Appendix III: Cumulative Bibliography

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Painting Conservation Catalog
APPENDIX III


Compiler: Wendy Samet

TABLE OF CONTENTS:
CUMULATIVE BIBLIOGRAPHY

CUMULATIVE BIBLIOGRAPHY

This bibliography represents a cumulation of all literature references in this volume of the Catalog, excluding product brochures and manufacturers' safety data sheets. Personal communications listed under the “References” for many sections are similarly excluded from this compilation. The bracketed number following many citations is the reference number for BCIN, the bibliographic database of the Conservation Information Network, which was consulted to verify the references herein.

Allyn, G. 1971. Acrylic resins. Federation Series on Coatings Technology, Unit 17, W.H. Madson, ed. Philadelphia: Federation of Societies for Coatings Technology. [174894]

[Anon.] 1947. An Exhibition of cleaned pictures (1936–1947). London: National Gallery. [21551]
—. 1950. Acryloid helps preserve art treasures. Rohm and Haas Reporter 8(3): 14.
—. 1956. Brushes. In Encyclopedia Britannica 4: 293–5.
—. 1961. Push button spray coatings. Rohm and Haas Reporter 19: 12.
Armenini, G.B. 1977 [first published 1586]. On the true precepts of the art of painting. E.J. Olszewski, transl. and ed. New York: Burt Franklin & Co. [194289]
Arnold, B. 1990. Survey of Irganox-stabilized dammar varnishes. CCI newsletter (6): 16. [174339]
Baer, N.S., N. Indictor, and W.H. Phelan. 1971. An evaluation of adhesives for use in paper conservation. Guild of Book Worker's journal 10(1): 17–35. [94389]
Barrett, J. 1995. HVLP conversion spray guns. Woodworker's journal 19(6): 68–74.
—. 1996. HVLPs: Turbine spraying systems. Woodworker's journal 20(1): 84–9.
Barry, T.H. 1932. Natural resin varnishes. London: Ernest Benn, Ltd.
Berger, G.A. 1990. Inpainting using PVA medium. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 150–5. [167501]
—. 1995. Inpainting media and varnishes which do not discolor, part 1: Preparation for inpainting. The Picture restorer 8: 5–8.
—. 1996. Inpainting media and varnishes which do not discolor, part 2: Inpainting. The Picture restorer 8: 5–8.
Bernstein, J. 1992. A Review of varnish application fundamentals. In 1992 AIC Paintings Specialty Group Postprints: Papers presented at the Twentieth Annual Meeting of the American Institute for Conservation of Historic and Artistic Works, Buffalo, New York, Saturday, June 5, 1992. Washington, D.C.: American Institute for Conservation of Historic and Artistic Works: 111–19.
Billmeyer, F.W. 1971. Textbook of polymer science. 2d ed. New York: John Wiley and Sons.
—. 1984. Textbook of polymer science. 3d ed. New York: John Wiley and Sons.
Binks Manufacturing Company. 1990. 1890–1990: One Hundred Years. Binks Manufacturing Company.
Bock, E. 1969. Von Werden der Pinselmacherortes Bechhofen und des dort und in der Umgebung heimischen Handwerkszweiges. Bechhofen: Selbstverlag der Innung handwerklicher Pinsel-, Bürsten- und Zurichter-Betriebe.
—. 1983. Bürsten und Pinsel. Die vielfältigen Erzeugnisse des Bürsten- und Pinselmacher-gewerbes und ihre wichtigsten Bestandteile. Bechhofen, Germany: Zentralverband der Bürsten-und Pinselhersteller.
Bockrath, M. and B. A. Buckley. 1984. An Investigation of the materials and techniques of Sir Joshua Reynolds. Talk given at the Paintings Specialty Group at the twelfth annual meeting of the American Institute for Conservation, Los Angeles, California, May 19, 1984.
Bomford, D., J. Kirby, J. Leighton, and A. Roy, with contributions by R. White and L. Williams. 1990. Art in the making: Impressionism. London: National Gallery Publications; New Haven: Yale University Press. [172215]
Bomford, D., J. Dunkerton, D. Gordon, and A. Roy. 1990. Art in the making: Italian painting before 1400. London: National Gallery Publications. [170909]
Book and Paper Group. 1989. Adhesives: Section 46. In Paper conservation catalogue, 6th ed. Washington, D.C.: Book and Paper Group, American Institute for Conservation of Historic and Artistic Works. (Editors: Smith, C., Bertalan, S., Dwan, A., English, J., Nicholson, C., Albro, S.R., Schneck, K., Stiber, L. and Wagner, S.) [154774]
