- Bower, P., 1990. Turner'sPapers. A Study of the Manufacture, Selection and Use ofHisDrawingPapers 1787–1820. London: TateGallery; 1990, Recent examples of such research are: (N. Ash and S. Fletcher, Watermarks in Rembrandt's Prints (Washington, OC: National Gallery of Art, 1999); H. K. Stratis and contributor, The Lithographs of James McNeill Whistler: A Catalogue Raisonné (Chicago: Art Institute of Chicago, 1998); and G. Banik and H. Weber, Tintenfraßschäden und ihre Behandlung (Stuttgart: Kohlhammer, 1999).
- Donnithorne, A., 1988. "‘Early approaches to the conservation of works of arton paper: cleaning, repair andrestoration’". In: Daniels, V., ed. Early Advances inConservation. London: BritishMuseum; 1988, 15-25;M. Stevenson, ‘Print restoration in Northern Europe: development, traditions, and literature from the Late Renaissance to the 1930s’, Conservation Research (Washington, OC: National Gallery of Art, 1995) 111–127; and J. Kosek, ‘Restoration of art on paper in the West: a consideration of changing attitudes and values’, Restoration—Is it Acceptable?, A. Oddy (London: British Museum, 1994) 41–49.
- Bartelloni, H., Bervas, M., Caylux, L., de laChapelle, A., and Menei, E., "‘Observationet restauration desdessins dePisanelloduMuséeduLouvré’". In: Restauration, dé-restauration, re-restauration, ARAAFU: Preprints of 4thInternationalSymposium, Paris, 93–102;Alison Richmond, ‘Re-eonservation of works of art on paper at the V&A: a cause for concern?’ Restauration, dé-restauration, re-restauration, ARAAFU: Preprints of 4th International Symposium, Paris, 267–277; E. O'Loughlin, and A. Witty.'Treatment of previously deacidified paper artifacts’, Reversibility—Does It Exist?, A. Oddy and S. Carroll (London: British Museum, 1999) 81–90.
- Keyes, K., 1978. ‘The unique qualities of paper as an artifact in conservation treatment’, The Paper Conservator 3 (1978), pp. 5–8.
- Shownat, P. S., 1999. 1999, 1 Contemporary Art Center, New York, 5 July-30 Aug 1998; Henry Art Gallery, Seattle, 5 Nov 1998–31 Jan.
- Lunning, E., 1998. "‘Restoration. Storage of art over time: a conversation with a conservator’". In: Schaffner, I., and Winzen, M., eds. Deep Storage. Collecting, Storing and Archiving in Art. NewYork: Prestel; 1998. p. 245.
- Tennison, H., van der Reyden, D., Tsai, F. W., and Parrish, M, 1996. ‘An “Angel Project”ofdinosaurproportions’, Bookand PaperGroupAnnual 15 (1996), pp. 145–160.
- Schweidler, M., 1941. Sammeln undSiehten. Innsbruck: Universitäts-VerlagWagner; 1941. p. 147.
- James, C., 1997. James, C., , and Marjorie, B, eds. Old Master PrintsandDrawings. Amsterdam: AmsterdamUniversityPress; 1997, ‘Concerns of the curator and concerns of the conservator’,. Cohn. (200.
- Stuffmann, M., and Sonnabend, M., 1990. FranzösischeLithographiendes 19. Jahrhunderts. Frankfurt: StädelschesKunstinstitut; 1990. pp. 66–67.
- 1997. Bell, N., ed. Historic Framing and Presentation of Watereolours, Drawings and Prints. Leigh: Institute of PaperConservation; 1997.
- 1998. lkonen der Verniehtung. Salzburg: Akademie Verlag; 1998, As, for example, is the case in some of the recent publications presenting Roman Vishniac's photographs taken in the 1930S of Jewish Shtetl communities, as discussed by C. Zemel, ‘Z'chor! Roman Vishniac's Photo-Eulogy of Eastern European Jews’, unpublished MS, 1998; see also the related translation of Brink.
- Klinger, J., 1997. 1997, ‘When damage is the story’, AIC: Abstracts of Papers presented atthe 25th AnnualMeeting, San Diego, California, 16.
- Sumowski, W., 1999. Zeiehnungen aus FünfJahrhunderien. Stuttgart: StaatsgalerieStuttgart; 1999, (cat.nr. 19.
- Stratis, , p. 298.
- James, , p. 200.
- James, , p. 200.
- Bull, D., and PIesters, J., 1990. Washington, DC: National GalleryofArt; 1990, This difficult issue is more intensively debated in the conservation of artefacts with a more complex and layered structure than paper. For analysis of a painting, see for example: ‘Feastof the Gods’: Conservation, Examination, and Interpretation (For analysis of architecture, see: P. Kurmann, ‘Restaurierung, Retrospektive, Rezeption, Retardierung und Rekonstruktion: Gedanken zur Denkmalpflege anhand historischer und zeitgensssischer Beispiele’, Geschichte der Resiaurierung in Europa (Worms: Wernersche Verlagsgesellschaft, 1991) 14–28.
- Newman, B., 1990. Selected Writings andInterviews. NewYork: Knopf; 1990. pp. 292–293.
- Lyotard, F., 1991. The Inhuman: ReflectionsonTime. Stanford, CA: Stanford UniversityPress; 1991. p. 145.
- Winckelmann, J., 1966. Anmerkungen über die Geschichte derKunstdesAltertums. Baden-Baden: Heitz; 1966.
- Heidegger, M., 1975. "‘The origin of the artwork’". In: Poetry, Language, Thought. NewYork: Harper & Row; 1975. pp. 15–87.
- Schweidler, , p. 147.
- Coombs, E., 1999. ‘The role of discovery inconservation: readinghistory from Japaneseprints’, Impressions 21 (1999), pp. 71–89.
- Kosek, , p. 47.
- 2000. Directory of the American Institute for Conservation of Historic and Artistic Works. Washington, DC: American Institute for Conservation; 2000, American Institute for Conservation, ‘Code of Ethics’ and ‘Guidelines for Practice’, (23–28.
The Paper Conservator
Volume 25, 2001 - Issue 1