DEFINITION
A historical record of the public display of a work, including
its installation in a gallery, inclusion in a special or online
exhibition, and any loan during which the work was on public
view, even if not a part of a formal exhibition.
SUBCATEGORIES
GENERAL DISCUSSION
This category documents the occasions when a work was loaned
or exhibited outside its normal context. This includes those
times when a work is part of a special exhibition within its
repository or when it is loaned for exhibition purposes. Exhibition
history is also used to record the "showing" of contemporary
performance pieces, the installation of works, such as sculpture,
in public places, the hanging of works in architectural interiors
such as churches, and the inclusion of works in shows at commercial
galleries.
Each occasion when a work is exhibited or loaned should be
documented separately; the subcategories in this category
repeat as a group for each subsequent exhibition or loan.
Gaps or uncertainties in a work's exhibition or loan history
should be indicated.
This category may be used for recent exhitions as well as
to recreate historical exhibitions or displays, such as the
Austellung "Entartete Kunst" held at the Archäologischer
Institut, Munich, in 1937. [1]
RELATED CATEGORIES and ACCESS
The exhibition catalogs, a citation for the Web site for
online exhibitions, publications of symposia held in conjunction
with the exhibition, and published reviews should be recorded
in EXHIBITION/LOAN HISTORY - CITATIONS.
Information about the provenance or ownership of a work that
are derived from the exhibition record should be detailed
in OWNERSHIP/COLLECTING HISTORY.
The title under which the object/work was exhibited should
be recorded in TITLES OR NAMES category, as well as in . It
may also be repeated in EXHIBITION/LOAN HISTORY - VENUE -
OBJECT LABEL.
Researchers will wish to identify an exhibition by its title,
the venues at which it was shown, the location of these venues,
the sponsoring organization, and the date of exhibition. Researchers
may use this category for the following purposes: to establish
the whereabouts of a work in a given time period; to gain
insight into how a work might have influenced another artist,
a collector, or a researcher; to establish the activities
of the artist, documenting where he or she exhibited or sold
works, how his or her work changed over time, and how he or
she was known in a community during a time period; to study
patronage by individual collectors, dealers, and civic institutions
that collect and exhibit works of art; and to provide documentary
support for the date, titles, attribution, and ownership of
the work at a particular time.
24.1. Exhibition/Loan Description
DEFINITION
A description including the title or name of the exhibition,
its location, and other pertinent information.
EXAMPLE
- Michelangelo: Draftsman/Architect. National Gallery
of Art (Washington, DC, USA). 9 October-11 December 1988.
Organized by the National Gallery with Casa Buonarroti in
Florence, the Royal Library, Windsor Castle, and the Olivetti
Company, Milan. A larger version was shown at the Musée
du Louvre. The exhibition was coordinated at the National
Gallery by David A. Brown. Gaillard Ravenel and Mark Leithauser
designed the exhibition and Gordon Anson designed the lighting.
Supported by an indemnity from the Federal Council on the
Arts and the Humanities.
DISCUSSION and GUIDELINES
Optional: Recording exhibition and loan information
is optional. This subcategory is used to present pertinent
information about the exhibition in a prose form that is easily
legible for end-users.
Form and syntax
Use sentence case. You may use complete sentences and/or phrases.
Begin the first word of the description with an uppercase
letter, and end the note with a period. Follow rules for standard
English grammar (if the record is in another language, use
grammar rules appropriate to that language). If you quote
or paraphrase information from a published source, cite the
source in EXHIBITION/LOAN HISTORY - CITATIONS.
Present the information in the following order, as pertinent:
title, dates, institutions and individuals that organized,
coordinated, designed, and provided financial support for
the exhibition or loan.
TERMINOLOGY/FORMAT
Free-text: This is not a controlled field.
Important information in the description should be indexed
in the other subcategories of EXHIBITION/LOAN HISTORY and
in other subcategories throughout the record, as necessary.
24.2. Exhibition Title or Name
DEFINITION
The title or name of the exhibition as formulated by the
organizing institution.
EXAMPLES
- Michelangelo: Draftsman/Architect
- Circa 1492: The Age of Exploration
- Homecoming: William H. Johnson and Afro-America, 1938-1946
- First Annual Exhibition at the Louisville Museum, and
the Gallery of the Fine Arts
- The Earl and Countess of Arundel: Renaissance Collectors
- Internationale Bauausstellung Berlin 1987
- "Degenerate Art": The Fate of the Avant-Garde in Nazi
Germany
- Salon des Indépendants of 1889 [Figure
17]
- Royal Academy Salon of 1785
DISCUSSION and GUIDELINES
Optional: Recording exhibition and loan information
is optional. However, if any exhibition information is recorded,
it is recommended to record the title in this subcategory.
