (2001). Difficult to find and
  keep Providing access toephemera. Retrieved 17
  October, 2003, from http//conferences.alia.org.a
  u/shllc2001/papers/holcombe.html
• IKEA. (2003). Catalogue cover archive. Retrieved
  1 November, 2003,from http//www.ikea.ca/ms/en_CA
  /about_ikea/timeline/intro.html
• Library of Congress. (2002). American Memory An
  American TimeCapsule Three centuries of
  broadsides and other printedephemera. Retrieved
  7 November, 2003, fromhttp//www.memory.loc.gov/a
  mmem/rbpehtml/pehome.html

79
Bibliography, contd.

• Library of Congress. Print and Photographs
  Division. (2003). Red Cloud chewing tobacco /
  Strobridge Co. lith. Retrieved 1 November,
  2003, from http//hdl.loc.gov/loc.pnp/cph.3a38462
  Makepeace, C. E. (1985). Ephemera A book on its
  collection, conservation, and use. Aldershot,
  Hants., England Brookfield.Morean, D. J.
  (2001). Columbia Beer. Retrieved 12 November,
  2003, from http//www.breweriana.com/matmain.html
  Natanson, N. O. (2001). Product labels.
  Retrieved 1 November, 2003, from
  http//www.memory.loc.gov/ammem/awhhtml/awpnp6/la
  bels.html
• National Library of Medicine. (2003). Here today,
  here tomorrow Varieties of medical pphemera
  The online version of an exhibit held at the
  National Library of Medicine May 22 through
  September 11, 1995 Lobby, Building 38 National
  Institutes of Health. Retrieved 15 November,
  2003, from http//www.nlm.nih.gov/exhibition/ephe
  mera/ephemera.html

80
Bibliography, contd.

• Ott, K. (1997). Reading paper ephemera Issues in
  interpreting nineteenth-century graphics.
  Popular Culture in Libraries, 4(2), 11-24.
• Pace, A. K. (2002, April). Black, White, and
  Shades of Gray (Literature) on the Web.
  Computers in Libraries, 22(4), 44-46.Phillpot,
  C. (1995). Flies in the files Ephemera in the
  art library. Art Documentation, 14, 13-14.
• Reitz, J. M. (2002). ODLIS Online dictionary of
  Library and Information Science. Retrieved 4
  November, 2003, from http//www.wcsu.edu/library
  /odlis.html
• Rickards, M., Twyman, M., De Beaumont, S.,
  Tanner, A. (2000). The encyclopedia of
  ephemera A guide to the fragmentary documents
  of everyday life for the collector, curator,
  and historian. New York Routledge.
• Smith, D. A. (1996). Intellectual control of
  ephemera A museum's perspective. Popular
  Culture in Libraries, 4(1), 63-70.

81
Bibliography, contd.

• Starr, D. A. (2001). Cataloging artist files one
  library's approach to providing integrated
  access to ephemeral material. International Catal
  oguing and Bibliographic Control, 30(1), 8-10.
• Stone, R. (1997). Junk as heritage The
  collecting of printed ephemera on a national
  scale. Retrieved 6 November, 2003,
  from http//www.nla.gov.au/nla/staffpaper/rstone1
  .html
• Urbanski, V., Chang, B. C., Karon, B. L.,
  Swanson, E. (1992). Cataloging unpublished
  nonprint materials a manual of suggestions,
  comments, and examples. Lake Crystal,
  Minn. Soldier Creek Press.
• Wrighting, A. (1985). Cataloguing ephemera a
  student's project. Catalogue Index(76-77),
  15-16.
• Zietz, S. J. (1992). Ephemera MARC-formatted
  cataloging records. Rare Books Manuscripts
  Librarianship, 7(2), 152-159.