PSG Stretchers and Strainers - Appendix II: Cumulative Bibliography
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Painting Conservation Catalog
Appendix II: Cumulative Bibliography
Submitted by Margaret Newburger
Compiler: Barbara A. Buckley
TABLE OF CONTENTS:
Ameringer, C. S. 1999. Stretcher mounting/Re-mounting survey. Questionnaire results. Unpublished typescript.
Anderson, N. K. and L. S. Ferber. 1990. Albert Bierstadt: Art & enterprise. The Brooklyn Museum.
Augsburger, R. 1998. Modern paintings that travel: Custom-fitting non-adhered supports. Notes and handout from New York Regional Association for Conservation lecture. June 12. Rustin Levenson Art Conservation Assoc.
Barclay, M. H. 1993. Some structural solutions to the question of preventative conservation care for a major traveling exhibition, The Crisis of Abstraction in Canada: The 1950s. ICOM Committee for Conservation, Vol. 1:225–230.
Bauman, B. 1982. A technique for stretching and framing a double-sided canvas. Journal of the American Institute for Conservation 21:77–79.
Bealer, A. W. 1972. Old ways of working wood. Barre, MA: Barre Publishing Co., Inc. (Discussion and illustrations, 208–209).
Beltinger, K. 1995. Reversible supports for paintings as an alternative to lining. Lining and backing: The support of paintings, paper and textiles. Papers delivered at the UKIC Conference, 7–8 November. The United Kingdom Institute for Conservation.
Berger, G. A. 1984. A structural solution for the preservation of canvas paintings. Studies in Conservation 29:139–142.
—, 1980. Conservation of large canvas paintings: The role of constant tension mounting systems. Technology and Conservation 5 (Spring): 26–31.
—, 1981. The role of tension in the preservation of canvas paintings: A study of panoramas. Ottawa: International Council of Museums: 81/2/3, 1–12.
—, 1996. Transparent lining of paintings. In Preprints, 11th Triennial Meeting, ICOM-CC, Edinburgh, Scotland, 1996. London: James & James Ltd.: 239–242.
Berger G. A. and W. H. Russell. 1988. An evaluation of the preparation of canvas paintings using stress measurements. Studies in Conservation 33: 187–204.
—, 1990. Deterioration of surfaces exposed to environmental changes. Journal of the American Institute for Conservation 29:45–76.
—, 1991. The mechanics of deteriorating surfaces. Material Issues in Art and Archaeology II, Materials Research Society Symposium Proceedings. Eds. P. B. Vandiver, J. Druzik, and G. S. Wheeler. Vol. 185:85–92.
Bernsted, S. 1993. Transparent cold lining of a transparent painting. In Preprints, Vol. 1, 10th Triennial Meeting, ICOM-CC, Washington, DC, 1993. Lawrence, KS: Allen Press: 118–121.
Boissonnas, A. 1961. Relining with glass-fiber fabric. Studies in Conservation 6:26–30.
Boissonnas, P. 1978. Separation of a double-sided oil painting on canvas: A case history. In Preprints, 5th Triennial Meeting, ICOM-CC, Zagreb, 1978.
Bomford, D. 1992. Paintings. In Caring for antiques: The complete guide to handling, cleaning, display, and restoration. Eds. M. T. Simpson and M. Huntley. New York: Simon and Schuster.
Bomford, D., J. Kirby, J. Leighton, and A. Roy. 1990. Art in the making: Impressionism. London.
Book and Paper Group. 1992. Hinge, tape, and adhesive removal: Section 15. In Paper conservation catalog. 9th ed. Eds. E. O'Loughlin and L. Stiber. Washington, DC: Book and Paper Group, American Institute for the Conservation of Historic and Artistic Works.
—, 1988. Lining: Section 29. In Paper conservation catalog. 9th ed. Ed. A. Owen. Washington, DC: Book and Paper Group, American Institute for the Conservation of Historic and Artistic Works.
—, 1990. Media problems: Section 3. In Paper conservation catalog, 9th ed. Ed. N. Ash. Washington, DC: Book and Paper Group, American Institute for the Conservation of Historic and Artistic Works.
—, 1990. Support problems: Section 4. In Paper conservation catalog, 9th ed. Eds. T. Burns and K. Potje. Washington, DC: Book and Paper Group, American Institute for the Conservation of Historic and Artistic Works.
