FAQ

These Frequently Asked Questions have been organized in six sections. Click the link to go the section that best matches your enquiry:

1. General Questions about the Research and Database
2. Object Records
3. People Records
4. Organization Records
5. Event Records
6. Places Records

1. General Questions about the Research and Database

Why are there no images in the database?

These were excluded because they were not essential to addressing the aims of the Mapping Sculpture research programme. In addition, it was impractical to locate, resource and seek rights for pictures within the available timeframe. It is possible that images will be added at some future stage through a separately funded extension to the project.

What kind of information is in the database?

The Mapping Sculpture database contains over 50,000 records relating to sculptural practice between 1851 and 1951. This includes information on around: 3,500 sculptors; another 2,750 related practitioners; 10,000 trades connected to sculpture; 15,000 objects; 125 art schools; 120 art societies; 1,300 exhibitions; 700 other events such as sculpture courses, lectures and discussions; some 16,000 addresses for artists and businesses; and about 350,000 relationships connecting these different types of record together.

Why were 1851 and 1951 selected for the start and end dates?

The Great Exhibition of 1851 and the Festival of Britain of 1951 were chosen as the start and end points because both events were key cultural markers. The Great Exhibition was the prototype for numerous other international exhibitions and the Festival of Britain aimed to foster a cultural revival after the Second World War. Between these dates art practice was transformed by urban expansion, the growth of teaching institutions, museums and exhibiting societies, changing attitudes to art and craft, and, above all, the emergence of modernism. One of the objectives of Mapping Sculpture was to bypass the traditionally observed barriers of 1900 and the emergence of modernism to investigate this century of change.

What sources were used for the research and why were they chosen?

The data was collected from a survey of primary documentary materials. The principal sources were: exhibition catalogues, trade directories, art society records, art school prospectuses, advertisements and periodicals. These materials were chosen because they were the most effective sources for conducting a broad survey and addressed the project's objective of revealing underlying connections between people, organizations, objects, events and places. They also provided data in short pieces of text that could be entered into the database with the minimum amount of selection and editing.

Where was the research carried out and why were these places selected?

The research was carried out in seventeen cites across mainland Britain and Ireland which were grouped into six research centres. The principal criterion for selection was levels of sculptural activity but geographic distribution was also taken into consideration:

Scotland (Aberdeen, Edinburgh, Glasgow)
North of England (Leeds, Liverpool, Manchester and Newcastle)
Ireland (Belfast, Dublin)
Wales and south-west England (Bristol, Cardiff, Conwy, Swansea)
Central England (Birmingham, Nottingham, Stoke-on-Trent)
London (treated as a region because of the volume of materials)

How do I cite information in the Mapping Sculpture database?

If you wish to make a citation to an individual record you will find the correct details at the bottom of each record page under the heading 'Citing this record'. If you would like to refer to the project and database as a whole then use the wording below and adding the date you accessed the system:
Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011 [http://sculpture.gla.ac.uk, accessed dd/mm/yyyy]

2. Object Records

How has sculpture been defined by the Mapping Sculpture project?

Mapping Sculpture has taken a very broad view of sculpture. The project has recorded (where possible) all three-dimensional works made by sculptors or related businesses and practitioners, including utilitarian and decorative objects (e.g. tableware and silver), that were exhibited in exhibitions or listed in other documentary sources consulted during the research programme.

How have works been dated?

The project has usually dated works based on the year that they were exhibited. In most instances this is the only surviving information about when a sculpture was made. Although there are publications giving more precise details about some sculptor's works, entering information from these secondary sources was impractical during the current project. So dates should be treated as a rough guide and follow-up investigation should be carried out as needed.

Why do I see repetitions of works of the same title by the same artist?

Sculpture is often made in multiples, for example a work may be cast in a small edition or may exist in several different materials like plaster, bronze, and marble. It was also common for artists to exhibit a model and then do further work before showing the work again in a more finished state. In addition, an artist may use the same title for several unrelated sculptures. The documentary sources consulted by the project did not provide this level of detail and so a new entry has been made each time a work was shown.

What does Object class mean?

This term is used to describe large groups of objects such as 'sculpture', 'ceramic' or 'religious and ritual equipment'. The purpose is to allow broad queries about Objects to be run on the database which would not be possible if only the titles of sculptures had been entered.

What does Object type mean?

This offers a more precise description of Object categories such as 'bust' or 'relief'. It has not been possible to enter a 'type' for all works included in the database because the information in the original sources was not explicit enough. The purpose of adding a 'type' (where possible) is to facilitate searches of groups of Objects. This kind of query would not be possible if only the titles of sculptures had been entered.

