and supported by case law. The platform and project Coding da Vinci has significantly impacted instances of open GLAM in Germany, accounting for 96 (or 61.1% of Germany instances). The German Digital Library accounts for 61.4% of the total volume for Germany, with 1,448,485 assets in the public domain.
Sweden – 80 instances; 3,677,372 assets. The DigitaltMuseum, which aggregates collections of Sweden and Norway (funded by Arts Council Norway), accounts for 62.0% (or 50) of instances and 47.1% (or 1,732,868 assets) of the total volume for Sweden. In addition, the Swedish Open Cultural Heritage national aggregator, funded by the Swedish Government and supported by the Swedish National Heritage Board, accounts for 16.5% (or 13) of instances by delivering data to Europeana through an open API. In general, Sweden has a high representation of national GLAMs engaging with open access across local and national aggregators, external platforms and their own websites.
United Kingdom – 80 instances; 10,487,115 assets. The majority of UK instances claim new rights and publish data using open licences (49 or 61.3%). The most common platform for publication is Art UK (47 or 58.8% of UK instances). External platforms account for 91.3% (or 73) of instances in the UK. The British Library accounts for 11.3% of the total volume for the UK, with 1,187,746 assets in the public domain. The Natural History Museum accounts for 68.0% of the total volume for the UK, 7,131,178 assets published via open licences and 85 assets in the public domain (7,131,263 total assets). In general, the UK has a low representation of national institutions engaging with open access.
Poland – 73 instances; 1,907,319 assets. Sketchfab accounts for 58.9% (or 43) instances contributing 1,152 assets (or 0.06%). High representation on Sketchfab stems from the Malopolska’s Virtual Museum Project. By contrast, Europeana accounts for 34.2% (or 25) instances contributing 1,790,985 assets (or 93.9%). Biblioteka Narodowa contributes the largest volume of public domain compliant assets via Europeana (580,794 or 30.5% of the total volume for Poland).
France – 62 instances; 20,421,396 assets. France has a high rate of instances that publish all eligible collections to the public domain (33.9% or 21 instances). Paris Musées accounts for 14 instances using primarily the CC0 tool, with a total contribution of 290,716 public domain compliant assets. Half of all instances (50.0%) publish assets via their own website. Another 21.0% (or 13) publish assets using a local aggregator (i.e., collections search platform) designed for GLAM groups (e.g., Paris Musées), rather than any national aggregator. The Centre National d'Études Spatiales (National Centre for Space Studies) contributes 19,340,944 assets or 94.7% of the total volume for France via its own website using the Licence Ouverte.
Spain – 57 instances; 1,976,818 assets. Europeana accounts for 24 instances (or 42.1%) with a total volume of 1,549,088 assets (or 78.4%). Within this, Biblioteca Virtual de Prensa Histórica contributes 1,138,866 public domain compliant assets (or 57.6% of the total volume for Spain). Galiciana, Biblioteca Dixital de Galicia, the digital library of Galicia (managed by the Library of Galicia) accounts for another 19 instances (or 33.3%) contributing 147,151 public domain compliant assets (or 7.4% of the total volume for Spain).
Netherlands – 49 instances; 8,280,372 assets. Europeana accounts for 26 instances (or 53.1%) contributing 5,918,260 assets (or 71.5% of the total volume for the Netherlands). Within this, Naturalis Biodiversity Center contributes 4,512,192 public domain compliant assets (or 54.5% of the total volume) and the Koninklijke Bibliotheek contributes 837,988 public domain compliant assets. Another 10 instances publish 1,968,443 assets via their own website (or 20.4% of the total volume for the Netherlands). Of these, two large contributors of public domain compliant assets include the