—, 1990. Washing: Section 16. In Paper conservation catalog, 9th ed. Eds. M. W. Hamly, C. Mear and J. Ruggles. Washington, DC: Book and Paper Group, American Institute for the Conservation of Historic and Artistic Works.
Booth, P. 1989. Stretcher design: Problems and solutions. The Conservator 13:31–40.
Bramwell, M. ed. 1982. The international book of wood. London: Artists House.
Brückle, I., K. Nichols, G. Strickler, and J. Thornton. 1999. Cyclododecane: Technical note on some uses in paper and objects conservation. Journal of the American Institute for Conservation 38(2):162–175.
Buck, R. D. 1972. Some applications of rheology to the treatment of panel paintings. Studies in Conservation 17:1–11.
—, 1972. Stretcher design, a brief preliminary survey. In American artists' materials, Vol. II. A guide to stretchers, panels, millboards, and stencil marks. 1992. By A.W. Katlan. Madison, CT: Sound View Press.
—, 1972. Stretcher design, a brief preliminary survey. Unpublished paper. Madrid: International Council of Museums (ICOM).
Bünsche, B. 1992. Ein beidseitig bemaltes Leinwandgemälde: Freilegung, Restaurierung, Spannvorrichtung. Restauro 98(4):225–228.
Byrne, A. 1995. Conserving paintings: Basic technical information for contemporary artists. New South Wales, Australia: Craftsman House and G+B Arts International.
—, 1981. Tying wedges to stretcher frames. International Committee for the Conservation of Mosaics Bulletin 7(4):22– 23.
Callen, A. 1980. Artists materials and techniques in nineteenth-century France. London University PhD thesis.
Campbell, A. J. 1867. American practical cyclopedia, or home book of useful knowledge. Cleveland, OH: Author.
Carlyle, L. 2001. The artist's assistant: Oil painting instruction manuals and handbooks in Britain, 1800–1900, with reference to selected eighteenth-century sources. London: Archetype Publications.
Carr, D. J., C. R. T. Young, A. Phenix, and R. D. Hibberd. 2003. Development of a physical model of a typical nineteenth-century English canvas painting. Studies in Conservation 48:145–154.
Carrillo y Gariel, A. 1946. Tecnica de la pintura de Nueva Espana, Mexico City: UNAM, Instituto de Investigaciones Esteticas.
CCI. 1993. Framing a painting. In CCI Notes 10:8. Ottawa: Canadian Conservation Institute.
Cennini, C. 1960. The craftsman's handbook (Il Libro dell'Arte). Translated by D. V. Thompson. New York: Dover Publications, Inc.
Chase, W. T. and J. R. Hutt. 1972. Aaron Draper Shattuck's patent stretcher key. Studies in Conservation 17(1):12–29.
Cobb, K. C. 2003. History of the development of iron nails and fasteners. Paper written for ARTC 812, Art Conservation Program, Queen's University.
Cockerline, N. 1991. Plexiglass stretcher keys. Painting specialty group postprints. Albuquerque, New Mexico, June 8:56.
Compton's Encyclopedia. 1986, s.v. nails.
Cooper, H. A. 1983. John Trumbell: The hand and spirit of a painter. Yale University Art Gallery.
Cornelius, F. D. 1967. Movement of wood and canvas for paintings in response to high and low humidity. Studies in Conservation 12:76–79
Costain, C. 1991. Scientific rational for studies on packing and transportation of paintings. Art in transit: Studies in the transport of paintings. Washington, DC: National Gallery of Art.
Costaras, N. 1998. A study of the materials and techniques of Johannes Vermeer. In Vermeer Studies. Ed. I. Gaskill and M. Jonker. Washington, DC.
Curtis, M. 1999. Labels on stretchers: Questionnaire results. Unpublished typescript, under the supervision of James Hamm. Buffalo, NY: Buffalo State College.
Del Zotto, F. 2002. Self-expansion stretcher for two-sided paintings: Floating auto-adapting suspension system. In Preprints, Vol. 1, 13th Triennial Meeting, ICOM-CC, Rio de Janeiro, 2002. London: James & James Ltd.: 338–345.
—, 1990. Preservation of canvas paintings. Structural solutions in relation to environmental changes. Dresden: International Council of Museums: Vol. 1:113–118.
