Hostname: page-component-74656f9884-54qdv Total loading time: 0 Render date: 2026-11-10T05:48:06.802Z Has data issue: false hasContentIssue false
  • English
  • Français

Basic copyright resources for UK archives and special libraries

Published online by Cambridge University Press:  06 June 2016

Rose Roberto
Rose Roberto*
Affiliation:
Schools of Design and Fine Art, Brotherton Library, University of Leeds, Leeds LS2 9JT, UK
*
Email: r.v.roberto@leeds.ac.uk
Get access

Abstract

This article provides practical first steps and basic resources for tracing copyright owners in archives and special libraries, through a compilation of sources, guidance notes and useful practices. It points out online diagnostic tools and suggests how to find copyright holders through different search streams, when those holders are known, and where the institution holding the work in question is based in the UK.

Information

Type
Research Article
Information
Art Libraries Journal , Volume 37 , Issue 2 , 2012 , pp. 25 - 31
Copyright
Copyright © The Art Libraries Society 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Article purchase

Temporarily unavailable

References

References

1. This article is based on part one of a two-part presentation given by Rose Roberto and Jodie Double at an ARLIS/UK & Ireland event held in London in February 2011. The workshop was entitled Tracing copyright in art and design archives: theory + practice’.Google Scholar
2. Post, J.B., ‘Copyright mentality and the archivist,’ Journal of the Society of Archivists 8, no. 1 (1986): 17–22.Google Scholar
3. Dunning, Alistair, ‘Tracing help with copyright: new AHDS case studies on copyright issues,’ Ariadne, January 2005, http://www.ariadne.ac.uk/issue42/dunning/.Google Scholar
4. Post, J.B., ‘Copyright mentality,’1986.Google Scholar
5. Hirtle, Peter B., Hudson, Emily and Kenyon, Andrew T., Copyright and cultural institutions: guidelines for U.S. libraries, archives, and museums, 2009. Online at: http://ecommons.cornell.edu/handle/1813/14142/. This is one of the most practical books on copyright that I have read. Although not all of it applies to the UK, many of the ideas about tracing copyright holders in this paper are covered in depth in Chapter 8.Google Scholar
6. Intellectual Property Office, http://www.ipo.gov.uk/types/copy/c-ownership/c-ownership-faq/c-ownership-faq-find.htm.Google Scholar
7. Copyright Board of Canada, http://www.cb-cda.gc.ca/.Google Scholar
8. DIRC, Digital Image Rights Computator, http://www.vraweb.org/resources/ipr/dirc/.Google Scholar
9. The Web2.0 Rights project, http://www.web2rights.org.uk/diagnostic2.html.Google Scholar
10. The WATCH file, http://tyler.hrc.utexas.edu/. See separate article by David Sutton, on pp. 38–41.Google Scholar
11. Artists’ Papers Register, http://www.apr.ac.uk/.Google Scholar
12. The National Archives, Access to Archives, http://www.nationalarchives.gov.uk/a2a/.Google Scholar
13. Archives Hub, http://archiveshub.ac.uk/.Google Scholar
14. ArchiveGrid, http://archivegrid.org/.Google Scholar
15. Hirtle et al, Copyright and cultural institutions, 2009.Google Scholar
16. Probate service, http://www.justice.gov.uk/guidance/courts-and-tribunals/courts/probate/ Google Scholar
17. Hirtle et al, Copyright and cultural institutions, 2009.Google Scholar
18. Hirtle et al, Copyright and cultural institutions, 2009.Google Scholar
19. OCLC, Undue diligence: seeking low-risk strategies for making collections of unpublished materials more accessible, http://www.oclc.org/research/events/2010-03-11.htm.Google Scholar
20. Kraus, Kari, ‘“A counter-friction to the machine”: what game scholars, librarians, and archivists can learn from Machinima makers about user activism,’ Journal of visual culture 10 (2011): 100–112.Google Scholar
21. National Public Radio, ‘Digital music sampling: creativity or criminality,’ January 28, 2011, http://www.npr.org/2011/01/28/133306353/Digital-Music-Sampling-Creativity-Or-Criminality/.Google Scholar
22. History of Advertising Trust, Copyright and Terms of Use, http://www.hatads.org.uk/hat/newsitem.phpPA =48&C=11.Google Scholar
23. The National Archives, Africa Through a Lens, http://www.nationalarchives.gov.uk/africa/.Google Scholar
24. Nelson, Robert S. and Shiff, Richard, Critical terms for art history (Chicago, IL: University of Chicago Press, 2003), 263.Google Scholar
25. Intellectual Property Office, http://www.ipo.gov.uk/types/copy/c-ownership/c-creator.htm.Google Scholar
26. Post, ‘Copyright mentality’ 1986.Google Scholar
27. Korn, Naomi, blog post 23 May 2011, http://www.naomikorn.com/blog/?p=17.Google Scholar

Recommended reading

Bielstein, S.M. Permissions, a survival guide: blunt talk about art as intellectual property (Chicago, IL: University of Chicago Press, 2006).CrossRefGoogle Scholar
Cornish, G. Copyright: interpreting the law for libraries, archives, and information services. 5th ed. (London: Facet Publishing, 2009).Google Scholar
Hirtle, P.B., Hudson, E. and Kenyon, A.T. Copyright and cultural institutions: guidelines for digitization for U.S. libraries, archives and museums (Ithaca, NY: Cornell University Library Press, 2010), http://ecommons.library.cornell.edu/handle/1813/14142/.Google Scholar
Padfield, T. Copyright for archivists and records managers. 4th ed. (London: Facet Publishing, 2010).Google Scholar
Pedley, P. Digital copyright. 2nd ed. (London: Facet Publishing, 2007).Google Scholar
Seeker, J. Copyright and e-learning: a guide for practitioners (London: Facet Publishing, 2010).Google Scholar
Spoo, R.E. ‘Archival foreclosure: a scholar’s lawsuit against the Estate of James Joyce,’ American archivist 71, no.2 (Fall-Winter 2008): 544–551.Google Scholar
Undue Diligence: Seeking Low-risk Strategies for Making Collections of Unpublished Materials More Accessible 2010, http://www.oclc.org/research/events/2010-03-11.htm.Google Scholar