The aim of the project was to produce a research catalogue, corresponding to a catalogue raisonné of Gothenburg Museum of Art's and the Röhsska Museum's collection of artefacts, accessible through the internet. The two museums' collections of about 65 000 and 50 000 objects would be made internally and externally searchable with photo documentation, information about originator, title, year of origin, material, technique, condition, provenance, research references etc. in a database which interface allows combination searches, which make structural analysis possible.

At the time when this statement is being written, both museums have introduced their web catalogue Search the Collection, which is continuously expanded with new records. Search the Collection is reached from each museum's website respectively.

Gothenburg Museum of Art's online catalogue:
http://emp-web-34.zetcom.ch/eMuseumPlus

The Röhsska Museum's online catalogue:
http://emp-web-35.zetcom.ch/eMuseumPlus


Background

Gothenburg Museum of Art and the Röhsska Museum for design, fashion and applied arts were allotted 2 million SEK for a joint project.

Even though Gothenburg Museum of Art and the Röhsska Museum have at their disposal two of Scandinavia's foremost collections of art and design and applied arts, these have earlier only been studied to a limited extent. One contributing factor has been the lack of available documentation. With a collection database available through the internet, we saw a chance to do something about these shortcomings. We have already, after Search the Collection has been introduced, seen an increase in interest from the public as well as from the research community to see and study the collections.

Gothenburg Museum of Art's collection of approximately 65 000 objects is among the leading art collections in Scandinavia. As Sweden's only museum with specific focus on design, fashion and applied arts, RM has at its disposal a unique collection of approximately 50 000 artefacts. Neither of the collections have earlier been accessible in any up-to date peer reviewed catalogue. That meant that they in fact did not exist as research material for external researchers. The lack of implemented basic research and documentation of the collections also made internal research more difficult. With this project the preconditions for disseminating information about the collection within the organisation and externally have improved decidedly.

Gothenburg Museum of Art has one of the principal collections of Scandinavian art from the turn of the century 1900, largely thanks to the private collection in the Fürstenberg Gallery which was bequeathed to the museum. The museum also has one of the foremost collections of Scandinavian colourists, including the Gothenburg Colourists. In the collection there are works from the 15th century up until today with an emphasis on Dutch and Flemmish 17th century, Swedish 18th century Romanticism and academic painting from the 19th century, French Impressionism and international Modernism. The international collection includes works by artists such as Rembrandt, Claude Monet, Vincent van Gogh, Pablo Picasso, Henry Moore and Louise Nevelson. Gothenburg Museum of Art has always been a contemporary museum, in the sense that the museum had mostly acquired what at the time was contemporary art. This emphasis has been upheld up until today, and the museum now has a large collection of Scandinavian contemporary art.

The Röhsska Museum's first collections consist of older Swedish and European handicrafts. Early on a collection of Japanese artefacts and Chinese handicrafts were added after a journey to collect art in 1912-1913. In the 1920s, the Röhsska Museum started collecting contemporary handicrafts and in the 1950s a section for industry of applied arts was added. The Röhsska Museum chiefly collects contemporary material within the categories fashion, design and applied arts. These are principally Swedish artefacts but also Scandinavian and, for the development of form, important Western artefacts. As Sweden's only museum with specific focus on fashion, design and applied arts the Röhsska Museum has a national network responsibility for the area.

The majority of the museums which have made their collections accessible through the internet have settled for rudimentary information, which limits the possibilities for making structural analysis. The Metropolitan Museum of Art in New York was a model for the project. For every item in their catalogue there are, apart from the basic information, also documentation of all text and signatures, etiquettes and other markings on the work, extensive information about its history of origin, provenance, history of exhibitions and an extensive scientific bibliography.

Our ambition has been to construct catalogues of works and artefacts with the same high scientific level as the one at the Metropolitan Museum of Art but which also make combination searches possible. Our estimate is that research in art history to an increasing extent will be using these types of databases and that the museums which are not on board will tend to become invisible on the international research horizon.

The searchable web catalogue of works and artefacts was made possible by a joint database system for both museums, MuseumPlus, with different levels of security. This is a module based Collection Management System (CMS) placed on an SQL-server. The system is well established in the museum world. It is compatible with ARTstor and K-samsök and has different levels of security for different users. The construction of the catalogue required a going-through the collections with control, correction and supplementary information about the works. As the majority of the items lack photo documentation, it became necessary to photograph a large number of works. The project, which stretched over a three year period, required work by art historians, registrar, photographer and conservator. The construction of the database has taken place in dialogue with other museums with similar needs to make use of coordination benefits.


