NOTES

1. See FAIC, Williamstown Painting Refresher Notes (Washington, D.C.: FAIC, 1983).

2. V. R. Mehra. “Comparative Study of Conventional Relining Methods and Materials and Research Towards Their Improvement.” Interim Report ICOM Committee for Conservation, 3rd Triennial Meeting (Madrid, 1972). 21/72/4. 28pp.

3. V.R. Mehra, “Nap-bond and Cold Lining on a Low Pressure Table,” Maltechnik Restauro 81, no 2 (1974): 87–95; and “Further Developments in Cold-Lining (Nap-Bond System) In ICOM Committee for Conservation (Venice, 1975), 75/11/5, 1–26.

4. J. Volkmer et al. “An Examination of Lining Materials and Methods for Special Problems in Painting Conservation,” AIC Bulletin 15, no., 2 (1975): 103–5.

5. A. Ketnath, “Acrylic Resins for the Conservation of Paintings,” Meddeleser an Konservering 2, nos. 7, 8 (1976): 223–35.

6. R. Howells et al., “Polymer Dispersions Artificially Aged,” in Adhesives and Consolidants, London: IIC, 1984, 36–43.

7. E. DeWitte et al., “Influence of the Modification of Dispersions on Film Properties,” In Adhesives and Consolidants, London: IIC, 1984, 32–35.

8. D. Falvey, “Practical Cold Lining Developments,” ICOM Committee for Conservation, 7th Triennial Meeting (Copenhagen, 1984) 84/2/12–15 ff.

9. M. H. Barclay, “The Final Report on a Stabilizing Treatment for an Unusually Large and Heavy Contemporary Oil Painting on Canvas.” ICOM Committee for Conservation, 7th Triennial Meeting (Copenhagen, 1984). 84/2/3.ff.

10. The sailcloth was chosen because it is nonabsorbent and would not react with the adhesives being tested. It is a woven fabric that has been cross-linked with melamine formaldehyde for high stiffness.

11. Samuel Hudson and Lowell Perkins were of great assistance in modifying the aging chamber, which was originally designed by Marion Mecklenberg.

12. Heath Co., Benton Harbor, Mich. 49022.

13. The Scott Tester was made available by Dr. J. Weaver, chairman of the University of Delaware Textiles Department.

14. Minolta Corporation, Ramsay, N.J. 07446.

15. S. Blackshaw and S. Ward, “Simple Materials for Use in Conservation,” In Resins in Conservation (Edinburgh: SSCR, 1983). 2-1 to 2–15.

ADDITIONAL LITERATURE

Berger, G.“The Procedure of Developing an Adhesive for Paintings: The Importance of Valid Tests,” In Adhesives and Consolidants, 13–17. Paris: IIC1984.

Berger, G.“Testing Adhesives for the Consolidation of Paintings.”Studies in Conservation17 (1972): 173–194.

Bjarnhof, M.“Removal of Damp Blotches by the Aid of a Low Pressure Table,” In ICOM Preprints, 84.2.10ff. Copenhagen, 1984.

Boissonnas, P., and W.Percival-Prescott. “Some Alternatives to Lining,”ICOM Committee for Conservation, 7th Triennial Meeting. 84/2/35–44. Copenhagen, 1984.

Bradley, S.“Strength Testing of Adhesives and Consolidants for Conservation Purposes,” In Adhesives and Consolidants, 22–25. London: IIC, 1984.

Crafts Council. Adhesives and Coatings. London: Crafts Council, 1983.

Down, J.“Adhesive Testing at the Canadian Conservation Institute” In Adhesives and Consolidants, 18–21. Paris: IIC, 1984.

Feller, R. L., N.Stolow and E.Jones. On Picture Varnishes and Their Solvents. revised and enlarged. Washington, D.C.: National Gallery of Art, 1985.

Martens, C.R.Emulsion and Water-soluble Paints and Coatings, Rheinhold Publishing Corp.1964.

Phenix, A., and G.Hedley. “Lining without Heat or Moisture.” In ICOM Preprints, 84.2.38ff. Copenhagen, 1984.

Sander, I.“The Use of Synthetic Resins in Picture Conservation,” In Resins in Conservation, Edinburgh: SSCR, 1983.

Sheilds, J.Adhesives Handbook.Cleveland: CRC Press, c. 1970.

Snedecor, G.Statistical Methods. Ames, Iowa: Iowa State University Press, 1967.

Wake, W.Adhesion and the Formulation of Adhesives, New York: Applied Science Publishers, 1976.

SUPPLIERS

Roehm GmbH, Postfach 4242, 61 Darmstadt, West Germany

Roehm & Haas

Independence Mall West, Philadelphia, Pa. 19105, USA

Lascaux Farbenfabrik

Department Restauro, CH-8306 Bruetisellen, Switzerland

Bainbridge-Aquabatten, 252 Revere Street, Canton, MA 02021