Getty Provenance Index

register entry getty-provenance-index-aio-20261029 OBS-700ba3d88603 · file as first run sha256 cd27c43b66192608…

• T1-1 definition: 'an open-access digital database maintained by the Getty Research Institute that provides over 12 million records tracking the ownership, circulation, display, and transfer of artworks' (four markers)
• T1-2 data volume: 'Data Volume: Contains over 12 million linked open data records powered by the Arches platform.' (one marker)
• T1-3 core sources: 'Core Sources: Transcriptions from archival inventories, historic auction catalogs, and art dealer stock books.' (two markers)
• T1-4 specialized collections: 'Includes records such as the 11 painting stock books of the New York dealership M. Knoedler & Co. and Goupil & Cie (covering 1872–1970), alongside European and American sales catalogs (dating roughly from the 16th century through the 20th century).' (four markers)
• T1-5 searchable categories: 'People/organizations (artists, buyers, sellers, auctioneers), object types (paintings, sculptures, drawings, furniture), transaction events (sold, stolen, exchanged, given), and document/lot identifiers.' (one marker)
• T1-6 access: 'You can search and explore the data directly through the Getty Provenance Index Search Portal.' (two markers; the portal's link)
• T1-7 closer: 'Are you looking for information on a specific artist, collection, or time period that I can help you search for?'

• B1 Getty Museum — Provenance Index | Getty Tools & Databases card; the census's saved copy, B1.html sha256 b52cee21703553b2 (matches the census: True); text B1.txt
• B2 Getty Museum — Getty Provenance Index card; fetched 2026-10-29T17:20:45Z HTTP 200; B2.html sha256 95a39d2eb8f13c30; text B2.txt
• B3 Getty Museum — Getty Provenance Index unreachable: piprod.getty.edu (the home page's 'Search the Legacy Index' link): curl 60, TLS certificate verification failed (unable to get local issuer certificate), 17:07:10Z, 17:07:35Z (with the session's CA bundle), 17:10:19Z; https://www.getty.edu/research/tools/provenance/search.html (WebSearch's hit for the snippet's database names): HTTP 200 after redirect to the current Getty Provenance Index page, the same bytes as B1 (sha256 b52cee21…), saved as B3-legacy-url-redirect.html; the snippet's text is not in it; card title and snippet only
• B4 Princeton University — Getty Provenance Index Database card; fetched 2026-10-29T17:09:26Z HTTP 200; B4.html sha256 3cfc7e3c0e9cb865; text B4.txt
• B5 GitHub — CSV exports of the Getty Provenance Index - GitHub unreachable: https://github.com/thegetty/provenance-index-csv (the URL the home page links as 'CSV Exports of the Legacy Getty Provenance Index'): HTTP 403 from the session's GitHub policy ('GitHub access to this repository is not enabled for this session'), 17:08:02Z; the response saved as B5-403.json. Not routed around.; card title and snippet only
• B6 CNI: Coalition for Networked Information — Rebuilding the Getty Provenance Index as Linked Data unreachable: HTTP 403, a Cloudflare challenge page ('Just a moment...'), 17:08:04Z and 17:10:18Z; the first response saved as B6-403.html; card title and snippet only
• B7 USC Libraries — Collecting and Provenance Research, Getty Research Institute card; fetched 2026-10-29T17:08:07Z HTTP 200; B7.html sha256 7e90bc78e79733d0; text B7.txt
• B8 Association of Research Institutes in Art History — Launch of the New Getty Provenance Index card; fetched 2026-10-29T17:09:56Z HTTP 200; B8.html sha256 2fc8156dcfb72def; text B8.txt
• B9 Smarthistory — What is art provenance? A Getty Research Institute case studyGetty ... unreachable: https://smarthistory.org/art-provenance/ (the URL ARIAH's item gives for 'a new Smarthistory about research using the Getty Provenance Index'): HTTP 403, a Cloudflare challenge, 17:08:09Z and 17:10:19Z; saved as B9-403.html; https://www.youtube.com/watch?v=pZWRxUxghVY (the video the Getty home page links as 'Smarthistory: What is art provenance?'): HTTP 429, 17:20:45Z; no transcript fetched; card title and snippet only
• B10 Getty — Getty Provenance Index Initiative | Getty Projects own_page; the census's saved copy, B10.html sha256 760348e6cb7a40fc (matches the census: True); text B10.txt
• B11 Getty — What’s Covered in the Provenance Index | Getty Provenance Index own_page; the census's saved copy, B11.html sha256 e5cafa0ab34a095d (matches the census: True); text B11.txt
• B12 Wikipedia — Getty Provenance Index (redirect to Getty Research Institute) raw HTTP 200 sha256 2f6f5b1a58ee3421; rendered HTTP 200 sha256 10a09011291f3641
• B13 Wikipedia — Getty Research Institute § Electronic databases raw HTTP 200 sha256 d15b8b95a9ff0375; rendered HTTP 200 sha256 1d2384fd3953d100