Description of the completed project

The project was a collaboration between the Gothenburg Museum of Art and the Röhsska Museum, with Gothenburg Museum of Art as administrator of funds and Head of Research Ph.D. Kristoffer Arvidsson as project manager. Head of Unit Anna Billing-Wetterlundh was in charge of the Röhsska Museum's part of the project. The project aimed to produce a searchable catalogue of both museums' collections accessible through the internet. The catalogue should, apart from basic information such as the name of the artist, the year of origin, title, technique and measurements, include full documentation with educational texts about the works, artist's biographies, exhibition history and references to literature, provenance and signatures.

The project has in broad outline followed the plan. In one respect the project has yielded faster results than stated in the application. Gothenburg Museum of Art placed its collections online already in August 2012, when a clearly defined part of the collection was published in Search the Collection. The web catalogue has subsequently and continuously been expanded as new items and web exhibitions have been published. Examples from RM:s collections, which have been digitised and checked, were made accessible on the web in June 2013 and the museum's web catalogue Search the Collection was introduced at the beginning of 2014.

The records have been checked, updated and supplemented with information about the works and research documentation, including literature references and exhibition history. Works which lack photo documentation have been photographed. Because the existing database at Gothenburg Museum of Art and the card catalogue at the Röhsska Museum were neither comprehensive nor reliable, every record had to be checked individually and cross referenced with other catalogues and lists. This has been a job of basic research character which has required work by specialists. It is about examining everything from the originator of the works, dating and motifs to questions about provenance, condition and material.


Integration in the work of the museums

The project has been run with support from the organisations of both museums and has become an integrated and prioritised part of the work. The museums have offered co-financing with work places and work by technicians and other staff. At both museums, people in leading positions outside the project have been proactive in the development of a web interface for eMuseumPlus in close collaboration with researchers within the project. The results from the project have been favourably received within the museums, which are eager for the catalogue to be expanded continuously. Collaborators at both museums have shown great interest in developing the project further. Search the Collection has also been used as a working tool for staff, not least in the reception and education as a way of service for the visitors.

At Gothenburg Museum of Art, Arvidsson has been permanently employed as Head of Research after the project and will as part of his position continue to work with the database. By way of example, for the museum's library, he registers, in the database's section for literature and exhibitions, literature that arrives and which mentions works from the collection.

At the Röhsska Museum the collaboration with a reference group with external researchers, which was initiated in connection with the project, will continue to develop further. A research coordinator, Ph.D. Ritwa Herjulfsdotter, has been employed with limited duration as a direct consequence of the project. Through the Infrastructure Project, research has gained in priority in the organisation and digitising will continue, through for example EU funding in the project Partage Plus.


Participation at conferences

Before the start of the project, Arvidsson attended a couple of seminars about museums, collections and online publication, including Konsten on-line [Art on-line], a seminar at Länsmuseet Gävleborg in Gävle on 27-28 November 2011. The conference gave insights into how questions about digitising are discussed and handled by other museums. Arvidsson applied for Gothenburg Museum of Art to hold a session about art museums on the web at NORDIK - a Scandinavian conference on art history, but was rejected. However, Arvidsson attended the conference in October 2012. Billing-Wetterlundh was the moderator for one item on the program dealing with different research disciplines demands in relation to digitising museum collections during the museum week in Gothenburg in spring 2012.

Gothenburg Museum of Art

Besides Arvidsson as head of the project and researcher at Gothenburg Museum of Art, a conservator and a photographer were employed within the project. Gothenburg Museum of Art started going through its collection of paintings with the Fürstenberg Gallery - a private collection with mostly Scandinavian but also French art from the late 19th century which was bequeathed by Mr. and Mrs. Fürstenberg to the museum in 1902. The Fürstenberg collection was given priority as it is a clearly defined collection and of great interest for the public and researchers.

Conservator Malin Borin and photographer Hossein Sehatlou have worked with moving artworks (assisted by technicians), dismounting paintings from the frames, writing protocols of condition, examining measurements, documenting text and signatures and photographing the works. Practically all of the 223 works in the Fürstenberg collection have been photographed. In addition a large number of works outside the Fürstenberg collection have been photographed. Arvidsson has checked the records and written art historical presentations for a hundred plus works but other writers have also contributed texts. In addition to this, he has worked with drawing up accounts of exhibition history and literary references for the records. This is done by making literature and exhibition records in the database MuseumPlus, to which works are linked. In this way references are systematically formed and can be updated, to later be shown as lists according to a standardised format on the internet (the work is carried out in the same way at the Röhsska Museum).