Demuth, P. and W. Heiber. 2000. Trecker. Restauro. (May): 344–347.
Devalinger, L., and M. W. Kenneth. 1960. Nail making devices. The Chronicle of the Early American Industries Association, Inc. 13(2):17–19, 25, 27, 28.
Diderot, D. and J. d'Alembert, et al. 1751–65. Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers. Paris.
Di Pietro, G., and F. Ligterink. 1999. Prediction of relative humidity response of backboard protected canvas paintings. Studies in Conservation 44(4):269–277.
Doerner, M. 1949. The materials of the artist and their use in painting. Orlando, FL: Harcourt Brace Jovanovich.
—, 1962. The materials of the artist and their use in painting with notes on the techniques of old masters. Revised edition. New York: Harcourt, Brace & World, Inc.
Edlin, H. L. 1969. What wood is that? A manual of wood identification. New York: Viking Press.
Erhardt, D., M. F. Mecklenburg, M. McCormick-Goodhart, and C. S. Tumosa. 1995. The determination of allowable RH fluctuations. WAAC Newsletter, Vol. 17, No. 1 (January): 19–23.
Erhardt, D. and J. S. Tsang. 1990. The extractable components of oil paint films, 93–97. IIC Contributions to the Brussels Congress Preprints.
Erlebacher, J. D., E. Brown, M. F. Mecklenburg, and C. S. Tumosa. 1992. The effects of temperature and relative humidity on the mechanical properties of modern painting materials. Material Issues in Art and Archaeology III, Materials Research Society Symposium Proceedings, 359–370.
Feller, R. L. and D. B. Encke. 1982. Stages of deterioration: The examples of rubber cement and transparent mending tape. Science and Technology in the Service of Conservation: Preprints. Washington, DC: IIC.
Flexner, S. B. 1981. The Random House dictionary of the English language.
Gerhard, C. Handouts for presentation at pre-session of AIC, June 1996. Rustin Levenson Art Conservation Assoc.
Geselowitz, M. N., T. R. Wescott, and D. Wang. 1991. For want of a nail: Archaeometallurgy and dating in historical archaeology. MASCA Research Papers in Science and Archaeology 8(2):45–55.
Gettens, R. J., and G. L. Stout. 1966. Painting materials: A short encyclopedia. New York: Dover Publications, Inc.
Goist, D. 1996. Treatment of “Virginian Luxuries/Portrait of a Man.” In Paintings Specialty Group of the American Institute for Conservation: Postprints of the Papers Presented at the Twenty-Forth Annual Meeting, Norfolk, Virginia, 1–15 June 1996. Washington, DC: American Institute for Conservation of Historic and Artistic Works: 28–34.
Goist, D., A. Keck-Henderson, and J. W. Hessling. 1988. Study of an early Italian triptych. The International Journal of Museum Management and Curatorship 7:165–172.
Gottsegen, M. D. 1987. A manual of painting materials and techniques. New York: Harper & Row.
—, 1993. The painters handbook: A complete reference. New York: Watson-Guptill Publications.
Greeley, H., et al. 1872. Small nails and tacks. In Great industries of the United States: Being an historical summary of the origin, growth, and perfection of the chief industrial arts of this country. Hartford: J. B. Burr & Hyde.
Green T. 1991. Vibration control: Paintings on canvas supports. In Art in transit: Studies in the transport of paintings. Ed. M. Mecklenburg. Washington, DC: National Gallery of Art: 59–67.
Hackney, S. and G. Hedley. 1981. Measurements of the ageing of linen canvas. Measured Opinions. Ed. Caroline Villers. London: United Kingdom Institute for Conservation. 1993, 57–65.
Hagan, E., A. Muray, T. Learner, C. Young, and M. Charalambides. 2007. Factors affecting the mechanical properties of modern paints. Modern Paints Uncovered. Postprints of the Tate/Getty/NGA Symposium, May 2006.
Hedley, G. 1988. Relative humidity and the stress strain response of canvas paintings: Uniaxial measurements of naturally aged samples. Measured Opinions. Ed. C. Villers. London: United Kingdom Institute for Conservation. 1993, 86–96.
—, 1975. Some empirical determinations of the strain distribution in stretched canvases. Venice: International Council of Museums: 75/11/4-1-16.
