1. For whose course in Photographic Archives (LS 471, Spring 1987) at Simmons College Graduate School of Library and Information Science, and constant encouragement I am very grateful. Linda Watkins, Elizabeth Donnelly, and Ilze Olmsted of the Simmons College Libraries all provided gracious help, for which I heartily thank them.Google Scholar

2. The second issue (v.l, no.2,3, Fall 1980/Winter 1981, p.122) focused on prehistoric and ancient art, while the third (v.2, no. 1,2,3, Fall/Winter 1981/Spring 1982, p.2) concentrated on sources for the photographic documentation of Roman and Etruscan art. The last issue (v.3, no.l, August 1983) had no editorial. The first three issues were published by Iconographic Publications, the fourth and final number of the first run was published by Gordon and Breach.Google Scholar

3. V.1, no.1, Spring 1980, p.2.Google Scholar

4. Respectively, Spring 1980: 67–73; Fall 1980/Winter 1981: 173–187, and 193–199; Fall/Winter 1981/Spring 1982: 7–17 and 68–91; and August 1983: p. 50–60.Google Scholar

5. Such as James, D. L., “The Archive for Research in Archetypal Symbolism”, and Samuel, E., “The Illustrated Bartsch: Approaches to the Organization of Visual Materials”, Spring 1980: p.7-18 and p.60–66, respectively. Another article of great appeal for art historians especially is C. Thompson’s “Why Do You Need to See the Original Painting Anyway?” (Fall/Winter 1981/Spring 1982: p.21–36).Google Scholar

6. For Markey’s article see Visual Resources, August 1983: p. 16–49. Another intriguing article that seems wrong for Visual Resources is Hoffberg’s, J. “Microfiche Art: Interview with Caroline Kent (Fall/Winter 1981/Spring 1982: p.92-100)”, because it concerns an artist’s use of microfiche to create works of art, not reproduce them.CrossRefGoogle Scholar

7. The Visual Resources Association (VRA) is an organization of visual resources administrators in the broadest sense. Founded in 1983, it conducts conferences, workshops, and tours, and publishes a quarterly newsletter, the International Bulletin for Photographic Documentation of the Visual Arts, in addition to the new series of the Slide Buyer’s Guide (Sundt, C. L., “Introduction. Visual Resources and the Visual Resources Association”, Visual Resources, New Series, III, no.2, Summer 1986: p.5–6).Google Scholar

8. Roberts, Helene E. very kindly provided most of this information during an interview of September 14, 1987.Google Scholar

9. President of the VRA and Technology Editor of Visual Resources.Google Scholar

10. “Editorial”, Summer 1986: p.7–15.Google Scholar

11. Summer 1986: p.75–96 and p.107–116; Autumn 1986: p.167–184; Winter 1987: p.263–271; and Spring 1987: p. 1–24, and p.51–70, respectively.Google Scholar

12. Summer 1986:p.97–105; Autumn 1986:p.185–208 and p.209–226; Winter 1987: p.287–315; Spring 1987: p.25–49 and p.71–82; and Summer 1987: p.141–151, respectively.Google Scholar

13. Winter 1987: p. 287–315.Google Scholar

14. The problem certainly goes much deeper. Like other international journals, Visual Resources permits writers to use the spelling of their country; many very common words therefore appear in different ways in one issue. How can international Authority Files be established when no one can agree about the spelling of such words as “organize” and “civilization”?Google Scholar

15. Ness (p. 181–182) gets very close to pin-pointing the reason why Boston is called “the Hub”, without actually finding an early 18th-century instance of this nickname. Residents today know, of course, that Boston is the Hub of the Universe.Google Scholar

16. Alexander, J., Summer 1987: p. 165–174, and Hoort, R. J., ibid., p. 191–200, respectively.Google Scholar