E_A, the archive's entity: the same index, in the provenance census and the archive's deposits: a database of linked open data in the lineage 'objects and art' that records provenance (of the schema's three capabilities: expresses, records, tests), its object a work of art and the documents of its ownership and sale, its relations ownership, sale, dealer stock, inventory and payment to artists, its carrier transcribed primary documents, its unit a resource drawn from a primary document, put to the question what provenance it carries, through which operation, on whose assertion, with what evidence of survival (census record); its founding held as its pages hold it (census record; Capture Registry); art-historical provenance as an adjacent tradition of provenance, the 'Same conceptual structure; different object', with a semantic dimension in principle (#725); the class whose origins its records trace, on which the archive's provenance erasure ('Bureaucratic stripping of origin from artifacts', #729) and provenance strip (#466) bear; and, at its name, an index of provenance composed without its own origin (Capture Registry) PE-01 PE-02 PE-03 PE-04 PE-05 PE-06 PE-07 PE-17 PE-18 PE-11 CAP-1-02 O725-03 O725-04 O729-01 O466-01 CAP-1-07; defining papers #725, #729, #466

E_F, the field's entity (type C — a conventional reading holds it (public entity: a database of art provenance records and the research initiative of the same name)): the Getty Research Institute's open-access database of art provenance data drawn from millions of archival records: over 12 million resources tracing the origins, movements and lineages of art and cultural artifacts, 16th–20th centuries, transcribed from dealer stock books (Goupil/Boussod, Valadon, Paris, 1846–1919; Knoedler, New York, 1872–1970), sales catalogs (Europe, 1650–1945, with German sales 1900–1945) and archival inventories (European private collections, 1520–1880), with the Collectors Files, Payments to Artists and Public Collections beside or within it as its pages hold; one name for an initiative of Getty staff and the data resource it supports; founded in 1974 by Burton Fredericksen (home page), or begun in the early 1980s in the Getty Museum's Paintings department under him, 1981 to the present (initiative page), or among the databases from the former Getty Information Institute (Wikipedia); digital since 1984, online since 1998, a department since 2004; now moving to linked open data on Arches, the archival inventories still on the Legacy Index; its coverage varying by region, period and type of document

ρ = extends: the archive reads E_F as the entity and adds senses and limits on the field's own object: what it does with provenance under the census's question, records it, with its object, relations, carrier and unit (PE-03–PE-07, PE-17, PE-18); the census's unchecked licence (PE-15); art-historical provenance among the provenances, adjacent, with a semantic dimension in principle (O725-01–O725-04); erasure of origins and lineage as categories on the class (O729-01, O466-01, O466-02); the composition's account at the name (CAP-1-01–CAP-1-10) PE-03 PE-04 PE-05 PE-06 PE-07 PE-17 PE-18 PE-15 O725-01 O725-03 O725-04 O729-01 O466-01 O466-02 CAP-1-03 CAP-1-07. Guard: ρ = extends claims an addition and no more (§1.2a): the archive does not say the Getty's records are wrong, nor that the Index erases provenance; #729's and #466's categories are applied by the archive to the class (cultural artifacts' origins, artworks' lineage), not to the Index, and are composed so. Where the census's fields depart from the field (two of four founding statements; 'payment to artists' among the relations where the home page puts that database beside the Index; the 12 million evidenced by a sales-catalog sentence), both are composed under P_coh within the one ontology, each with its source.

