REFERENCES

Gorin, I., and Z.Cherkasova. 1977. Restavratsiia proizvedenii stankovoi maslianoi zhivopisi. Moscow: Iskusstvo.

Isinglass. 1941. Encyclopaedia Britannica. 14th ed.12:707–8.

Leuenberger, B.1991. Investigation of viscosity and gelation properties of different mammalian and fish gelatins. Food Hydrocalloids5(4):353–61.

FURTHER READING

Bailey, A. J. 1968. Metabolism of collagen and elastin. In Comprehensive Biochemistry, ed.M.Florkin. vol. 26B. New York: Elsevier Publisher Co.

Becher, C.1950. Isinglass and fish glue. Seifen-�le-Fette-Wachse. 76:391–92.

Bogue, R.1922. Chemistry and technology gelatin and glue. New York: McGraw Hill.

Brooks, A.1932. Manufacture and uses of fish glue. Transactions of the American Society of Mechanical Engineering (Wood Industries). 5420.

Grenberg, I.1976. Osnovy muzeinoi konservatsii. Moscow: Iskusstvo.

Hurd, J.1959. Adhesives guide. London: British Scientific Instrument Research Association.

Josef. J.1985. Selected properties of gelatin and glue. Scientific Papers of the Prague Institute of Chemical Technology. 13:5–15.

Kernot, J., and N.Speer. 1962. Productions of glue and gelatin from fish. In Department of Scientific and Industrial Research, 2nd Report of Adhesives Research Committee. London: H. M. Stationery Office, 23–33.

McAusland, J.1987. A visit to art on paper conservation workshops in Moscow and Leningrad. Paper Conservation News. 44:3–6.

McGuire, P.1962. American adhesive index. Mountainside, N.J.: Padric Publishing.

Mayer, R.1985. The artist's handbook of materials and techniques. New York: Viking Press.

Mills, J., and R.White. 1987. The organic chemistry of museum objects. London: Butterworths.

Reed, R.1972. Ancient skins, parchments, and leathers. London: Seminar Press.

Rickman, C.1988. Visit to the U.S.S.R.Conservation News. 35:14–15.

Shields, J.1979. Adhesives handbook. London: Butterworths.

Sikorski, Z. E.1984. The role of collagen in the quality and processing of fish. CRC Critical Reviews in Food Science & Nutrition. 20(4):301–39.

Skeist, I.1977. Handbook of adhesives. New York: Van Nostrand Reinhold Co.

Slanskii, B.1976. Tekhnica zhivopisi. Moscow: Akademiia Khudozhestv SSSR.

Thompson, D. V.1956. The materials and techniques of medieval painting. New York: Dover.

Tomoyasu, S., and A. P.Schriewind.1990. Adhesive qualities of consolidants for deteriorated wood. Journal of the American Institute for Conservation. 29:33–43.

SOURCES OF MATERIALS

L. Cornelissen & Son, 22 Great Queen St., London, WC2B 5BH United Kingdom, Supply glue in the dry state, as thin, stransparent strips ca. 2 mm wide

Kremer Pigments 61 East 3rd St., New York, N.Y. 10003, Supply glue in the dry state, in thinker and larger sheets

Kodak Laboratory Chemicals, Eastman Kodak Company, Rochester, N.Y. 14650

AUTHOR INFORMATION

TATYANA PETUKHOVA, paper conservator at Cornell University Libraries received her training in painting conservation at the Hermitage Museum. After completing of her master's degree at the State University of Leningrad, she specialized in paper conservation at the Museum of the Academy of Fine Arts and became the paper conservator there. In 1985 she joined the Cincinnati Art Museum as assistant conservator, paper. Since 1987, Petukhova has been at Cornell University Library, where she established a new conservation facility for the treatment of fine art on paper, documents, and maps. She also served as adjunct conservator for the Herbert F. Johnson Museum of Art. Address: Annex Library, Conservation Department, 701 Olin Library, Cornell University, Ithaca, N.Y. 14853–5301.

STEPHEN D. BONADIES, chief conservator at the Cincinnati Art Museum, received his initial conservation training at the Cooperstown Graduate Program. He gained additional experience in northeastern Italy under the auspices of the Friuli Italian Arts and Monuments Committee as part of a team of conservators sent abroad after a series of devastating earthquakes in 1976. After receiving his M.A. in 1979, he became a Mellon Fellow at the Philadelphia Museum of Art. In 1980 Bonadies returned to the Art Conservation Program at Cooperstown to teach conservation science. In 1981 he was appointed to the staff of the Cincinnati Art Museum. Address: Conservation Department, Cincinnati Art Museum, 953 Eden Park Drive, Cincinnati, Ohio 45202–1596.