Form and sytax
Record the title verbatim as found on the title page of authoritative
sources published by the institutions where the exhibition
took place. Transcribe the punctuation and capitalization
as found on the title page. Authoritative published sources
include printed catalogs of the exhibition, official Web sites
for online exhibitions, and permanent collection catalogs.
If no authoritative published source is available, use whatever
reliable source is available for the name of the exhibition,
but for capitalization and punctuation, use rules found in
RELATED TEXTUAL REFERENCES - CITATION - TITLE. Use these rules
if the title is found in the repository's curatorial and registrarial
files, catalogues raisonnés published by someone
other than the repository, auction catalogs, sale catalogs,
and contemporary news or journal articles.
Use repeating instances of this subcategory to record all
variant titles by which the exhibition was known.
If the title or name of an exhibition is unknown, record
"unknown," but include an indication of the subject
or theme of the exhibition in the REMARKS subcategory, if
known.
TERMINOLOGY/FORMAT
Free text: This is not a controlled field.
If there is important information in the title of the exhibition,
such as the name of a patron, subject, etc., index this information
in the pertinent controlled subcategory elsewhere in the record.
24.3. Exhibition Type
DEFINITION
An indication of the type of exhibition or loan.
EXAMPLES
exhibition
online exhibition
inhouse exhibition
loan
extended loan
DISCUSSION and GUIDELINES
Optional: Record a term describing the type
of exhibition or loan being recorded in these subcategories.
Use lower case.
TERMINOLOGY/FORMAT
Controlled list: Control this subcategory with
a controlled list, using the terms in Examples above, and
others as necessary.
24.4. Exhibition Curator
DEFINITION
The name or names of those responsible for the intellectual
content of the exhibition, including the selection of works
and their interpretation.
EXAMPLES
- DeGrazia, Diane
- Pfeiffer, Bruce Brooks
- Hirst, Michael
- Jaffé, David
- European Sculpture and Decorative Arts (Metropolitan
Museum)
DISCUSSION and GUIDELINES
Optional: Identify the the person or persons
who planned and organized the exhibition. A corporate body
(e.g., a curatorial department) may be named as curator.
When more than one individual was involved in curating an
exhibition, identify them in repeating instances of this subcategory.
Use the EXHIBITION/LOAN HISTORY DESCRIPTION subcategory to
assign the majority of the responsibility to one person when
appropriate, with the others designated as contributing curators.
TERMINOLOGY/FORMAT
Authority: Ideally, this subcategory would
be linked to the PERSON/CORPORATE BODY AUTHORITY, which contains
names and biographical information for all persons and corporate
bodies associated with the object/work. The authority may
be populated with terminology from published sources, such
as LC Name Authorities, Canadiana Authorities, and ULAN.
Free text: If this category is free-text, the
use of consistent forms of personal and corporate names is
recommended.
24.5. Exhibition Organizer
DEFINITION
The name and location of the person or agency responsible
for the exhibition or loan.
EXAMPLES
- Museum of Fine Arts (Boston, Massachusetts, USA)
- National Museum of American Art, Smithsonian Institution
(Washington, DC, USA)
- Arts Council of Great Britain (London, England)
- Casa Buonarroti (Florence, Italy)
- Museum of Islamic Art (Cairo, Egypt)
- Yamatane Museum of Art (Tokyo, Japan)
- Alamo Navajo Indian Reservation (Socorro county, New Mexico,
USA)
DISCUSSION and GUIDELINES
Optional: Identify the individual or organization
that planned and organized the exhibition.
Form and syntax
Follow rules for contructing names in the PERSON/CORPORATE
BODY AUTHORITY.
Identify multiple organizers in repeating instances of this
subcategory. Use the EXHIBITION/LOAN HISTORY - DESCRIPTION
subcategory to assign the majority of the responsibility to
one institution when appropriate.
TERMINOLOGY/FORMAT
Authority: Ideally, this subcategory would
be linked to the PERSON/CORPORATE BODY AUTHORITY, which contains
names and other information for all persons and corporate
bodies associated with the object/work. The authority may
be populated with terminology from published sources, such
as LC Name Authorities, Canadiana Authorities, and ULAN.