Boon, J. J. and D. Rainford. 1994. The Mass spectrometric identification of natural resins and their degradation products in and on paintings. In Varnishes: Authenticity and Permanence. Workshop Handbook. Ottawa: Canadian Conservation Institute: 19–20 September 1994.
Bourdeau, J. 1989. An Examination of the barrier properties of selected ultraviolet absorbers within acrylic surface coatings. In Papers presented at the fourteenth Conservation Training Programs Annual Conference, 1988. Buffalo, N.Y., Buffalo State College. Washington, D.C.: American Institute for Conservation: 41–61. [161914]
—. 1990. A Further examination of the barrier properties of Tinuvin 327 ultraviolet absorber in the protection of dammar films. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 165–7. [166586]
—. 1995a. Practical considerations in the use of acrylic UV barrier top-coats for the protection of dammar picture varnishes. In Arbeitgemeinschaft der Restauratoren, Annual Conference. Bremen: AdR.
—. 1995b. The Use of UV absorbers in acrylic top coats as a remedial treatment for dammar varnishes containing Irganox 565. In Varnishes: Authenticity and permanence: Proceedings on audio cassette. Ottawa: Canadian Heritage - Canadian Conservation Institute: Cassettes 6–7.
—. 1995c Varnishes: Authenticity and permanence, a report on the Ottawa Colloquium. In AIC Paintings Specialty Group Postprints, St. Paul Minnesota, June 9–10, 1995. American Institute for Conservation of Historic and Artistic Works: 10–19. [222826]
Bradley, M.C., Jr. 1950. The Treatment of pictures. Cambridge, Mass.: Art Technology.
Brandi, C. 1949. The Cleaning of pictures in relation to patina, varnish and glazes. Burlington magazine 91(556):183–8. [58622]
Brendley, W.H., Jr. 1973. Fundamentals of acrylic polymers. In Paint and Varnish Production.
Brenner, A. 1974. High polymers for forming an invisible, soil-resistant coating on canvas. In The Great decade of American Abstraction Modernist Art 1960 to 1970, E.A. Carmen, Jr., ed. Houston: Museum of Fine Arts: 130–8. [93009]
Brommelle, N. 1956. Material for a history of conservation: The 1850 and 1853 reports on the National Gallery. Studies in conservation 2(4): 176–88. [105936]
Buckley, B.A. 1986. Sir Joshua Reynolds, The Ladies Annabel and Mary Jemima Yorke. Cleveland Museum of Art Bulletin 73(9):350–71. [137400]
Burtin, F.X. de. 1845. Treatise on the knowledge necessary to amateurs in pictures. London: Longman, Brown, Green and Longmans, Paternoster-Row. [175152]
Caley, T. 1990. Aspects of varnishes and the cleaning of oil paintings before 1700. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 70–2. [167311]
Carlyle, L.A. 1990. British nineteenth-century oil painting instruction books: A Survey of their recommendations for vehicles, varnishes and methods of paint application. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 76–80. [166903]
—. 1991. A Critical analysis of artists' handbooks, manuals and treatises on oil painting published in Britain between 1800–1900: With reference to selected eighteenth century sources. Ph.D. dissertation, Courtauld Institute of Art, University of London. 2 vols. [192108]
—. 1994. Reproducing traditional varnishes: Problems in representing authentic surfaces for oil paintings. In Varnishes: Authenticity and permanence. Workshop handbook. Ottawa: Canadian Conservation Institute.
Carlyle, L.A. and J. Bourdeau. 1994. Varnishes: Authenticity and permanence. Workshop handbook. Ottawa: Canadian Conservation Institute.
Cennini, C. d'A. 1960 [Reprint of 1933 edition]. The Craftsman's handbook, translation of the Italian “Il libro dell'arte” D.V. Thompson, Jr., transl. New York: Dover Publications. [86906]
Christensen, C. 1993. The Painting materials and technique of Paul Gauguin. In Conservation research (Studies in the history of art, no. 41 1, Monograph Series II). Washington, D.C.: National Gallery of Art: 63–103. [220640]
Church, A.H. 1890. The Chemistry of paints and painting. London: Seeley and Co. [179506]
Ciabach, J. 1982. Investigation of the cross-linking of thermoplastic resins effected by ultraviolet radiation. In Resins in conservation: Proceedings of the Symposium, Edinburgh, 1982. J.O. Tate, N.H. Tennent, and J.H. Townsend, eds. Edinburgh: Scottish Society for Conservation and Restoration: 5.1–5.8. [118107]
