Methodology
Briefly put, the work on a catalogue raisonné consists in mapping out the life story – the social biography – of the artworks. The catalogue shall present an authentic and chronological overview of the artist’s oeuvre – in this case Harriet Backer’s paintings, including technical specifications and an historical account of the provenance, bibliography and exhibition history of each individual work.
The project encompasses a study of existing catalogues, document archives, manuscript collections, museum collections and private archives, as well as printed sources such as publications, exhibition catalogues, auction catalogues, secondary literature, newspapers and periodicals.
In addition to this, related works such as printing blocks, prints and drawings are important sources. In its methodology, the project complies with the guidelines for ethical research practice as outlined in “Guidelines for compiling a catalogue raisonné” (2014), by the Authentication in Art Foundation, The Hague.1
1 Vivian Endicott Barnett, Jilleen Nadolny, Katy Rogers, Eddy Schavemaker, og Marije Vellekoop, ved Authentication in Art Foundation, «Guidelines for compiling a catalogue raisonné» (2014). Tilgang: https://authenticationinart.org/pdf/Guidelines.pdf (nedlasta 11.11.2017).
Backer's Paintings
To be published
Technical Analysis
To be published
Previous Catalogues
To be published
Provenance
Provenance research is an essential part of a catalogue raisonné, in that it corroborates verification and ownership. An ideal provenance entry contains a complete history of ownership, the dates of ownership and ownership transference, information associated with the transfer of ownership, such as gift, inheritance or sale – and, if applicable, the intermediary who transmitted the work to a new owner, which might be a museum or gallery, private persons or auction houses – in addition to the location of the work throughout history. Complete provenance registers are rare, and provenance research can be a problematic and time-consuming task.2 Museum and collections registers are central sources, but they can be unorganised, inconsistent and incomplete.
In order for the provenance data to serve its function, former and present owners must be registered with a minimum of information. This includes the first and last names (name at birth, and any name changes or alternative names), date of birth, and death if applicable, in addition to contact information if available. The collection of provenance data touches on legal and ethical questions associated with privacy protection. This is one of the major concerns of the project.
When it comes to ethical practice in a museum context, the documentation of a collection shall include a description of the ownership history, but sensitive information, such as personal information and the like, should be held back when the public is allowed access to the collection data.3 According to the guidelines for ethical research, all research shall be carried out in accordance with fundamental consideration for privacy protection: Personal information shall be handled confidentially.4 When collecting information, access to the dataset of personal information should be limited to a defined group, and when publishing, unless permission has otherwise been given, the history of ownership shall be made anonymous, using the term “Private owner”. This requires secure data filing procedures, so that published personal data cannot be retraced.5
The project Harriet Backer Online Catalogue Raisonné upholds personal privacy via information letters, and declarations of agreement and of confidentiality in our dealings with the private owners of Backer’s works. According to established rule, anyone born within the past 100 years is automatically made anonymous, unless permission is otherwise given by the owner.
2 International Foundation for Art Research, «Provenance guide». Access: https://www.ifar.org/provenance_guide.php (13.11.2018).
3 «2.20 Dokumentasjon av samlingen» og «2.22 Samlingssikkerhet og personvern» in: Norsk ICOM, «ICOMs museumsetiske regelverk» (2006). Access: http://norskicom.no/det-etiske-regleverk/ (1.12.2018).
4 De nasjonale forskningsetiske komiteene: «Spørsmål og svar: Ny lovgivning om personopplysninge – kva betyr det for forsking?» (2018; levande dokument). Access: https://www.etikkom.no/Aktuelt/gdpr-og-forskning/ (20.3.2019).
5 Datatilsynet: «Anonymisering av personopplysningar (2015). Access: https://www.datatilsynet.no/globalassets/global/regelverk/veiledere/anonymisering-veileder-041115.pdf (20.3.2019).
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