Free text: If this category is free-text, the
use of consistent forms of personal and corporate names is
recommended. Since different organizers may have the same
name, it is also important to record the geographic location
of the organizer (this location would be stored in the authority
record for the organizer if an authority is used).
24.6. Exhibition Sponsor
DEFINITION
The name of any individual, corporation, foundation, or funding
body that provided financial assistance to an exhibition or
loan.
EXAMPLES
- Milligan, Herbert M.
- J. Paul Getty Museum
- National Endowment for the Arts
- Federal Council on the Arts and Humanities
- Tokyo Mitsubishi Bank
- The Canada Council
- Arts Council of Great Britain
- Ford Foundation
- IBM
- Fondazione Giovanni Agnelli (Turin, Italy)
DISCUSSION and GUIDELINES
Optional: Identify the individuals, national
endowments, foundations, corporations, and other funding bodies
and monetary sponsors of an exhibition or loan.
Form and syntax
Follow rules for constructing names in the PERSON/CORPORATE
BODY AUTHORITY.
Identify multiple sponsors in repeating instances of this
subcategory. If the sponsor changes with different venues,
repeat the sponsor subcategory with the set of venue subcategories.
Use the EXHIBITION/LOAN HISTORY - DESCRIPTION subcategory
to describe nuance regarding funding responsibility.
TERMINOLOGY/FORMAT
Authority: Ideally, this subcategory would
be linked to the PERSON/CORPORATE BODY AUTHORITY, which contains
names and other information for all persons and corporate
bodies associated with the object/work. The authority may
be populated with terminology from published sources, such
as LC Name Authorities, Canadiana Authorities, and ULAN.
Free text: If this category is free-text, the
use of consistent forms of personal and corporate names is
recommended. Include enough information to clearly identify
the sponsor, including a geographic place if necessary (if
linking to an authority, this information could be automatically
pulled from the authority record for the sponsor).
24.7. Exhibition
Venue
DEFINITION
A display of the names, locations, and dates where the exhibition
or work was on public view.
EXAMPLE
- Los Angeles County Museum of Art, 30 September-23
November 1975; St. Louis Art Museum, 16 March-9 May 1976;
Elvehjem Art Center, 8 June-1 August 1976.
- Getty Center, Research Institute Exhibition Gallery,
11 October 2005-22 January 2006; online exhibition at http://www.getty.edu/art/exhibitions/shulman/index.html
(25 May 2006), ongoing
DISCUSSION and GUIDELINES
Optional: Record the work's successive venues
for this exhibition, from the first venue to the last, if
known. While the EXHIBITION/LOAN HISTORY subcategories are
all optional, if you record any the information for exhibitions
or loans, it is recommended to record this VENUE subcategory.
Form and syntax
Record the name of the institution in natural order, followed
by the span of dates when the work was displayed at this venue.
Use a semi-colon or other punctuation to separate the various
venues.
For online exhibitions, if the exhibition is ongoing, note
the URL and the date you last accessed the site. Record a
full citation for the Web site, including the URL, in EXHIBITION/LOAN
HISTORY - CITATIONS.
Major exhibitions are often shown in many different places.
An exhibition installation may be simultaneously divided between
different physical places, such as The Age of Correggio
and the Carracci, which was shown in a number of galleries
in Bologna.[2]
An online exhibition may stand alone, or it may run simultaneously
with a physical exhibition; it may remain online long after
the physical exhibition has closed.
It may not be certain that an exhibition was shown at a particular
venue, or that a particular object was included in the exhibition
at all venues. Indicate uncertainty and nuance in the VENUE
subcategory as necessary.
TERMINOLOGY/FORMAT
Free text: This is not a controlled field.
Index venue information in the pertinent controlled subcategories
below.
24.7.1. Venue Name/Place
DEFINITION
The name of the institution, gallery, other facility, and/or
the geographic location where an exhibition took place.
EXAMPLES
- Musée du Louvre (Paris, France)
- National Gallery (London, England)
- Leo Castelli Gallery (New York, New York, USA)
- National Museum of American Art, Smithsonian Institution
(Washington, DC, USA)
- Museo Nacional (Guatemala City, Guatemala)
- Istanbul (Marmara region, Turkey)
DISCUSSION and GUIDELINES
Optional: Identify the specific institutions
or galleries that housed a particular exhibition or a work
of art, and the geographic locations where they are located.
