- Wing Yui Wong is currently working in the Oriental Manuscripts Conservation Department of the British Library
- Van Gulik , R. 1958 . Chinese Pictorial Art as Viewed by the Connoisseur Roma : Istituto Italiano per il Medio ed Estremo Oriente . New York: Hacker, 1981
- Nishikawa , K. and Museum of Canada . 1977 . Hyõgu no Kagaku: Conservation Science in Hyõgu Tokyo : Tokyo National Research Institute for Cultural Properties . trans.
- Masako , K. 1979 . Japanese Scroll Paintings: A Handbook of Mounting Techniques Washington, DC : Foundation of the American Institute for Conservation .
- Grantham , S. 1999 . 17 – 19 . ‘Developing an approach to the conservation of Japanese screens through historical and technical study: An investigation into current practices’, PhD thesis, Royal College of Art/V&A joint course in conservation. Part 1:. CD-ROM
- ICCROM is part of the United Nations Educational, Scientific and Cultural Organization (UNESCO) and is described as an autonomous organization based in Rome
- McGuinne , N. “ ‘Ten and chi: Extending the boundaries of a Japanese preservation policy’ ” . In Spider webs and Wallpapers: International Applications of the Japanese Tradition in Paper Conservation. Proceedings of the International Seminar of Japanese Paper Conservation 1998 182 – 189 . Tokyo : Tokyo National Research Institute for Cultural Properties . (2001)
- Keyes , K. 1986 . “ ‘A method of conserving a work of art on a deteriorated thin surface laminate’ ” . In The Institute of Paper Conservation, 10th Anniversary Conference, New Directions in Paper Conservation Leigh : Institute of Paper Conservation . D6–7. An abstract of this workshop is available in the published conference notes
- Johnson , B. B. 1972 . “ ‘Oriental mounting techniques in the conservation of Western prints and drawings’, IIC: Preprints of Lisbon Congress ” . In Conservation of Paintings and the Graphic Arts London : International Institute of Conservation . (}517–525
- Albright , G. E. and McClintock , T. K. 1982 . ‘The treatment of oversize paper artefacts’, presentation, Book and Paper Group Meeting, American Institute for Conservation 10th Annual Meeting, Milwaukee, 1–6, http://aic.stanford.edu/sg/bpg/annual/, accessed 1 June 2006
- Webber , P. and Huxtable , M. 1985 . ‘Some adaptations of Oriental techniques and materials used in the Prints and Drawings Conservation Department at the V&A’ . The Paper Conservator , 11 : 46 – 57 .
- Webber , P. and Huxtable , M. 1985 . The . karibari’, The Paper Conservator , 9 : 54 – 60 .
- Thompson , A. 1985 . ‘JaPanese brushes for conservation’ . The Paper Conservator , 9 : 42 – 53 .
- 42 – 53 . Thompson
- Fleury , S. “ ‘Don't throw away the box’. ” . In Art on Paper: Mounting and Housing Edited by: Rayner , J. and Kosek , J. 171 – 174 . London : Archetype . (in association with British Museum, 2005)
- Van Gulik from the book on mounting in the Li-tai-ming-hua-chi written in 847 by Chang Yen-Yuan, 308
- 1987 . The Paper Conservator , 11 Wills ‘New directions of an ancient kind: Conservation traditions in the Far East’, 36
- 1975 . Restaurator , 2 : 139 – 50 . See for example: Indictor, N. S., Baer, N. and W. H. Phelan, ‘An evaluation of pastes used in paper conservation’
- Masuda , K. c.1984 . Adhesives and Consolidants Edited by: Brommelle , N. S. 127 – 128 . London : International Institute for Conservation . 'Vegetable adhesives used in the workshop of the hyõgushi restorer and mounter of Japanese paintings’, IIC: Preprints of Paris Congress, ed.
- Wills , P. 1984 . “ ‘The manufacture and use of Japanese wheat starch adhesive in the treatment of Far Eastern pictorial art’, IIC: Preprints of Paris Congress ” . In Adhesives and Consolidants Edited by: Brommelle , N. S. 123 – 126 . London : International Institute for Conservation .
- Masuda , K. and Winter , J. 1984 . “ ‘Natural adhesives in Asian paintings’, IIC: Preprints of Paris Congress ” . In Adhesives and Consolidants Edited by: Brommelle , N. S. 117 – 120 . London : International Institute for Conservation .
- Daniels , V. 1988 . “ ‘The study and properties of aged starch paste’, IIC: Preprints of Kyoto Congress ” . In The Conservation of Far Eastern Art Edited by: Mills , J. London : International Institute for Conservation .
- 1984 . The Book and Paper Group Annual Washington, DC : American Institute for Conservation . Microwaving paste was suggested by Robert Futemick in his article ‘Methods and makeshift’, 3 (1–8. It was the process of modifying existing methods and the process of inventing a new technology that he was hoping to emphasize and encourage
- Van Steen , G. and Masschelein-Kleiner , L. 1980 . ‘Modified starch for conservation purposes’ . Studies in Conservation , 25 : 64 – 70 .
