Lining Paintings

Caroline Villers

ISBN: 9781873132043
Publisher: Archetype Publications
Size: 8.25 in x 11.5 in
Pages: 176
Illustrations: 124 b&w
paperback, professional discount, non-returnable

RRP $75.00

The Conference on Comparative Lining Techniques held at the National Maritime Museum, Greenwich is legendary. It was the first major conference solely concerned with the structural conservation of paintings and, by bringing together a distinguished international group of practitioners to discuss lining paintings, it changed the nature and status of the debate. The conference responded to a period of accelerating change, especially the introduction of new materials and technologies, and the papers presented compare established practice with cutting edge research and development, empirical craftsmanship with scientific methodology with the goal of refining the practice of lining and minimising the risks of change to the painting. The extraordinary atmosphere, the films, demonstrations, the Lining Exhibition Gallery encouraged radical review. The papers and conference materials record practice and principles at a critical moment in the history of conservation and constitute one of the most important foundational texts about conservation in the late twentieth century.

This volume contains the papers as originally presented - some with a present day comment by the author. Additions include a glossary of terms (previously issued as a handbook) and an up-to-date bibliography.


Effects of Consolidation Measures on Fibrous Materials - Gustav A. Berger and Harold I. Zeliger
Wax Impregnation of Cellulose: An Irreversible Process - Gustav A. Berger and Harold I. Zeliger
The Removal of Old Linings from Oil Paintings by the Use of the Vacuum Hot Table - John R. Essex
A Method for Lining Canvas Paintings with Glue Composition - Peter Newman
Comparisons of Dimensional Stability Between Woven Glass Fibre Fabric and Conventional Linen Canvas as Lining Supports for Paintings - Pierre Boissonna
Consolidation and Lining Adhesives Compared - Robert E. Fieux
Notes on a Recent Relining Problem - Joan Seddon
Prestretched Low Pressure Lining Methods - Ronald Chittenden, Gillian Lewis and Westby Percival-Prescott
Lining of a Torn Painting with Beva 371 - Gustav A. Berger
Microbial Environment: SEM Examination of the Microbial Environment in Works of Art - Björn Hallström and Bo Göransson
Hand Lining with Wax-Resin Using an Iron - Georges Messens
Unusual Examples of Lining on Wax-Resin - Bohdan L. Marconi
Lining in a Vacuum Envelope with a Traversing Infrared Heat Source - G. A. Hedley, S. Hackney and A. J. Cummings
Surface Texture Changes in Vacuum Lining: Experiments with Raw Canvas - Alan Cummings and Gerry Hedley
Characterisation of Lining Canvases - Enzo Tassinari
Relining of Easel Oil Painting with Sturgeon Glue - L. Yashkina
Adhesive Method of Consolidating Oil Paintings with Cuppings and Hard Craquelure - L. Yashkina
Lining and Relining Methods and Rules Evolved at the National Gallery Conservation Department - Arthur Lucas
The Development of Wax-Composition Lining Among the Members of the Association of British Picture Restorers - Philip Robinson
Italian Lining Techniques: Lining with Pasta Adhesive (and Other Methods) at the Fortezza da Basso, Florence - Umberto Baldini and Sergio Taiti
The Lining Cycle: Causes of Physical Deterioration in Oil Paintings on Canvas - Westby Percival-Prescott
A Low-Pressure Cold-Relining Table - V. R. Mehra
Some Effects of Impregnating Adhesives on Paint Films - Gustav A. Berger

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