If the institution is not known or not applicable, list the
geographic location only.
Identify multiple locations by repeating instances of the
set of narrower subcategories under the broader EXHIBITION/LOAN
HISTORY - VENUE. Use the VENUE subcategory free-text field
to describe nuance regarding locations.
This subcategory is intended for physical locations. For
online exhibitions, record the name of the hosting institution
here, but record the URL in a full citation for the Web site
in EXHIBITION/LOAN HISTORY - CITATIONS.
For long-term loans, record the repository where the work
is housed while on loan in the CURRENT LOCATION category.
It may repeated here in EXHIBITION/LOAN HISTORY.
TERMINOLOGY/FORMAT
Authority: Ideally, this subcategory would
be linked to the PERSON/CORPORATE BODY and PLACE/LOCATION
AUTHORITIES, which contains names and other information for
all persons and corporate bodies, and geographic places, associated
with the object/work. The authorities may be populated with
terminology from published sources, such as LC Name Authorities,
Canadiana Authorities, ULAN, TGN, NGA (NIMA) and USGS, and
LCSH.
Free text: If this category is free-text, the
use of consistent forms of personal and corporate names and
geographic names is recommended. Include enough information
to clearly identify the venue, including a geographic place
for the institution if necessary (if linking to the PERSON/CORPORATE
BODY AUTHORITY, this geographic information could be automatically
pulled from the authority record for the institution).
24.7.2. Venue Date
DEFINITION
A description of the date or range of dates when the work
was on exhibition at a particular venue.
EXAMPLES
1801-1812
1993
9 October-11 December 1988
before May 1970
12th century
Christmas season, 1432
Autumn 1956
DISCUSSION and GUIDELINES
Optional: Record a year, a span of years, or
a phrase that describes the specific or approximate date associated
with the exhibition or loan of the work. Include nuance and
expressions of uncertainty, as necessary.
Form and syntax
Follow the applicable rules for display dates in CREATION
- CREATION DATE.
These dates document when a work was exhibited at a particular
venue. Usually, a range of dates or a single date will be
indicated in this subcategory. Since it may not be possible
to identify exactly when a work was on display, various levels
of certainty should be described. Sources may only date an
installation to the "18th century," for example. The dates
an object was in an exhibit may vary from the published dates
for the exhibition, as when the run of the exhibition was
extended or the object was not on view for the entire length
of the show.
TERMINOLOGY/FORMAT
Free-text: This is not a controlled field.
Maintain consistent capitalization, punctuation, and syntax
where possible. Index the dates in the controlled EARLIEST
and LATEST DATE subcategories.
24.7.2.1. Earliest Date
DEFINITION
The earliest possible date when the work was exhibited at
this venue.
EXAMPLES
1988-10-09
1801
DISCUSSION and GUIDELINES
Optional: Record the earliest year when the
work was exhibited, as indicated in the EXHIBITION/LOAN HISTORY
- DATE.
Form and syntax
Always record years in the proleptic Gregorian calendar in
the indexing dates fields. Record the precise day and time,
if possible. Use the following syntax: YYYY-MM-DD (year, month,
day, separated by dashes), if possible. (The standards suggest
alternate possibilities: you may use an alternative syntax
if you are consistent and it is compliant with the standards.)
It is optional to record EARLIEST DATE; however, if you record
a value here, you must also record LATEST DATE. For further
instruction, see CREATION - CREATION DATE - EARLIEST DATE.
TERMINOLOGY/FORMAT
Controlled format: Date information must be
formatted consistently to allow retrieval. Local rules should
be in place. Suggested formats are available in the ISO Standard
and W3 XML Schema Part 2.
ISO 8601:2004 Representation of dates and times. International
Organization for Standardization. Data Elements and Interchange
Formats. Information Interchange. Representation of Dates
and Times. Geneva, Switzerland: International Organization
for Standardization, 2004.
XML Schema Part 2: Datatypes, 2001. www.w3.org/TR/xmlschema-2/.
24.7.2.2. Latest Date
DEFINITION
The latest possible date when the work was exhibited at this
venue.
EXAMPLES
1989-03-28
1806
DISCUSSION and GUIDELINES
Optional: Record the latest year when the work
was exhibited, as indicated in the EXHIBITION/LOAN HISTORY
- DATE.