Publishing the database on the net includes functions such as search fields with the input of artist and work, works being placed on a graphical timeline, web exhibitions and plans with automatically updated information about what is currently being shown in the different galleries. The separate work records are shown with photographs, instructive texts, literature references and exhibition history. The service Search the Collection is reached from: http://konstmuseum.goteborg.se

Writing accounts of exhibition history and literature references is time consuming for the research section but here the museum's researchers have together developed workable methods.

Parallel to the project, the two museums have prepared the publication of the online database with the service eMuseumPlus. Specifications were drawn up and given to Zetcom, the company responsible for the database. The needs of the museums differ when it comes to details but they have had an intense exchange of experience. During spring 2012 eMuseumPlus was tested at Gothenburg Museum of Art and Search the Collection was subsequently introduced in August.


Research

As the collection is made up of an approximate total of 65 000 works, basic research on all works in the collection is an extensive effort which has to be split up into stages. This project has been aimed at the collection of paintings, more specifically the Fürstenberg collection. The project has not been enough to completely document all of the Fürstenberg collection, but a large part of the 223 works in it have been documented and described by the researcher. All works have been photographed and published with photo and basic information. A special online exhibition of the Fürstenberg collection has been created.

Arvidsson has written texts about the works and included literature references and exhibition history in the database as well as checked and supplemented information about the works such as year of origin and provenance. Where high quality texts about the works already existed, which have been judged to work in the context, these have been used with the permission of the author. This applies to texts of former Head of the Museum and Senior Lecturer Björn Fredlund and former museum employee Ingmari Desaix.

In total 495 text have been inserted into the database. 172 were written earlier and have now been included in the database after some revisions, to be precise 14 texts by curator Per Dahlström, 81 by former curator Ingmari Desaix, 56 by the former Head of the Museum and Senior Lecturer Björn Fredlund and 21 by Head of Unit Anna Hyltze. Kristoffer Arvidsson has within the project written 81 artists biographies and 242 texts on works in the collection, which have been placed in the database and, like other texts in the catalogue, thereby have become accessible in the online catalogue. 12 of these were written about works from Wernerska villan's collection, which in 2013 was transferred to Gothenburg Museum of Art from the City of Gothenburg. 115 texts about the Fürstenberg collection have been placed in the database.

One example of a record for an item. By clicking the car you can enlarge it with good enough resolution to use privately (lectures et cet.). In the record there is information about artist, title, dates, technique, measurements, circumstances of acquisition, school of art, category, inventory number and exhibition status. Here is also found a descriptive and interpretive text which puts the work in a meaningful context as well as information about signatures. Lists of exhibition history and literature references have also been inserted for many works.

Text examples
We meet a woman, extravagantly dressed in a bright red fur coat, with a fur muff and a red hat with a plume. She is leaning with her arm against a tree while she stretches her shiny black shoe forward and turns up her head. Her misty regard meets that of the onlooker. To the left of the woman there is a café, strongly lit by electrics lights. In the upper right hand corner of the picture a perspective out towards the nights opens up. Some single lights float in the darkness and you can discern a figure which turns its head so that the face, lit from the lights of the café, is seen in profile. The warm lights from the café meet the weaker and colder lights from the street's gas lights outside the picture, which results in remarkable shadow effects on the ground where warm light ochra meets the colder umbra. The same meeting of warm and cold light can be seen on the woman's made up face.

The scene is a night image from Paris' street life at the end of the 19th century. The woman is unable to carry her dramatic dress with dignity. She seems to stagger intoxicated. Maybe she just caught sight of the observer, another night wanderer in the big city. Her dress indicates that the woman is a prostitute.

The painting was completed in 1895, at a time when many Swedish artists were preoccupied with the Nordic twilight. Anders Zorn was instead captured by the electric lights of the big city which flow over "la vie moderne" with night open bars, cafés and theatres. Zorn had moved into a studio at Boulevard de Clichy, one of Paris' pleasure centres, and regularly went out into the night life with his sketch book, where there were also prostitutes moving about. The scene mentioned is said to take place at Place Pigalle. One or more meetings with these women in the night can have been the idea for the picture. Electric lights were a modernity which had been started to be used by the cafés and it evidently made a strong impression on Zorn.

