PMG Damaged and Deteriorated Print Materials Compensation for Loss Workshop Bibliography

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PMG Collaborative Workshops Bibliographies: Damaged and Deteriorated Print Materials - Compensation for Loss

28 February - 1 January 2008, J. Paul Getty Museum, Los Angeles, California.

Philosophy & Ethics

• American Institute for Conservation of Historic and Artistic Works. “Commentaries to the Guidelines for Practice of the AIC.” 29 December 2007. http://aic.stanford.edu/about/coredocs/coe/commentaries.html.
• Poulsson, Tina Grette. “Ethics.” In Retouching of Works of Art on Paper: History, Ethics, and Methods. Unpublished thesis project (Oslo: Nasjonalgalleriet, 2003): 14-18, 70-82.

Methodology

• Bernstein, James, and Debra Evans. “Summary of Materials, Concepts & Participant Experiences” Unpublished Mastering Inpainting Workshop notes (May 2006): 1-4.
• American Institute for Conservation of Historic and Artistic Works/Photographic Materials Group. Photographic Material Conservation Catalog: Inpainting Outline. Washington, DC: The American Institute of Conservation, 1994: 1-27.
• American Institute for Conservation of Historic and Artistic Works/Book and Paper Group. “Inpainting and Design Compensation.” In Inpainting Catalog. 9th ed. Washington, DC: The American Institute of Conservation, May 1994: 1-29.
• Poulsson, Tina Grette. “Methods.” In Retouching of Works of Art on Paper: History, Ethics, and Methods. Unpublished thesis project (Oslo: Nasjonalgalleriet, 2003): 84-109.

Tips & Experiments

• Bernstein, James, and Debra Evans. “A Selection of Inpainting Experiments.” Unpublished Mastering Inpainting Workshop notes (May 2006): 1-2.
• Bernstein, James, and Debra Evans. “Watercolor Palette Recommendations.” Unpublished Mastering Inpainting Workshop notes (October 2007): 1.
• Bernstein, James, and Debra Evans. Watercolor swatch card examples. Unpublished notes (2004).
• Bernstein, James. “Celebrity Tip Tawk” and “A Few Humble Inpainting Tips.” Unpublished lecture notes, Paintings Specialty Group, AIC (2001): 96-103, 1.
• Bernstein, James. “Gamblin® Conservation Color Palette.” Unpublished workshop notes (2007).
• CYRO Industries. “Acrylite® Acrylic Sheet: Pantone® Color Comparison Guide.” 1999. Acrylic sheets for color palettes.
• Bernstein, James. “Pyramidal Inpainting Pigment Vial Blocks.” Unpublished Mastering Inpainting Workshop notes (September 2007): 1-3.
• Bernstein, James. Diagrams to create a pigment vial block. Unpublished workshop notes (January 2001).
• Nagy, Eleonora. “A Clear, Hydrogenated Hydrocarbon Resin/Wax Fill For Linseed Oil/Natural Resin Coated Objects”; Tomkiewicz, Carolyn. “Thermoplastic Fills & the Versatile ‘Engelbrecht’ Electrical Tool plus Other Good Tips”; and Pancaldo, S. “New York Conservation Association ‘Tip:’ Use of PVA/Wax Fill Material Published by Gänsicke and Hirx.” AIC Paintings Specialty Group website.

