Replies to a questionnaire distributed to readers of the Art Libraries Journal reveal general approval of the Journal’s contents and a high level of satisfaction regarding its appearance, but differing views on its policy of publishing material in French, German, and Spanish as well as English. A majority of respondents affirm that the Art Libraries Journal is achieving its aim to fulfil an international role.

The mixed fortunes of art, and of subject specialisation, in British public libraries in recent years is compared to the situation in Denmark where librarianship in the service of art has as its main focus the good of the people. The principles which give art librarianship its own integrity are reiterated and the gradual invasion of public library services by the commercial ethic is rejected. Art librarianship can still achieve new successes, and some of these are noted. The scope for new initiatives which the public library service offers is recognised and new areas for development are suggested, modelled on the international network of Music Information Centres.

Latvian libraries have just begun to take their first steps towards automation and the introduction of new technologies. Implementation of a database of Latvian art catalogues will begin next year. The Association of Latvian Arts Libraries that would serve as a co-ordinating body, as well as a means of sharing experience and discussing future goals, has until now remained only an idea. But the enthusiasm of colleagues, as well the positive impact that art library societies in other countries have brought to art library operations, brings hope that it is not only a dream for the future.

Specialised art libraries emerged in Romania during the 19th century. Today, all of Romania’s art libraries are facing similar problems, the result of years of isolation from the international community and from one another, compounded by an absence (until recently) of education for librarianship, and by a continuing lack of money and adequate accomodation. In addition, different kinds of art library are confronted by problems specific to their functions. However, the renewal of contact with the wider world is bringing many benefits; work has started on a common automated system, initially involving a handful of art libraries; and three art libraries are trying to establish a Romanian art libraries society. (The text of a paper presented to the Annual Conference of ARLIS/NA at San Francisco, January 28th — February 3rd 1993. Please note that this report dates from over two years ago. We eagerly await further news.)

Present day Slovenia has inherited a number of historic libraries and collections, one of which provided the foundations of the National and University Library at Ljubljana, the major library for arts and humanities. There are also a number of specialised art libraries within and outside the University of Ljubljana, including the library of the University’s Department of Art History, the Library of the Academy of Fine Arts, and the libraries of the National Museum, the Museum of Modern Art, and the Museum of Architecture, all in Ljubljana. Slovenian libraries have been or are being automated and linked together through the COBISS network; most of the academic libraries are connected to the Internet. Library training programmes are available at degree level, and students can study another subject, such as art history, as well. More art librarians are needed, as is an association of art libraries and art librarians.

With one exception Dutch art museum libraries date from the second half of the 19th century or later. In general, museum libraries reflect the scope of the museum they serve and exist primarily for the use of museum staff although the public are also admitted. Most now use the same cataloguing rules; manual catalogues are still commonplace but are likely to be displaced by the computer.

Kunstbibliotheken in Österreich können gemäß ihrer jeweiligen institutionellen Verankerung in drei Gruppen unterteilt werden: in Museums- und Universitätsbibliotheken sowie in Bibliotheken, die in anderen Austellungs-institutionen, Galerien und Kunsthallen untergebracht sind. Gerade in jüngster Vergangenheit ist die Zahl der ‘alternativen’ Ausstellungsräume stark gewachsen, die vorwiegend internationale Gegenwartskunst präsentieren und in ihren Bibliotheken und Archiven grundlegende Materialien dazu sammeln. Museums- und Universitätsbibliotheken verfügen hingegen meist über einen umfangreichen Bestand an Basisliteratur zur bildenden Kunst und Kunstgeschichte, aber auch über Literatur zu ihren Sammlungs- und Studien-schwerpunkten. Insgesamt muß festgestellt werden, daß aufgrund der äußerst unterschiedlichen Organisationsstrukturen Fragen von allgemeinem Interesse (etwa eine zentrale Vernetzung aller Daten oder eine generelle Ausbildungs-regelung) nicht koordiniert werden und die Situation daher recht unzufriedenstellend ist. Immerhin ist aber ein Trend in Richtung länger-fristiger Kooperationen im Ansatz zu erkennen. Zu nennen wären in diesem Zusammenhang etwa der Verein zur Förderung der Errichtung einer Fachhochschule für Informationsberufe (FIB) oder die ‘Kunstreferentensitzungen’, bei denen (seit 1949!) Bibliothekarlnnen aktuelle Probleme und Entwicklungen im Bibliotheksbereich diskutieren.

Art libraries in Austria are basically divided into three main groups according to their specific form of institutional organisation: museum libraries, university libraries, and libraries in galleries. The latter are often situated in recently founded institutions and usually put their focus on contemporary art. Museums and university libraries traditionally have rather extensive collections of basic literature on art and art history as well as specialized literature according to the main subject of their collections. It is characteristic of the present stage of development that innovations in the organisation of these libraries (i.e. computer systems for online catalogues, specialized training, etc.) are not being co-ordinated and the results of local improvements are therefore not as rewarding as they could be. Nevertheless, the first steps towards long term cooperation are being taken, and include such initiatives as the Verein zur Förderung der Errichtung einer Fachhochschule für Informationsberufe, FIB (= Association to promote the foundation of an academy for information professions), and the Kunstreferentensitzungen, an assembly of librarians who discuss current trends and problems in library organization.

The Israel Museum Library at Jerusalem is Israel’s largest art library; it maintains the Archive of Israeli Art and an index of periodicals and it serves a national audience. It is complemented by other museum, university, and college libraries, and by the public library network.

Iceland’s cultural heritage dates back to the Vikings. While crafts have always been important to the Icelandic way of life, the country has become much more art and design conscious with the development of educational and cultural institutions in the last hundred years. The National Library receives copies of all Icelandic publications and publishes the Icelandic national bibliography (which includes art but omits some exhibition catalogues); in addition the Library of the National Gallery collects all published literature on Icelandic art. There is a major art collection in the University Library and a specialist art library at the Icelandic College of Arts and Crafts. The Nordic House at Reykjavίk accommodates an artotek. Because of its isolation, Iceland is unusually dependent on libraries for knowledge of world art, and much work remains to be done on the bibliography of Icelandic art. However, art librarianship has made substantial progress since the 1970s, and training in art librarianship is available.