Form and syntax
Always record years in the proleptic Gregorian calendar in
the indexing dates fields. Record the precise day and time,
if possible. Use the following syntax: YYYY-MM-DD (year, month,
day, separated by dashes), if possible. (The standards suggest
alternate possibilities: you may use an alternative syntax
if you are consistent and it is compliant with the standards.)
It is optional to record EARLIEST DATE; however, if you record
a value here, you must also record LATEST DATE. For further
instruction, see CREATION - CREATION DATE - EARLIEST DATE.
TERMINOLOGY/FORMAT
Controlled format: Date information must be
formatted consistently to allow retrieval. Local rules should
be in place. Suggested formats are available in the ISO Standard
and W3 XML Schema Part 2.
ISO 8601:2004 Representation of dates and times. International
Organization for Standardization. Data Elements and Interchange
Formats. Information Interchange. Representation of Dates
and Times. Geneva, Switzerland: International Organization
for Standardization, 2004.
XML Schema Part 2: Datatypes, 2001. www.w3.org/TR/xmlschema-2/.
24.8. Exhibition Object Number
DEFINITION
The number assigned to a work within the context of an exhibition
or loan.
EXAMPLES
item 174
plate 23
VIII
DR 1989:0001
q60
DISCUSSION and GUIDELINES
Optional: Record the object identification
specifically assigned to a work within the context of an exhibition
or loan. Numbers may have prefixes or suffixes that are vital
to their meaning.
Objects are often identified by numbers or alphanumeric codes
in an exhibition to make it easier to identify them. These
identifiers may be the same as the repository normally uses
to identify the object, as recorded in CURRENT LOCATION -
REPOSITORY NUMBERS.
TERMINOLOGY/FORMAT
Free text: The format of the number will vary
depending on its type and source.
24.8.1. Number Type
DEFINITION
The type of number assigned to a work in a specific exhibition
or loan.
EXAMPLES
accession number
location symbol
collector's number
identification number
object identification
catalog number
DISCUSSION and GUIDELINES
Optional: Record a term describing the type
of number, if known. Use lower case.
TERMINOLOGY/FORMAT
Controlled list: Control this subcategory with
a controlled list, using the terms in Examples above, and
others as necessary.
24.9. Exhibition Object/Work
Label/Identification
DEFINITION
A display identifying the work on exhibition, distinguishing
it from similar works.
EXAMPLE
- Pendant Mask: Iyoba; mask; unknown Nigerian;
16th century; Metropolitan Museum (New York, New York, United
States); 1978.412.323
- Cities and Sites Cartes-de-visite; collection;
Eugenio Courret, Burton Brothers, Charles Leinack, and others;
1854-ca. 1905; Special Collections, Research Library, Getty
Research Institute (Los Angeles, California, United States);
no.ZCDV 2
- Ruskin Hours; prayer book; unknown French; ca.
1300; J. Paul Getty Museum (Los Angeles, California, United
States); MS. LUDWIG IX 3
DISCUSSION and GUIDELINES
Optional: Record a label identifying the work
as it was recorded in the exhibition. This subcategory is
important if the title or other information in the label that
was used in the context of the exhibition differed from information
used for the same object when it is on permanent display or
in other exhibitions.
Form and syntax
Use consistent syntax and punctuation for the label, as described
in CURRENT LOCATION - OBJECT/WORK LABEL/IDENTIFICATION. Follow
the Examples above, concatenating the following subcategories:
Title, semi-colon, Object/Work Type, semi-colon, Creator Description,
semi-colon, Creation Date, semi-colon, Current Location Description,
semi-colon, Repository Number (or Exhibition/Loan History
- Object Number).
Alternatively, devise another scheme for syntax and punctuation,
provided it is used consistently in local practice.
TERMINOLOGY/FORMAT
System generated: Ideally, this should be generated
from various fields in the Object/Work record.
Free-text: This is not a controlled field.
If retrieval is required on this information, index the information
in the pertinent controlled subcategories elsewhere in the
record.
RELATED CATEGORIES and ACCESS
Record titles used for the work in the exhibition as alternate
titles in the TITLES OR NAMES subcategories. Any other information
in the label should be repeated in other pertinent categories.
24.10. Remarks
DEFINITION
Additional notes or comments pertinent to information in
this category.
DISCUSSION and GUIDELINES
Optional: Record a note containing additional
information or comments on this category. Use consistent syntax
and format. For rules regarding writing notes, see DESCRIPTIVE
NOTE.
FORMAT/TERMINOLOGY
Free-text: This is not a controlled field.