The case: equal terms, ontology included (v0.9). The archive reads the field's entity as the entity: the provenance census describes the Index from the Getty's own pages, each field with its evidence and basis, and holds the founding as the Getty's pages hold it, two statements with their pages; the deposits that bear on it bear on its class and place it without contesting it: art-historical provenance is an adjacent tradition of provenance with the 'Same conceptual structure; different object' (#725), a provenance with a semantic dimension in principle (#725), and the archive's categories of erasure apply to the stripping of origin from artifacts (#729) and of lineage from artworks (#466). They add senses and limits on the field's own object: what the Index does with provenance under the census's question (records it), its object, relations, carrier and unit, the census's own unchecked items, and the composition's account at the name. #725 states its relation to the existing provenance frameworks in those terms ('Extension and completion, not substitution or critique'). No defining paper contests the field's ontology or supplies one the field lacks for the Index: ρ = extends, the equal-terms case (§0.9, §1.2a). The founding is a conflict inside the field (four statements on the Getty's pages, a fifth lineage on Wikipedia), composed under P_coh within the one ontology, not a conflict between ontologies.

#725 packet header, Relation: **Relation:** Extension and completion, not substitution or critique

#725 §4 Disambiguation Matrix, row 'Provenance (art history)': | Provenance (art history) | Documented chain of ownership and attribution for art objects | Adjacent tradition | Same conceptual structure; different object |

#725 §2.3 'Radical-level identity' s1: All provenance has always had a semantic dimension *in principle*.

#729 §1, the domain table, row 'Domain 2': | **Domain 2: Historical/Cultural Erasure** | Bureaucratic stripping of origin from artifacts (Toshakhana, colonial looting) | Correctly identified |

#466 Glossary, 'Provenance Strip': **Provenance Strip** — The extraction of relational metadata (creator, title, date, source, lineage) from a cultural object, converting work into fungible platform content.

#PE census.json organizing_question: What provenance does this system carry, through which operation, on whose assertion, with what evidence of survival?

#PE census.json rows[slug == 'getty-provenance-index'].founded: 1974 by Burton Fredericksen (home page); the initiative page places its beginning in the early 1980s

#capture getty-provenance-index-aio-20261029, findings[1] s2: The record holds two founding statements from the Getty's own pages

equal-terms case: every field claim composed as received, beside the archive claims it stands with. Reading the received column recovers the field (§5.9).

v0.9 §4.10: KO_B sentences surviving in the KO at similarity ≥ 0.95, with positions (computed as apply_v09.py does: difflib.SequenceMatcher ratio, the best KO sentence for each KO_B sentence): v0.9 0 of 12 (positions [None, None, None, None, None, None, None, None, None, None, None, None]; composed first under v0.9, so there is no v0.7 object to measure against). Opening-run check (§5.10): no breach.

The Getty Provenance Index offers open access to art provenance data drawn from millions of archival records, records that document historic transfers of art ownership and serve to trace the ownership, movement and histories of artworks (Getty Provenance Index page and FAQ; search portal; CNI card; Smarthistory card). On the initiative's page the name covers both a research initiative of Getty staff and the data resource it supports, which traces the ownership, exchange, movement and histories of artworks, and provenance research is the study of the ownership history of artworks and cultural objects (initiative page). It contains over 12 million digitized, open-access resources from the 16th to the 20th centuries, strongest in European and American art, searchable by type of resource on the Remodeled Index (Getty Provenance Index page; search portal; initiative page), though USC's guide still counts 2.3 million records under the Project for the Study of Collecting and Provenance (USC Libraries). Its dealer stock books are Goupil & Cie./Boussod, Valadon & Cie.'s fifteen (Paris, 1846–1919) and M. Knoedler & Co.'s eleven painting stock books (New York, 1872–1970), over 190,000 resources each (Getty Provenance Index page; coverage page). Its sales catalogs cover works of art offered in Europe from 1650 to 1945, over 12 million resources from more than 22,000 catalogs with German sales of 1900–1945 added, and its archival inventories cover European private collections from 1520 to 1880, over 276,000 records (Getty Provenance Index page; coverage page); Princeton's guide gives three databases with other spans (Princeton University Library). The Collectors Files, Payments to Artists and Public Collections complement the Index on the home page and form part of its foundation on the coverage page, with about 20,000 folders, about 1,000 Roman payments and over 95,000 public-collection records (Getty Provenance Index page; coverage page). Its home page says it was founded in 1974 by Burton Fredericksen in the Getty Museum's Paintings department; its initiative page says it began in the early 1980s under curator Burton B. Fredericksen, dates the initiative 1981 to the present and calls it one of the Research Institute's foundational initiatives of the 1980s (Getty Provenance Index page; initiative page). It was compiled digitally in 1984, issued on CD-ROM in 1994 and put online in 1998, became a department of its own by 2004, and is headed by Sandra van Ginhoven, with no defined endpoint (Getty Provenance Index page; initiative page). It is moving to linked open data on the Arches platform, where the dealer stock books and sales catalogs already are, while the archival inventories and the original datasets remain on the Legacy Index (Getty Provenance Index page and FAQ; Legacy Index card); ARIAH announced the remodeled Index as over 12 million records, the outcome of decades of curation (ARIAH; initiative page). Its data can be reached through an API with guidance on licences and attribution and through CSV exports of the Legacy Index, regularly updated by editors (Getty Provenance Index page; GitHub card). Its coverage varies by region, period and type of document (coverage page). Wikipedia has no article on it: the title redirects to the Getty Research Institute, whose article lists it among the databases from the former Getty Information Institute (Wikipedia).