Pigments & Paints

• MacEvoy, Bruce. “Artist’s Value Wheel.” 2005 (29 December 2007). http://www.handprint.com/HP/WCL/vwheel.pdf
• MacEvoy, Bruce. “The Artist’s Color Wheel: CIECAM version.” 2006 (29 December 2007). http://www.handprint.com/HP/WCL/cwheel06.pdf.
• Museum of Fine Arts, Boston, CAMEO. “Characteristics of Common White Pigments.” 2007 (29 December 2007). http://cameo.mfa.org/dynamic/downloads/download_file_520.pdf.
• Bernstein, James. “Characteristics of Black Pigments.” Unpublished table (January 2008): 1.
• Sands, Sarah. “The Nomenclature of Color.” Just Paint 16 (January 2007): 1-7.
• Stout, George L. “Classes of Simple Paint Structure.” Technical Studies in the Field of Fine Arts VI, no. 4 (1938): 220-239.
• O’Hanlon, George. “Why Some Paints are Transparent and Others Opaque.” Iconofile eJournal (2 March 2003) http://www.iconofile.com/learn/showcase_print.asp?ArticleID=40.
• Bernstein, James. “Procedure for Milling Paint.” Unpublished Mastering Inpainting Workshop notes (October 2007): 1.
• Johansen, Tony. “PaintMaking.com: An Easy Guide to Making Artist’s Paints for Students and Professional Artists.” 2006 (29 December 2007). http://www.paintmaking.com/.
• Gamblin, Robert. “Navigating Color Space (NCS): My Multi-Dimensional Approach to Color Mixing.” Gamblin® Artists Colors (29 December 2007). http://www.gamblincolors.com/navigating.color.space/index.html.
• Gamblin® Artists Colors. “Color Book,” “Color Book, Modern/Mineral,” Color Book, White,” and “Gamblin Color Temperature List.” (19 July 2001). http://www.gamblincolors.com/book.html.
• Gamblin® Artists Colors. “R. Gamblin Conservation Colors: Technical Data Sheet.” May 2000 (29 December 2007). http://www.conservationcolors.com/tds01.html.
• Gamblin® Artists Colors. “R. Gamblin Conservation Colors: Price List.” (29 December 2007). http://www.conservationcolors.com/price.html.
• Maimeri Group/Maimeri Fine Arts. “Restauro Colours and Pigments: Varnish Colours” (29 December 2007). http://www.maimeri.it/FineArts/colorprod.asp?mnu=0501.
• Maimeri Group/Maimeri Fine Arts. “Restauro Colours and Pigments: Ketonic Resin Colours.” http://www.maimeri.it/FineArts/colorprod.asp?mnu=0502.
• Lefranc & Bourgeois. “Fine Arts: Flashe Painting” (29 December 2007). http://www.lefranc-bourgeois.com/catalogue_va/index.php?gam_cle=53&s_gam_cle=211.
• Gilded Planet.com. Homepage, nd. http://www.GildedPlanet.com.
• Daniel Smith, Inc. “Interference, Iridescent, and Pearlescent Watercolors from Daniel Smith.” Catalog, n.d., 13.
• Sansbury, John. Mica Powders, or Pearl Essence Pigments: The Safe Alternative to Bronzing Powders.”
• Sepp Leaf Products, Inc. “Mica Powder.”
• Sepp Leaf Products, Inc. “Aqua-Size.” February 1998.
• Zucker, Howard. “Decorating With Mica Powders.” American Painting Contractor (January/February 1998): 19-20.
• International Fiber Corporation. “Solka-Floc® Filtration.” 18 December 2007. http://www.ifcfiber.com/sellSheets/sfiltration.php.