At the New Year Zorn started to work on this visual image, with a woman lit from two sides by two different sorts of light, in a series of oil studies and sketches. He was very concerned about capturing the right expression. Some of the preliminary work are close up studies of the woman's face. They are done in subdued colouring where grey and black are dominant. One study focuses on the woman's facial expression, which here has some features from his wife Emma. In another, the face is more summarily drawn and the play of light is the focus. The painting is fluid and spontaneous with bold brush strokes. If you study the painting more closely there are however traces of revisions.

Unlike many other of Zorn's images of women, this one is hardly aiming for creating any erotic titillation. Can there even be a social pathos to be read from the depiction of the woman forced to sell her body? Like another work at Gothenburg Museum of Art, The Large Brewery (1890), the painting portrays the exploitation of women in modern society. But Night Effect is not among the sort of engaging images created by Christian Krohg. Zorn is more ambivalent. Zorn himself avoided the political theme when commenting on the work and spoke solely about the topic for the painting as a difficult "light problem". Possibly Zorn masked the controversial content and the indecent motif by coating in a refined complex of painting problems. At the same time the play of light can be seen symbolically. From one side human light, from the other a cold urban light which transforms the face into a stiff mask. It is an image of the human condition in modern large cities.

Kristoffer Arvidsson


Conservation

Within the RJ-project there has been scope for work for a conservator equivalent to 25 percent of a full time position for two years. Approximately 800 works of art have been handled during this period. It has meant moving artworks from galleries or storages in the building and externally to the restoration studio. The paintings have been dismounted from their frames to photograph the work's front, back, frame and detail images of any signatures or writings, stamps, etiquettes and so on.

The technical construction of the artwork
The conservator has carried out a material-technical visual examination and have inserted a description of the artwork's construction in the museum's database MuseumPlus. The structural description may for example include type of canvas, coating, layers of paint, varnish and the construction of the frame such as type of work, coating and surface layer. Notations on style and age can be included as well, as can whether the mounting is in original form.

The conservator has also included older restoration reports and other archive material which is of importance for understanding the original technique of the work in relation to its current appearance. These can be about removed varnish, added varnish or wax finish.

Condition
Each artwork has been examined from a perspective of preservation, where the current condition of the work has been noted down. This applies to the work as a whole, painting, frame and how it has been mounted. Possible earlier restoration measures have been noted down. A gradation of measures needed has been introduced, from which you can work out an order of priority for said measures. The scale Urgent, Large, Medium or Small Needs for conservation measures, alternatively Examination Needed.

Suggestions for measures needed
A description of which measures needed have been added to the database. There is now information about needs for restoration, including preventive needs such as new protection for the back, new mounting plates, corner wedges, glass mounting, slip mount, cleaning and so on.

Measures carried out
In connection with the project there have also been, time allowing, active conservation measures taken. This has mainly been about the preventive measures as described above. These measures are noted down in the conservation record.

Basic data
The restorer has added new as well as corrected faulty information such as measurements, material and technique in basic data for the artwork in the storage module in MuseumPlus.

Development of MuseumPlus
In connection with the project different functions in MuseumPlus have had to be developed. The restorer has been active in constructing a thesaurus (hierarchal list) for materials, which has been adapted to match all the materials which are found in the museum's collections. There has been a continuous dialogue with the registrar on designations, hierarchies and different functions in the database fields. Furthermore the restorers have developed the complete conservation module so that it will function according to the needs of the museum.

New questions at issue

An important part of the project is the educational mission to mediate collections to the public. Because of this texts about artworks have been prioritised, texts which also function as an important resource for the museum's educators before tours. Both the aspects of art history and pedagogy of the Infrastructure Project have generated new questions.

Pedagogical perspectives and analysis of the pedagogical work have been developed in number 4 of Gothenburg Museum of Art Publication Series Skiascope 2011, where among other things art museums' presentation of their collections is discussed. The Infrastructure Project has developed in close dialogue with a research project about collections and the history of collection at Gothenburg Museum of Art, which was published in Skiascope 5 2012. Both of these research projects have generated questions about how the collections of the museums can be made available in new ways. In the publication Skiascope 6, Blond and Blue-Eyed. Whiteness, Swedishness, and Visual Culture, which attracted much attention, works from the collections which had been made available through the database were analysed. In the project Representation och regionalitet. Genusstrukturer i fyra svenska konstmuseisamlingar (2011) [Representation and Regionality. Gender structures in four Swedish art collections], the collection was examined as well. In this research publication, which was published in the Swedish Arts Council's publication series, four Swedish researchers analysed four Swedish museum collections of art from a perspective of gender and regionality with reference to what was expected during the 20th century and how the acquired art was exposed. Ph.D. Eva Zetterman carried out the study of Gothenburg Museum of Art's collection.