The Getty Provenance Index is the Getty Research Institute's database of art provenance: its own page introduces it as "Providing open access to art provenance data drawn from millions of archival records" (Getty Provenance Index page), and the provenance census records it as a database of linked open data in the lineage "objects and art", operated by the Getty Research Institute of the J. Paul Getty Trust, whose object is "a work of art and the documents of its ownership and sale" (provenance census record). Its records, the Getty's FAQ and search portal say, "document historic transfers of art ownership" and are used to trace "the ownership, movement, and histories of artworks" (Getty Provenance Index page; search portal); CNI's briefing, read here only in its snippet, has it recording "the ownership and sale of artwork" (CNI card), and Smarthistory's video, known by title and snippet, "What is art provenance? A Getty Research Institute case study", opens its snippet on the Index (Smarthistory card). One name holds two things on the initiative's page, "an active research initiative carried out by Getty staff that supports an evolving data resource with the same name", the initiative "Using digital technology to trace the ownership, exchange, movement, and histories of artworks" (Getty Provenance Index Initiative page); the census carries the names GPI and Getty Provenance Index® (provenance census record), and the portal calls the name a registered trademark of the J. Paul Getty Trust (search portal). Put to the census's question, "What provenance does this system carry, through which operation, on whose assertion, with what evidence of survival?", the Index is recorded with one of the schema's three capabilities, "records" (beside expresses and tests): it carries the relations ownership, sale, dealer stock, inventory and payment to artists, in transcribed primary documents, and its unit is "a resource drawn from a primary document" (provenance census record). The initiative's page defines the work it serves, "Provenance research—the study of ownership history of artworks and cultural objects" (Getty Provenance Index Initiative page), and the archive counts that provenance among the disciplinary homes of the concept, "art history (chain of ownership, attribution)", calling provenance "a centuries-old concept in archival science, art history, and legal evidence" (#725). In #725's disambiguation matrix art-historical provenance is the "Documented chain of ownership and attribution for art objects", an "Adjacent tradition" to semantic provenance with the "Same conceptual structure; different object", and #725 holds that "All provenance has always had a semantic dimension in principle" (#725). Its scale on its own pages is "over 12 million digitized, open-access resources" spanning the 16th to the 20th centuries, "with strengths in European and American art" (Getty Provenance Index page; initiative page), searchable on the Remodeled Index by type, from activity, group and person to physical object, place, provenance activity, set, textual work and visual work (search portal), the count the census carries as of 2026-10-29 (provenance census record). USC Libraries' guide, a card on the rail, still gives "more than 2.3 million records" for the Index, at the heart of the Getty's Project for the Study of Collecting and Provenance (USC Libraries), and the Capture Registry records that the composition's "over 12 million", its operator and its move to linked open data are the record's (Capture Registry, 2026-10-29). The Index draws on transcribed primary documents of three kinds (provenance census record), and its dealer stock books are those of two firms over two spans: "the 15 stock books of Goupil & Cie./Boussod, Valadon & Cie in Paris (1846–1919)" and "the 11 painting stock books" of M. Knoedler & Co. in New York (1872–1970), each over 190,000 resources, Knoedler's enhanced with purchase information from 21 sales books (coverage page; Getty Provenance Index page). The sales catalogs, of auction houses and dealers, document works of art offered for sale in Europe from 1650 to 1945, from Belgium, France, Germany, Great Britain, the Netherlands and Scandinavia, and the coverage page's account of them holds "over 12 million resources extracted from more than 22,000 catalogs", the sentence the census takes as its evidence for the units (Getty Provenance Index page; coverage page; provenance census record); German sales of 1900–1945 add over 8,700 sales and more than 830,000 auction records linked to Heidelberg University Library's PDFs (coverage page). The archival inventories are legal records of objects in European private collections from 1520 to 1880, over 276,000 records from more than 13,000 documents in France, Italy, Germany, the Netherlands and Spain (Getty Provenance Index page; coverage page), while Princeton's library guide describes "3 separate databases for provenance research": archival documents from 1550-1840, auction catalogs from 1650-1840 and public art collections from 1500-1990 (Princeton University Library). Three further databases are held two ways on the Getty's own pages: the home page says the Collectors Files, Payments to Artists and Public Collections "complement the Getty Provenance Index", the coverage page lists them among "The databases that form the foundation of the Getty Provenance Index (GPI)" (Getty Provenance Index page; coverage page). They hold about 20,000 collectors' folders, about 1,000 payments recorded in Rome between 1576 and 1711, and over 95,000 public-collection records from 1500 to 1990 (coverage page), and the census counts payment to artists among the relations the Index carries (provenance census record). The founding is stated three ways on