Why am I only seeing a selection of a sculptor's works?

The database contains sculptures and other works exhibited in selected exhibitions in the period. Public sculptures (e.g. statues, monuments and memorials), funerary works and architectural schemes are only included in the database where a model was exhibited.

Why do I see inconsistencies in titles of Objects? e.g. 'Christ Blessing Little Children' and 'Christ blessing little children' or 'Bust of a Young Lady' and 'Bust of a young lady'

The titles of objects were transcribed from exhibition catalogues. So the capitalisation and use of punctuation in the database matches the original text. The documentary materials and staff resources to check the artist's preferred title for a work were not available to the project.

Why aren't the current owners or locations of sculptures given in the database?

The research was conducted from exhibition catalogues dating from 1851-1951. In the great majority of cases, works were sent into these exhibitions by the artist and may have been offered for sale. Subsequent histories of ownership (provenance) were not part of the project method.

Why have I got very limited results when I searched for 'surrealist' and 'abstract' objects?

This is because categorizing objects by style, movement and subject was not part of the project method.

Why have I got very limited results when I search for specific materials and techniques? e.g. 'polychrome' and 'stone carving'

Information about objects included in the database were primarily drawn from exhibition catalogues dating between 1851-1951. In this period, the descriptions of exhibited works were often limited to a title, a price (if for sale), and possibly a brief description of the format, material and technique (e.g. 'bust in marble', 'relief in plaster' or 'wood carving'). Where possible, materials and techniques have been inferred from these details (e.g. a 'relief in plaster' has been entered as 'modelled' and 'cast'). However many of the exhibition catalogues lack even these basic descriptions. To make the best use of available information, use simple search terms such as 'colour' rather than 'polychrome', and 'carving' or 'carved' instead of 'stone carving'. (There are more hints on searching in the 'Help' section.)

3. People Records

What information is given under 'Other names'?

Several different types of information are given here. This includes variant spellings or name combinations, such as the record for Lady Kathleen Scott, birth or married names (particularly for women artists), and changes made by artists of foreign birth to anglicize their name, like Heinz Henghes.

How have the 'Active dates' been arrived at?

These are usually based on the first and last available primary documentary source consulted by the project. However the dates have been expanded where possible using information in selected secondary sources.

Above the list of Works it says 'Dates are usually the year a work was exhibited so may differ from date of production'. Can you give me more details?

The project has usually dated works based on the year that they were exhibited. In most instances this is the only surviving information about when a sculpture was made. Although there are publications giving more precise details about some sculptor's works, entering information from these secondary sources was impractical during the current project. So dates should be treated as a rough guide and follow-up investigation should be carried out as needed.

Above the list of Works it says 'New entries have been made each time a work was exhibited'. Why has this been done?

Sculpture is often made in multiples, for example a work may be cast in a small edition or may exist in several different materials like plaster, bronze, and marble. It was also common for artists to exhibit a model and then do further work before showing the work again in a more finished state. In addition, an artist may use the same title for several unrelated sculptures. The documentary sources consulted by the project did not provide this level of detail and so a new entry has been made each time a work was shown.

Why am I only seeing a selection of a sculptor's works?

The database contains sculptures and other works exhibited in selected exhibitions in the period. Public sculptures (e.g. statues, monuments and memorials), funerary works and architectural schemes are therefore not usually included in the database unless a model was exhibited.

Why don't I always get precise results when I click 'View all on map'?

The addresses in the database were taken from sources dating between 1851 and 1951 so may differ from those in use today. Streets have often been renamed or demolished and rebuilt. The modern six-digit postcodes used in mainland Britain and Northern Ireland were only rolled out fully in 1974. In addition, a number of major changes to county and city boundaries have happened since the 1950s (for example Middlesex and parts of Surrey have been absorbed into London) which also effect the results.

Why are most locations for artists prefixed 'address' rather than 'studio'?

The sources used by the project were rarely specific about whether an address was residential or a studio (or both). So an editorial decision was made to use the inclusive term 'address' and only state 'studio located at' when the address itself, or the source material, provided the necessary confirmation.

Under institutional and personal connections, why am I seeing several descriptions of an artist's relationship to an art society? For example, 'member of', 'fellow of' and 'nominated by'.