Diluents, Fillers, Binders & Coatings

• Bernstein, James. “Inpainting Diluents, Fillers, Binders, and Coatings Formulations.” Unpublished Mastering Inpainting Workshop notes (October 2007): 1-11.
• Craft, Meg Lowe. “Fills Workshop Formulations.” October 2007.
• Feller, R. L., and Wilt, M. “Evaluation of Cellulose Ethers for Conservation.” Research in Conservation 3 (1990): 94-112.
• Lascaux. “Lascaux JunFunori®” (29 December 2007). http://www.lascaux.ch/english/restauro/pdf/58352.02_jun_funori.pdf.
• Down, Jane L. “JunFunori Website.” Notes on JunFunori, n.d.
• Arslanoglu, Julie, and Carolyn Tallent. “Evaluation of the Use of Aquazol as an Adhesive in Paintings Conservation.” WAAC Newsletter 25, no. 2 (May 2003): 12-18.
• UNESCO. “Table I. Polyvinyl Acetates.” The Conservation of Cultural Property (1968).
• Leonard, Mark, Jill Whitten, Robert Gamblin, and René de la Rie. “Development of a New Material for Retouching.” In Tradition and Innovation: Advances in Conservation. Contributions to the IIC Melbourne Congress, 10-14 October 2000. London: IIC, 2000: 110-113.
• National Gallery of Art, Scientific Research Department. “Synthetic Low-Molecular Weight Varnishes.” (4 May 1993): 1-4.
• National Gallery of Art, Scientific Research Department. “Stabilized Dammar Varnish.” (30 March 1993): 1-2.
• “Hals Stabilized Dammar Varnish.” AIC News 18, no. 3 (May 1993).
• Stavroudis, Chris. “Technical Exchange: Using Tinuvin 292.” WAAC Newsletter 17, no. 1 (January 1995): 10. http://palimpsest.stanford.edu/waac/wn/wn17/wn17-1/wn17-104.html.
• Whitten, Jill. “Regalrez 1094: Properties and Uses.” WAAC Newsletter 17, no. 1 (January 1995): 12. http://palimpsest.stanford.edu/waac/wn/wn17/wn17-1/wn17-104.html.
• Whitten, Jill. “Recipes for MRCG Workshop.” n.d.
• Hercules Incorporated, Resins Group. “Regalrez® Hydrocarbon Resins: Medium- to High-Softening-Point Grades.” Technical Information Number 7348-5. (November 1990): 1-2.
• Golden Artist Colors. “Introduction to Varnishing.” Technical Information no. 00306. (March 1999): 1-11.
• “Technical Data Sheet: MSA Varnish.
• Bernstein, James. “A Review of Varnish Application Fundamentals.” Paper Presented at the Paintings Specialty Group, Annual Meeting of the American Institute for Conservation, Buffalo, NY, June 1992: 1-10.

Instruments & Equipment

• Daniel Smith®. “Brush Glossary.” In Catalog. (1993): 47.
• Winsor & Newton®. “Brush Information.” In Technical leaflet 9909565. (1990): 12-15.
• Jaworski, Monica. “Varnishing Brushes.” n.d.
• Ukranian Gift Shop, Inc. “Ukrainian Easter Egg Decorating Supplies.” In 60th Anniversary Catalog. (2007): 14.
• Plume Limited. “Scandles” (20 July 2005). http://www.plumelta.com/scandle.htm.
• Quatrefoil Associates. “Products: Conservators Light Trolley” (29 December 2007). http://www.quatrefoil.com/Products_CLT.htm.

Supply Sources

• Bernstein, James, and Debra Evans,. “Inpainting Materials and Equipment Sources.” Unpublished Mastering Inpainting Workshop notes (September 2007): 1-4.
• Jaworski, Monica. “Inpainting and Conservation Supply Sources.” Unpublished letter (23 May 2000): 1-2.