—, 1975. Some empirical determinations of the strain distribution in stretched canvases, 21–26. Proceedings of the ICOM Committee for Conservation, Venice.
—, 1981. The stiffness of lining fabrics: Theoretical and practical considerations. Measured Opinions. Ed. C. Villers. London: United Kingdom Institute for Conservation. 1993, 76–80.
Hedley, G. 1993. A. Phenix ed. The practicalities of the interaction of moisture with oil paintings on canvas. Measured Opinions. Ed. C. Villers. London: United Kingdom Institute for Conservation.
Hedley, G. and M. Odlyha. 1989. The moisture softening of paint films and its implications for the treatment of fabric supported paintings. Measured Opinions. Ed. C. Villers. London: United Kingdom Institute for Conservation. 1993, 99–102.
Hedley, G., M. Odlyha, A. Burnstock, J. Tillinghast, and C. Husband. 1990. A study of the mechanical and surface properties of oil paint films treated with organic solvents and water. Measured Opinions. Ed. C. Villers. London: United Kingdom Institute for Conservation. 1993, 103–111.
Hedley, G., C. Villers and V. R. Mehra. 1980. Artists' canvases: Their history and future. Measured Opinions. Ed. C. Villers. London: United Kingdom Institute for Conservation. 1993, 50–56.
—, 1980. Artists' canvases: Their history and future. Ottawa Symposium on the Conservation of Contemporary Art. National Gallery of Art, Canada.
Hiscox, G. D. 1944. Henley's twentieth century book of formulas, processes and trade secrets. Ed. T. O. Sloane. New York: The Norman W. Henley Publishing Company.
Hoadley, R. B. 1980. Understanding wood: A craftsman's guide to wood technology. Newtown, CT: The Taunton Press, Inc.
Hodkinson, I. S. and D. M. Child. 1995. An 18th-century artist-applied lining: Joseph Wright of Derby's “Cut through the Rock at Cromford.” Journal of the American Institute for Conservation 34:40.
Hopkins, A., ed. 1932. The Scientific American cyclopedia of formulas: New York: Munn & Co., Inc.
—, 1908. The Scientific American cyclopedia of receipts, notes and queries, 26th ed. New York: Munn & Co., Publishers.
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Jessell, B. 1989. Ethical and technical decisions involved in the resurrection and display of a double-sided painting by George Bellows. In Paintings Specialty Group of the American Institute for Conservation: Postprints of the Papers Presented at the Sixteenth Annual Meeting in New Orleans, Louisiana, 1–5 June 1989. Washington, DC: American Institute for Conservation of Historic and Artistic Works: 29–38.
Karpowicz, A. A. 1990. A study on development of cracks on paintings. Journal of the American Institute for Conservation 29(2):169–180.
—, 1982. Some aspects of the mechanical behavior of fabric supported paintings. Report to the Smithsonian Institution. 12–15.
—, 1988. The effects of atmospheric moisture on the mechanical properties of collagen under equilibrium conditions. AIC Preprints of papers presented at the Sixteenth Annual Meeting. 231–244.
Katlan, A. W. 1987. American artists' materials suppliers directory: Nineteenth century. Park Ridge, NJ: Noyes Press.
—, 1992. American artists' materials, Vol. II. A guide to stretchers, panels, millboards, and stencil marks. Madison, CT: Sound View Press.
—, 1998. Conservation in the aid of authentication: How a painting “signed” by Jozef Israels was reattributed to J. S. H. Kever. International Foundation for Art Research Journal 1(3):14–16.
Kay, R. 1983. The painter's guide to studio methods and materials. Englewood Cliffs, NJ: Prentice-Hall, Inc.
Keck, C. K. 1965. A handbook on the care of paintings. New York: Watson-Guptill Publications.
Keck, S. 1940. The transfer of a small icon to a support of vinyl resin. Technical Studies 9:11–20.
Keene, J. T. 1972. The nail making industry in early Virginia. The Chronicle of the Early American Industries 25(1):13–29.
Kelly, F. 1989. Frederic Edwin Church. Washington, DC: National Gallery of Art.
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Lodge, R. 1991. How to fold a painting and why you should never do it. McKay Lodge Conservation Report. No. 3 (Spring): 15.
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