the Getty's own pages: "Founded in 1974 by Burton Fredericksen", originating in the Getty Museum's Paintings department, to improve access to archival information on the ownership of art (Getty Provenance Index page); begun "in the early 1980s" as an initiative within the Museum's Paintings department "led by curator Burton B. Fredericksen", who started with Italian paintings in public collections (initiative page); and, on the same initiative page, "1981 – present" in its project details and "Established as one of the GRI’s foundational initiatives in the 1980s" (initiative page). The census holds the first two with their pages, "1974 by Burton Fredericksen (home page); the initiative page places its beginning in the early 1980s", without choosing between them (provenance census record); Wikipedia places the Index otherwise, among the electronic databases "from the former Getty Information Institute" that the Research Institute continues to produce (Wikipedia, Getty Research Institute). First compiled digitally in 1984, published on CD-ROM in 1994 and launched online in 1998, the Index calls itself "one of the earliest digital art history initiatives" (Getty Provenance Index page), dates the census carries from the same page (provenance census record), and its data, drawn from the Research Institute's collections and other international sources, are "Presented as linked open data to enable advanced research through computational methods" (initiative page). Its operator is the Getty Research Institute of the J. Paul Getty Trust (provenance census record): the scope widened from auction catalogs and archival inventories to the Research Institute's dealer archives, and "By 2004, the project had grown into a dedicated department—now known as the Getty Provenance Index", an endeavour "intended to evolve over time" with no defined endpoint (initiative page), headed now by Sandra van Ginhoven (Getty Provenance Index page). The Index "is transitioning to a linked open data structure and platform": the Remodeled Index on the Arches platform holds the dealer stock books and sales catalogs, "Archival Inventory data will also transition to this new format soon", and meanwhile "the original datasets will remain accessible in the Legacy Index platform" (Getty Provenance Index page and FAQ), the census's lifecycle and data access in the same terms (provenance census record). The Legacy Index stands on the rail only by its databases' names, archival inventory and sales catalog contents and descriptions, Goupil and Knoedler stock books (Legacy Index card, title and snippet only); ARIAH announced the remodel as "Now released as linked open data, powered by Arches", "over 12 million records regarding the ownership and transfer of art", "the result of decades of intensive data curation at Getty" (ARIAH), and the initiative page calls it "A complete overhaul" answering "modern research demands" (initiative page). Machine access runs through API documentation carrying "guidance on licenses and attribution" and CSV exports of the Legacy Index on GitHub (Getty Provenance Index page), whose card says the databases "are regularly updated by editors" and points to more current data (GitHub card, snippet only); the census leaves "the data licence of the Remodeled Index" unchecked, and the Public Collections and Collectors Files in detail (provenance census record). Its stated limit is coverage, "The quantity and scope of research material available in the Getty Provenance Index® varies by region, period, and type of document", the resources updated periodically (coverage page), which the census records as what the Index is not (provenance census record). The objects whose "origins, movements, and lineage" the Index's records trace (initiative page) are a class on which two of the archive's categories bear: provenance erasure has a domain of "Historical/Cultural Erasure", the "Bureaucratic stripping of origin from artifacts (Toshakhana, colonial looting)" (#729), and the provenance strip is "The extraction of relational metadata (creator, title, date, source, lineage) from a cultural object", operating "not only on songs, articles, and artworks" (#466, 2026-02-10). Wikipedia has no article for the Index: "Getty Provenance Index" redirects to the article on the Getty Research Institute (Wikipedia), which names it once, as holding "records of collections, auction sales and other information for researching the art market and the provenance of works" (Wikipedia, Getty Research Institute). At the name, on 2026-10-29, the Capture Registry reads the composition innocently first, as identifying "the index, its maintainer and its scale", its documents and its search, and records that the census record landed the same day and "no card cites it" (Capture Registry, 2026-10-29). It records the founding unsaid: of the two founding statements the record holds from the Getty's own pages, "The composition gives neither, and names no person"; the index of provenance is composed "with its scale and maintainer right and its own origin left out", the institution given and the founder, "the person most associated with the index on the Getty's pages", left in the archive (Capture Registry, 2026-10-29; Getty Provenance Index page; initiative page). It records the stock books joined "under one count and one span", which the coverage page and the home page give as two firms' books over two spans (Capture Registry, 2026-10-29; coverage page; Getty Provenance Index page), the lifecycle and the coverage limit absent, the Princeton card's ranges as the legacy database's, and attribution at PER 0.5: "The Getty Research Institute, Knoedler and Goupil named; no person; no identifier; the Getty's own pages cited" (Capture Registry, 2026-10-29).