Bibliography & Readings

• Bernstein, James, and Debra Evans. “Bibliography: Mastering Inpainting.” Unpublished Mastering Inpainting Workshop notes (October 2007): 1-4.
• Kennedy, Nora W. “Repainting Photo History: Issues Relevant to the Compensation for Loss in Photographs.” PowerPoint presentation printout (January 2008 update).
• Norris, Debbie Hess. “Inpainting Media.” PowerPoint presentation printout, nd.
• Norris, Debbie Hess, and Nora W. Kennedy. “The Conservation Treatment of Original Coatings on Photographs: Issues and Current Practice.” In Coatings on Photographs: Materials, Techniques, and Conservation. Edited by Constance McCabe. Washington, DC: American Institute of Conservation, Photographic Materials Group, 2005: 12-21.
• Kennedy, Nora. “Issues Relevant to the Compensation of Photographs.” Abstracts of Papers Presented at the Twenty Fifth Annual Meeting. Washington, DC: American Institute for Conservation, 1997: 29-31.
• Fischer, Monique C. “Re-Integrating Surface Coatings in Photographs.” In Postprint of the Image Re-Integration Conference, 15-17 September 2003. Edited by Jean Brown. Newcastle-Upon-Tyne: Northumbria University Press, 2003: 159-165.
• McAusland, Jane. “The Practicalities and Aesthetics of Retouching: Rationality Versus Intuition.” The Paper Conservator 26 (2002): 13-19.
• McAusland, Jane. “Re-Integration of Missing Areas in Old Master Prints and Old Master Drawings: Some Different Approaches.” In Postprint of the Image Re-Integration Conference, 15-17 September 2003. Edited by Jean Brown. Newcastle-Upon-Tyne: Northumbria University Press, 2003: 59-64.
• Papanagiotou, Chrysoula. “Ink-Jet Printing as an Alternative Method of Image Re-integration.” Paper Conservation News 97 (March 2001): 10-13.
• Chen, Jiuan-Jiuan, Thomas M. Edmondson, John McElhone, and Irene Brückle. “The ‘Perfect’ Fill for the Tintype.” Topics in Photographic Preservation 9. Compiled by Sarah S. Wagner. Washington, DC: American Institute for Conservation, Photographic Materials Group, 2001: 61-64.

Hendriks, Klaus B., and Sebastian Dobrusskin. “The Conservation of Painted Photographs.” ICOM Committee for Conservation Preprints, 9th Triennial Meeting Dresden, German Democratic Republic 26-31 August 1990. Vol. 1. Paris: International Council of Museums, 1990: 249-254.

• Hendriks, Klaus B. “Retouching.” In Fundamentals of Photographic Conservation: A Study Guide. Toronto: Lugus Publications, 1991: 322-325.
• Hendriks, Klaus B., and Sebastian Dobrusskin. “Some Investigations Into Painted Photographs” Handout from the AIC-Photographic Materials Group Meeting, Kansas City, Missouri (3 March 1989): 1-5.
• Cass, Veronica. “ Recommended Exercises for Retouchers.” In Retouching from Start to Finish. Santa Monica: TR Publishers, n.d.: 140-148.
• Horenstein, Henry, and Russell Hart. “Spotting Prints.” In Color Photography; A Working Manual. Boston: Little, Brown, and Co., n.d.: 198-201.
• Eastman Kodak Company. “Effects of Post-Processing Treatment on the Image Stability of Color Prints.” Technical Data/Reference E-176. Rochester: Eastman Kodak Company, October 1998: 1-4.
• Norris, Debbie Hess, and Nora Kennedy. “Compensation for Loss: The Treatment of Damaged and Deteriorated Photographic Prints Materials. Unpublished lecture notes from a workshop for Graduate students in Photograph conservation (24-25 February 2000).
• “Treatment Issues.” Mellon Collaborative Workshop in Contemporary Photographic Processes, Chicago, Illinois, June 2000. Unpublished practicum summary.
• Correspondence from various pigment manufacturers. Unpublished letter and technical information to Debbie Hess Norris, various dates.
• Edmondson, Thomas M. “Resurfacing Techniques for Damaged Photographs: The Use of Cellulose Ether.” Unpublished lecture notes, Orraca Studio Photo Workshop/Seminar, Connecticut (September 1995).
• National Artists Equity Association Materials Research Committee. Pen Pencil & Paint 1, no. 2 (Winter 1994): 1-7.
• Websites:
  • Conservation OnLine (COOL) – Resources for Conservation Professionals: http://palimpsest.stanford.edu/
  • Museum of Fine Arts, Boston: CAMEO (Conservation & Art Material Encyclopedia Online): http://cameo.mfa.org/
  • AATA Online (Abstracts of International Conservation Literature): http://www.aata.getty.edu/NPS/
  • FSCT (Federation of Societies for Coatings Technology): http://www.coatingstech.org/
  • BCIN (Bibliographic Database of the Conservation Information Network): http://www.bcin.ca/

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