A new relationship or connection has been made each time an artist was nominated for membership and also for each change in their membership status. This enables more detailed and precise searches to be run on the database. For example, go to Advanced Search, select People as the record type and enter the keyword 'member' and then for the second record type select Organization and enter 'Royal Society of British Sculptors'. After you have hit 'Enter' and reviewed the results, go back to the Advanced Search page and change the keyword 'member' to 'fellow' and run the search again.

Why do the details of a connection (relationship) always start with a capital letter? For example, why does it say 'For RA' rather than 'for RA' where are an artist was nominated for election to the Royal Academy?

This was an editorial decision. There has to be a standard approach to the presentation of information in the database to allow the system to run quickly and efficiently. Other kinds of connections, particularly those with longer text, would look odd if the text started with a lower case letter. So it was decided to start all notes about connections (relationships) with a capital letter.

Why have I got very limited results when I search for people associated with 'surrealism' and 'abstraction'?

This is because categorizing practitioners by style or movement was not part of the project method.

4. Organization Records

How have the names of institutions and businesses been arrived at?

Many businesses, art societies and art schools changed their name over time. See, for example, Earley and Company and The Royal West of England Academy. The name, or main title, given in the database is usually either the one used for the longest period or the one by which an institution is still known. The heading 'Other names' gives details of names used before or after the main title, as well as alternative spellings and abbreviations. Occasionally an older and newer name have been incorporated in the main title because both were used with equal frequency during the period covered by the project, such as the Royal College of Art (including National Art Training School).

How have the 'Active dates' been arrived at?

These are usually based on the primary documentary sources consulted by the project. However the dates have been expanded where possible if more details about the history of the institution or business are available in selected secondary sources.

What does 'Function' mean?

This is a very short description of the type of work or service offered by the Organization. In the case of businesses this is based on the category (or categories) that they were listed under in trade directories or descriptions of the owner's occupation given in the census returns. (This can be checked or searched via the 'listed in' relationships between businesses and trade directories and census returns grouped together under the heading 'Descriptions of Business or Institution'). Occasionally the 'Function' field has been used to give a quick explanation about why the institution is in the database if this is not immediately obvious. For example the Convent of Mercy, Newry is included because of a commission to Earley and Company, so the convent is described as a 'Patron'.

What kind of information will I find under 'Policy'?

The mission statement or purpose of an art society is given here. You may also find information about the products made by a business.

What kind of information will I find under 'Rules'?

Usually this section provides details (when available) of the regulations governing membership of an art society or the requirements for student enrolment at an art school.

What kind of information will I find under 'History or description'?

A narrative history has been provided where there is information from primary or secondary sources about an institution or business. Where significant information has been found about the owners or associated practitioners separate People records have been made and then linked to the Organization (business) record.

5. Event Records

Why can I find details for all works shown at some exhibitions but only selected, or summary, information for others?

This variation arises from differences in the scope of documentary material to be recorded in various cities. In Dublin and Birmingham, for example, it was possible to record every sculpture shown at the Royal Hibernian Academy and Royal Birmingham Society of Artists annual exhibitions. However, in many locations, notably Edinburgh, Glasgow, Liverpool, London and Manchester, the major annual exhibitions were so large that a selective approach had to be taken. For example between about 1900-25 around 250 sculptures were shown each summer at the Royal Academy of Arts annual exhibition making a total of over 6,250 works. The approach taken to this issue (with some necessary variations depending on the documentary sources available) was to make a generic Event for an annual exhibition. Then a single 'Exhibited at' relationship was made between an artist and the generic event containing a summary of the first and last date they showed, and totals for the number of times and works they exhibited. See, for example, The Exhibition of the Royal Academy of Arts and The Royal Glasgow Institute of the Fine Arts Annual Exhibition.

6. Place Records

Why don't I always get precise results when I click 'View all on map'?

The addresses in the database were taken from sources dating between 1851 and 1951 so may differ from those in use today. Streets have often been renamed or demolished and rebuilt. The modern six-digit postcodes used in mainland Britain and Northern Ireland were only rolled out fully in 1974. In addition, a number of major changes to county and city boundaries have happened since the 1950s (for example Middlesex and parts of Surrey have been absorbed into London) which also affect the results.

Why are most locations for artists prefixed 'address' rather than 'studio'?

The sources used by the project were rarely specific about whether an address was residential or a studio (or both). So an editorial decision was made to use the inclusive term 'address' and only state 'studio located at' when the address itself, or the source material, provided the necessary confirmation.

If you cannot find an answer to your question try looking in the other About sections which contain more information about how the project was carried out and who did the research.