Spin-off effects

By making information and documentation available the Infrastructure Project has opened up for future research projects around the collections. At both museums contacts with the research community have intensified.

An example of a research project which partially uses results from the Infrastructure Project as its starting point is that about collections published in Skiascope 5. In collaboration with Nationalmuseum, Gothenburg Museum of Art has carried out a research project about Swedish history painting from the 19th century which resulted in the exhibition and the exhibition catalogue En målad historia. Svenskt historiemåleri under 1800-talet. [A Painted History. Swedish history painting during the 19th century.] The project has caused an intense discussion about how the collections can be made available in new ways through exhibitions, research etc. Parallel to the Infrastructure Project, the museum has worked on a new book about the collection which was published in February 2014. In the book, which was published in a Swedish and English version, a selection from the collection is presented. Many of the works have already been described for the Infrastructure Project - texts which after some revisions could be published in the book. Artworks having been photographed also makes the work with the book easier and quicker. Thereby it will be possible to make the collections available in three ways: in the exhibition halls, on the web and in print. The museum is also discussing developing an audio guide. Here too a lot of the material which has been set up in the Infrastructure Project can come to use.

The material which has been inserted into MuseumPlus and which was published in the online version Search the Collection has during 2014 as a trial been made available for museum visitors by QR codes which have been placed next to the artworks. With these QR codes a visitor with a smartphone can scan the code and access Search the Collection and get all available information about the work, including the descriptive text. In this way QR codes and the database can function as an alternative and a complement to traditional audio guides. At the moment 25 works have been given QR code, of which 7 are from the Fürstenberg collection.


The Röhsska Museum

The Röhsska Museum has, which was clear from the application, had another starting point as they previously completely lacked a digital catalogue. Guided by Head of Unit Anna Billing-Wetterlundh, they have therefore emphasised making a digital collection catalogue by scanning the card catalogue and thereafter registering objects. A registrar of objects, M.A. Anneli Blom, and a photographer, Frida Lönnberg, during the first year of the project, worked with registering and photographing parts of the collection. Adaptation of the database with descriptors for items and subjects for material and technique and geographical delimitation has been carried out parallel with older catalogue cards having been scanned and records from the existing accession register digitised.


Registration and photographing

The Röhsska Museum has chosen to primarily register the collections which have been judged to have particular international or scientific interest. Among these is a collection of about 700 Japanese handicraft objects and close to 400 Japanese wood carvings. Likewise the museum's large collection of tsubas of approximately 500 objects has been photographed and digitised (Tsubas are artistically decorated hilt guard which protects the hand between the hilt and the blade of the Japanese sword.) Moreover Falk Simon's silver collection of gold and silver artefacts, principally from the Middle Ages and the Renaissance, was digitised. The museum's large and important collection of Coptic textiles made up of approximately 700 objects have been taken out of the old mountings to be photographed and digitised by restorer Linda Zetterberg. Parallel to this, new additions were directly registered in the database by registrar of objects M.A. Josefin Kilner, who has also worked with preparations for online publication. In total more than 5 000 objects have been digitised from scratch which includes all the steps described above and with older catalogue cards tied to the record. Close to 1 000 of these objects have descriptive texts written by researchers tied to the project.


Research

The project's research part was postponed until the second year of the project due to difficulties in recruiting a researcher with the right competence in the subject area and due to the lack of a digital catalogue of a large enough material to work with. Early on in the project there was however a reference group of researchers with knowledge about the East Asian collections tied to the museum. The Röhsska Museum has from 1 April 2012 hired as researcher Ph.D. Ritwa Herjulfsdotter, ethnologist, specialised in design and arts and crafts, with her doctorate under Nordiska forskarskolan and with experience from several museum projects. The other researchers who have been part of the reference group are:
- Ph.D. Adriana Munos, The Museum of World Culture Gothenburg
- Ph.D. student Thomas Ekholm, University of Gothenburg, Lund University
- Ph.L. Ingvar Svanberg, Uppsala Centre for Russian and Eurasian Studies, Uppsala Univeristy
- M.A. Göte Nilsson Schönborg, Department of Historical Studies,University of Gothenburg
- Curator Petra Holmberg, The Museum of Far Eastern Antiquities, Stockholm

Several of the researchers engaged have shown interest in continuing working with the material within their respective fields.