—. 1995. Plasticized and stabilized cyclohexanone resins. In Resins: Ancient and modern, preprints of the SSCR's 2nd Resins Conference. Edinburgh: Scottish Society for Conservation and Restoration: 85–7.
Clydesdale, A. 1994. Beeswax: A Survey of the literature on its properties and behaviour. SSCR Journal 5(2): 9–12.
Crombie, D. 1994. Background history of MS2A, Conservation news (UKIC) 54 (July 1994): 43.
Curran, M. 1975. Scattering of light over a black background by matt varnishes based on Paraloid® B-72. In ICOM Committee for Conservatioon 4th Triennial Meeting. Venice 22/3/1–5. [444]
Daniels, W. 1985. Poly(vinyl acetate). In Kirk-Othmer concise encyclopedia of chemical technology. 3d ed. M. Grayson et al., ed. New York: John Wiley and Sons: 817–47. [76407]
David, C., M. Borsu, and G. Geuskens, 1970. Photolysis and radiolysis of poly(vinyl acetate). European polymer journal 6:959–63.
Davidsohn, A. and B.M. Milwidsky. 1968. Polishes. Cleveland, Oh.: Leonard Hill.
de la Rie, E.R. 1987a. The influence of varnishes on the appearance of paintings. Studies in conservation 32(1):1–13. [126065]
—. 1987b. Research on picture varnishes: Status of the project at the Metropolitan Museum of Art. In Preprints of the 8th triennial meeting of the ICOM Committee for Conservation. Paris: International Council of Museums: 791–6. [126233]
—. 1988a. Stable varnishes for Old Master paintings. Ph.D. Oral Dissertation, University of Amsterdam, Netherlands. Meppel: Krips Repro Meppel B.V. [180658]
—. 1988b. An Evaluation of Irganox 565 as a stabilizer for dammar picture varnishes. Studies in conservation 33(3):109–14. [147191]
—. 1988c. Photochemical and thermal degradation of films of dammar resin. Studies in conservation 33(2):53–70. [146191]
—. 1988d. Polymer stabilizers: A survey with reference to possible applications in the conservation field. Studies in conservation 33(1):9–22. [138274]
—. 1989. Old Master paintings: A study of the varnish problem. Analytical chemistry 61(21):1228A–40A. [162875]
—. 1992. Stability and function of coatings used in conservation. In Polymers in conservation: Proceedings of an international conference organized by Manchester Polytechnic and Manchester Museum, Manchester, 17–19 July 1991. N.S. Allen, M. Edge, and C.V. Horie, eds. Cambridge: Royal Society of Chemistry:62–81. [203428]
—. 1993. Polymer additives for synthetic low-molecular-weight varnishes. In ICOM Committee for Conservation, 10th triennial meeting, Washington, DC, USA, 22–27 August 1993, Preprints, Vol. 2. Lawrence, Kan.: Allen Press: 566–73. [174507]
de la Rie, E.R. and C.W. McGlinchey. 1989. Stabilized dammar picture varnish. Studies in conservation 34(3):137–46. [162238]
—. 1990a. New synthetic resins for picture varnishes. In Cleaning retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 168–73. [167319]
—. 1990b. The Effect of a hindered amine light stabilizer on the aging of dammar and mastic varnish in an environment free of ultraviolet light. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 160–4. [167800]
de la Rie, E.R. and A.M. Shedrinsky. 1989. The Chemistry of ketone resins and the synthesis of a derivative with increased stability and flexibility. Studies in conservation 34 (1):9–19. [156005]
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De Witte, E. 1975. The Influence of light on the gloss of matte varnishes. In ICOM Committee for Conservation. Preprints of the 4th triennial meeting, Venice, 13–18 October 1975. Paris: International Council of Museums: 75/22/6/1–9. [447]
—. 1983. Resins in conservation: Introduction to their properties and applications. In Resins in conservation: Proceedings of the Symposium, Edinburgh, 21st-22nd May 1982. Edinburgh: Scottish Society for Conservation and Restoration: 1–1 to 1–6. [118103]
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—. 1957b. Cross-linking of methacrylate polymers by ultraviolet radiation. Papers presented at the New York Meeting, Division of Paint, Plastics and Printing Ink Chemistry, American Chemical Society 17(2):465–70. [106714]
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—. 1971. Resins and the properties of varnishes. In On Picture varnishes and their solvents, R.L. Feller, N. Stolow, and E.H. Jones eds. Washington, DC: National Gallery of Art:117–68.
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