Use consistent syntax and format.
24.11. Citations
DEFINITION
A reference to a bibliographic source, unpublished document,
or individual opinion that provides the basis for the information
recorded in this category.
DISCUSSION and GUIDELINES
Optional: Record the source used for information
in this category. For a full set of rules for CITATIONS, see
RELATED TEXTUAL REFERENCES - CITATIONS.
TERMINOLOGY/FORMAT
Authority: Ideally, this information is controlled
by citations in the citations authority; see RELATED TEXTUAL
REFERENCES.
24.11.1. Page
DEFINITION
Page number, volume, date accessed for Web sites, and any
other information indicating where in the source the information
was found.
DISCUSSION and GUIDELINES
Optional: For a full set of rules for PAGE,
see RELATED TEXTUAL REFERENCES - CITATIONS - PAGE.
FORMAT/TERMINOLOGY
Free-text: This is not a controlled field.
Use consistent syntax and format.
EXAMPLES
[example of an exhibition in several venues]
Exhibition Title or Name: Ancient Art of the American
Woodland Indians
Type: exhibition
Curator: Penney, David W.
Organizer: Detroit Institute of Arts (Detroit,
Michigan, USA)
Sponsors: National Endowment for the Arts
Stroh
Foundation
Founders
Society Detroit Institute of Arts
Venue: National Gallery of Art, 17 March-4
August 1985; Detroit Institute of Arts, 2 September-11 November
1985; Houston Museum of Fine Arts, 16 December 1985-2 March
1986.
Name/Place: National Gallery of
Art (Washington, DC, USA)
Date:17 March-4 August 1985
Earliest
Date: 1985-03-17
Latest
Date: 1985-08-04
Name/Place: Detroit
Institute of Arts (Detroit, Michigan, USA)
Date: 2 September-11 November
1985
Earliest
Date: 1985-09-02
Latest
Date: 1985-11-11
Name/Place: Houston
Museum of Fine Arts (Houston, Texas, USA)
Date:16 December 1985-2
March 1986
Earliest
Date: 1985-12-16
Latest
Date: 1986-03-02
Object Number: no.58
Number
Type: catalog number
Object Label: Raven-Effigy Pipe; pipe; unknown
Jersey Bluff Culture; 900/400 CE; Thomas Gilcrease Institute
of American History and Art (Tulsa, Oklahoma, USA); 5125.1201.
Citations: Brose, David S., James A. Brown,
and David W. Penney. Ancient Art of the American Woodland
Indians. National Gallery of Art, Washington, DC, Detroit
Institute of Arts, and the Houston Museum of Fine Arts.
New York: H.N. Abrams, in association with the Detroit Institute
of Arts, 1985. Page: 83
[example of an exhibition that was in a gallery and
also online]
Exhibition Title or Name: Mexico: From Empire to
Revolution
Type: exhibition
online
exhibition
Curator: Merewether, Charles
Organizer: Getty Research Institute (Los Angeles,
California, USA)
Sponsor: Getty Research Institute (Los Angeles,
California, USA)
Venue: Getty Center, Research Institute Exhibition
Gallery, 24 February-20 May 2001; online exhibition at http://www.getty.edu/research/conducting_research/digitized_collections/mexico/
(25 May 2006), ongoing.
Name/Place: Getty Center, Research
Institute Exhibition Gallery (Los Angeles, California, USA)
Date: 24 February-20 May 2001
Earliest
Date: 2001-02-24
Latest
Date: 2001-05-20
Name/Place: Getty
Research Institute (Los Angeles, California, USA)
Date: 24 February 2001-ongoing
Earliest
Date: 2001-02-24
Latest
Date: 2050-01-01
Object Label: Paseo and Bucareli Ave., Mexico
City: Corner of Paseo de la Reforma and Bucareli Avenue,
with statue of Charles IV; gelatin silver print; Charles
Burlingame Waite (American, active ca. 1890-ca. 1910); ca.
1900; Getty Research Institute, Research Library, Special
Collections (Los Angeles, California, USA); 96.R.143.
Citations: Mexico: From Empire to Revolution
[online exhibition]. Los Angeles: Getty Research Institute,
2001-. http://www.getty.edu/research/conducting_research/digitized_collections/mexico/
(12 June 2003). Page: accessed 25 May 2006
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NOTE: The outline numbers are subject to change; they are
intended only to organize this document.
Revised 8 September 2008
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