The Coptic collection will be part of a larger research project at the Department of Cultural Sciences University of Gothenburg through a Ph.D. student from Poland, Maciej Szymaszek, who by way of a grant from Swedish Institute is now working on finalising his thesis on letter like signs on antique Roman and early Christian clothes. Discussions have also been held with the Swedish National Heritage Board Department for Conservation about funds for research and education concerning the examination of materials, techniques and pigment analysis.


Spin-off effects

At the Röhsska Museum, the Infrastructure Project has created a possibility for several external researchers from different fields to take part of the museum's collections. The interest has caused the museum to hire a research coordinator. Ritwa Herjulfsdotter has as a direct consequence of the project been granted means from Torsten Söderberg Foundation for research about the Röhsska Museum's collections and history within a new project which first part is focused on the East Asian collections. The Infrastructure Project will be accounted for in a research report and in the same way as for Gothenburg Museum of Art be the starting point for a major publication in Swedish and English and an exhibition about the Röhsska Museum's East Asian collections.


Conclusion

Collection Database Made Accessible has been a successful project which has yielded results externally as well as internally. The external results have already been mentioned: the online available web catalogue Search the Collection and various publications which have been published as a result of the project. Among the internal results are new basic research about the works in the collection, using Search the Collection as well as MuseumPlus as a working tool and renewed routines for handling works in the collection.

During the work with establishing the digital catalogue, questions about the two museum's routines around the works in the collections have been made topical. It is about handling works as well as archiving related information. Routines for handling artworks and notations on placing have been improved and information about works in the collection is to a greater extent inserted into MuseumPlus. There is today at both museums greater care in the work with examining inventory where open registration on placing and inventory are included. The new routines involve, for example that all artworks which are newly hung in galleries, are being loaned out, depositioned or in transported to external storage are given a new high resolution image, documentation of conservation, basic data edited in MuseumPlus and are published on the net.

When archived material is fetched, for example older photographs of how the work has been hung, earlier decorative frames or older restoration images, there is today a routine for the material to be digitised and added to the database. At Gothenburg Museum of Art, Head of Research Kristoffer Arvidsson continuously registers catalogues and books where the museum's works are mentioned in the database when these publications are sent to the museum. The collections' searchability on the web, where it is also made clear whether the work is shown or not, has meant a new transparency.

All of this taken together means that we today have a valuable tool in MuseumPlus. The daily work is simplified and made more effective. The collection database created is the beginning of a long-term project of digitising and making both museum collections available in their entirety. At Gothenburg Museum of Art the major part of the collection of paintings and sculpture is registered in the database. It is mostly art on paper where large parts have not been registered. The Röhsska Museum has not come as far, but with this project the digital catalogue as been considerably expanded.

The searchable catalogue, corresponding to a catalogue raisonné available through the internet, which Gothenburg Museum of Art now has had for two years, has met with much positive response from the public as well as the research and museum communities. Visitors have discovered works in our collection they did not know we had. They can now on their own search for information about the works in our collection. External researchers, not least researchers from abroad, can take part of our collection and see relatively high resolution images of our works. Through this service they sometimes see that they can contribute information. We have in this way gained new knowledge about the collection.

Experience shows the great value of having a searchable web catalogue of the collection, both for the internal work and as a service aimed at the public and the research community. Hence both museums see it as an important priority to continue the work with the catalogue and to expand it continuously. This work has now been implemented in the organisation. To take the next, bigger step, to document and publish yet another large part of each collection respectively, there is further external funding needed.

Gothenburg Museum of Art and the Röhsska Museum have with the Infrastructure Project considerably expanded knowledge and documentation about their collections. Moreover, the resulthas become tangibly visible and useful for the public. The importance of the support from Riksbankens Jubileumsfond (the Swedish Foundation for Humanities and Social Sciences) can thus not be emphasised enough. It has made possible a significant extension of the existing databases' material and publication of an online catalogue raisonné for parts of the collections. By this the first important step has been taken towards a complete catalogue raisonné of the collections, available through the net.