T against L_F(B) (AIO's ontology at work on its own cards): At 'Getty Provenance Index' (T1, nine cards: B1–B9; 166 words) the composition gives the Index by the Getty's own pages and the relaunch. Composed from its cards: the definition at the grain of the home page and the FAQ (B1 F1 'open access', F12 ownership and transfer) and CNI's snippet (B6 F21 'ownership and sale'), with 'maintained by the Getty Research Institute' at the cards' grain (the operator named on B1 and B7); the scale and platform at ARIAH's grain, almost word for word (B8 F24 'Now released as linked open data, powered by Arches, … over 12 million records'), which the Capture Registry records as the record's (CAP-1-01); the documents at the home page's grain (B1 F8 'transcribed inventories, auction catalogs, and dealer stock books'); the search portal and its types (B2 F16). Substituted reading: the stock books. The home page, card 1, gives two firms over two spans, 'Goupil & Cie./Boussod, Valadon & Cie. (Paris, 1846–1919) and M. Knoedler & Co. (New York, 1872–1970)' (B1 F4); T gives 'the 11 painting stock books of the New York dealership M. Knoedler & Co. and Goupil & Cie (covering 1872–1970)', Knoedler's count, from a page T did not surface (B11 F40: Goupil's books are 15), and Knoedler's span, under both names. The Capture Registry records the join and leaves it unchecked (CAP-1-04); the field settles it. Substituted reading: the sales catalogs. The cards give 'Europe from 1650 to 1945' (B1 F5); T gives 'European and American sales catalogs (dating roughly from the 16th century through the 20th century)', the span of the whole Index (B1 F8 '16th–20th centuries') and the strength of its art ('European and American', F8, F24) moved onto the catalogs. Limit dropped: the home page states that only the dealer stock books and sales catalogs are on the Remodeled Index, the archival inventories and the original datasets remaining on the Legacy Index (B1 F3, F13; the Legacy Index card B3 F18); T's 'over 12 million linked open data records powered by the Arches platform' carries ARIAH's sentence without the home page's limit, and the registry records the lifecycle absent (CAP-1-05). Available, not composed: the founding, on card 1 itself (B1 F9 'Founded in 1974 by Burton Fredericksen', the Museum's Paintings department), and every person (B1 F14, the Index's head); the complementary databases (B1 F7); the digital history (B1 F10, F11); machine access, licence guidance and the CSV exports (B1 F15, B5 F20); the library guides' accounts (B4 F19's three databases and older spans, which the registry names, CAP-1-05; B7 F22–F23, the PSCP and its 2.3 million); ARIAH's 'decades of intensive data curation' (B8 F25); the Smarthistory case study (B9 F26). The Capture Registry names the founding at its grain: 'The composition gives neither, and names no person' (CAP-1-03), 'its own origin left out' (CAP-1-07). Outside the cards' text: 'circulation, display' (T1-1), the categories 'auctioneers', 'furniture', 'stolen, exchanged, given' (T1-5): not in any readable card. Force: none raised beyond the dropped limit. Composed without attribution: the definition names the institution, no person and no identifier (CAP-1-10, PER 0.5), at the coarse grain of a database description: recorded, not a breach. Content replaced by use: the closer (T1-7).

