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The Fine Art Collection Arts and Humanities Data Service

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									 Copyright and the
Fine Art Collection
                   Polly Christie
       Fine Art Project Manager
        Visual Arts Data Service
 Copyright and the
Fine Art Collection
      Background to the project
            Different scenarios
         Developing a Licence
          Managing Clearance
          Publishing the works
                    Background
National Fine Art Education Digital Collection -
                                      prototype
                                Digital content
                             Distributed model
                            Develop protocols
      Different Scenarios
                               1850s – present
                         Some out of copyright
                 Some very contemporary work
In some cases HEIs had been assigned copyright
          HEIs maintained control of procedures
 Developing a Licence
Necessary to make a 3-way Licence (artist-HEI-
                             Fine Art Collection)
                                   Non-exclusive
                    Needed to seek the rights to:
        publish images on web for FE/HE use
                      use for publicity purposes
      digitally preserve the image for posterity
Developing a Licence
               Researched existing licences
  Looked at model licences in Recommended
                                 Publications
   Adapted a number of licences to fit the bill
                   = Fine Art Project Licence
Checked by external Lawyers and SIAD Legal
                                         Dept
             The Licence(s)
   The Fine Art Project Licence (each work)
     The AHDS Deposit Licence (each sub-
                                   collection)
      Managing Clearance
   Artists/Agents contact details were researched
                    Licences and cover letters sent

                           Diligence files were kept

             Clear copyright statements on the site
                       Publishing
Licences were then      Images were then
         Submitted     • watermarked
           Checked
                        • clearly accredited
       Inventorised

   Counter-signed,
copied and returned
             Stored
                                  Conclusions
 “Copyright clearance has been the most difficult and time consuming part of
                                                                 the project”
   “… proved a major stumbling block…which required delicate negotiations”


                          research existing licences
                                   

              seek legal advice from within/outside
                                       Organisation
 make licence as clear and transparant as possible

        always keep diligence files and records of
                                    correspondence
                                   Contacts
         Fine Art Project: http://vads.ahds.ac.uk/fineart
Fine Art Project Licence & VADS Deposit Licence:
               http://vads.ahds.ac.uk/fineart/feasibility.html
                 Design & Artists Copyright Society:
                                      http://www.dacs.co.uk
                    VADS Resources on Copyright:
         http://vads.ahds.ac.uk/advice/copyright/index.html
                                     info@vads.ahds.ac.uk

								
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