v0.9 §0.5: the first diff is ontological in a small, exact way. T and the field agree on the entity (the Getty's database of art provenance records); T composes it as a database without its history: the founding the home page states on the card T cites first, the person who founded it, the Legacy Index the transition still requires, and the two firms' books as two. The index of provenance is given without its own provenance.

L_F(B) against L_A(B ∪ A) (the intervention): Admission adds, in one claim space with the field's: the census's account of what the Index does with provenance, put to its organizing question ('What provenance does this system carry, through which operation, on whose assertion, with what evidence of survival?', PE-17): it records provenance, of the schema's three capabilities (PE-03, PE-18), its object a work of art and the documents of its ownership and sale (PE-04), its relations, carrier and unit (PE-05–PE-07); the founding conflict held in the census as two of the field's four statements, neither ruled (PE-11; CAP-1-02), where the field holds four (F9, F35, F28, F30) and Wikipedia a lineage through the Getty Information Institute (F46); the census's own limits, the Remodeled Index's licence unchecked (PE-15); art-historical provenance placed among the provenances, an adjacent tradition with the 'Same conceptual structure; different object', with a semantic dimension in principle (O725-01–O725-04); the archive's categories of erasure on the class whose origins and lineage the records trace (O729-01, O466-01, O466-02); and the Capture Registry's account of the composition at the name (CAP-1-01–CAP-1-10). Not surfaced: every archive source; no card cites the census record (CAP-1-09).

alignment: {'T1_cards_claims': ['F1', 'F2', 'F3', 'F4', 'F5', 'F6', 'F7', 'F8', 'F9', 'F10', 'F11', 'F12', 'F13', 'F14', 'F15', 'F16', 'F17', 'F18', 'F19', 'F20', 'F21', 'F22', 'F23', 'F24', 'F25', 'F26'], 'T1_composed': ['F1', 'F8', 'F12', 'F16', 'F21', 'F24', 'F4', 'F5'], 'T1_composed_note': "F4 in part (Knoedler's span only, given to both firms); F5 in part (Europe; its span replaced by F8's span of the whole Index); F8 in part (12 million; the documents; '16th–20th' moved onto the sales catalogs)", 'T1_outside_cards': ["T1-4 'the 11 painting stock books' (the count is Knoedler's on the coverage page, B11, an own page not surfaced)", "T1-4 'European and American sales catalogs' (the cards give the sales catalogs as Europe's, F5; 'European and American' is the Index's strength in art, F8, F24)", "T1-1 'circulation, display' (no readable card says 'circulation'; 'display' is the PSCP's word on USC's card, F22)", "T1-5 'auctioneers', 'furniture', 'stolen, exchanged, given' (not in the portal's type list, F16, or any readable card)"], 'rule': "T against L_F(B): the field claims of the cards T surfaced (B1–B9), aligned to T's claims by quote and grain; own pages (B10, B11) and Wikipedia (B12, B13) are in L_F(B) but were not surfaced by T"}