- Theatex® is a 100% woven polyester textile 5m wide
- Karnes , C. , Ream , J. and Wendelin , E. “ ‘Wallpapers at Winterthur, seeing them in a new light’ ” . In The Book and Paper Croup Annual 1 – 9 . 19 (Washington, DC: American Institute for Conservation, 2000)
- Van Gulick, from the book on mounting in the Li-tai-ming-hua-chi written in 847 by Chang Yen-Yuan, 308
- 1862 . ‘Tonking’, after the painter Henry Tonks 1937), is a technique used in oil painting for removing excess oil from the canvas by blotting with absorbent paper
- Masuda , K. ‘Micro-dot adhering for paper conservation and off-set application of paste,’ poster presentation, IIC Baltimore Congress, 2–6 Sept 2002
- Phibbs , H. ‘Micro-dot paste hinging: A significant advancement beyond traditional hinges’, The Fletcher Learning Centre, Educational Articles, http://www.startframing.com/educational/hughphibbs/hp-01.php, accessed 20 Mar 2007
- Smith , M. 1990 . “ ‘Consolidation of Islamic book pages’ ” . In The Book and Paper Group Annual Washington, DC : American Institute for Conservation . 9 (10;and Catcher, S. and L. Burgio, ‘Pugin's wallpaper from the grange’, V&A Conservation Journal 50 (2005): 22–27
- May See the following, both in Bülow, A.E. et al., eds., This Will Stick Forever: Attaching & Releasing, Symposium Budapest 25–27 2005:Organized through the International Association of Book and Paper Conservators (IADA) and Technical Association of Paper and Printing Industry (PNyME, Hungary): Schleuniger, J. and F. Michel, ‘Jun® Funori: A new media for consolidation of matt paint’; and Ritter, M. and O. Masson, ‘Consolidation with Jun® Funori: Practical treatment of gouache with different paint layer problems’
- Biörklund , G. and Barnard , O. H. 1988 . Rembrandt's Etchings, True and False; A Summary Catalogue, , 2nd ed. New York : Hacker . (From 1639–1854, the Dutch were the only Europeans permitted to enter and live in Japan. The Dutch East India Company records named Japanese paper as cargo both for the Netherlands and for India, ‘3000 sheets’ of Japanese paper. See: http://www.ngv.vic.gov.au/collection/conservation/rembrandt/rembrandt07.html, accessed 01 Jul 2006
- Hughes , S. 1978 . Washi, the World of Japanese Paper New York : Kondansha International Ltd; Harper & Row . Kasa gami is a tough kõzo paper used in the manufacture of umbrellas and other fancy goods. Senka shi is a double-couched paper, the fibres are kõzo and this paper has been used in woodblock printing. Kyokushi is known as ‘imperial vellum’, and hosho is a soft kõzo with a filler. For further reading, see
- The Parkes Collection was assembled by the British Consul in Japan, Sir Harry Smith Parkes, in 1869. The collection has over 400 samples of different papers and was presented to the V&A on 6 Sept 1871
- 1886 . John Edgar Piatt was a woodblock printmaker active from −1967. The V&A acquired a collection of his prints, together with Japanese woodblock tools and Japanese papers purchased in the 1930s
- Murphy , S. and Rempel , S. 1986 . ‘A study of the quality of Japanese papers used in conservation’ . The Paper Conservator , 12 : 16 – 20 .
- Mr Hasagawa and papermakers in Kochi Prefecture who are researching formation aids used in kõzo papers, personal communication, July 2004
- 1983 . Japanese Papermaking: Traditions, Tools and Techniques New York; Tokyo : Weatherhill . For further reading, see Barrett, T
- Grantham 94
- Wai-sum Liu , A. “ 'Chinese papers: Their development, characteristics and permanence, AIC: Abstracts of papers presented at 34th annual meeting, Providence RI, 2006 ” . In Using Artifacts: Is conservation Compromised? Washington, DC : American Institute for Conservation . (2006) 11
- Masuda , K. 1985 . ‘Japanese paper and Hyõgu’ . The Paper Conservator , 9 : 32 – 40 .
- Masuda ‘Japanese paper’, 37
- King , A. 1973 . Phelan, W. and W. E. Falconer, ‘On the choice of papers for ground wood pulp supports’ . Studies in Conservation , 18 ): 4
- Webber , P. “ ‘Dealing with large format works of art on paper at the V&A’ ” . In IPC Conference Papers London 1997 Edited by: Eagan , J. 20 – 33 . Leigh : Institute of Paper Conservation . (1997)
- Keyes 11
- Maggan , M. “ ‘The conservation of watercolours on spider webs’ ” . In Spider webs and Wallpapers: International Applications of the Japanese Tradition in Paper Conservation. Proceedings of the International Seminar of Japanese Paper Conservation 1998 113 – 116 . Tokyo : Tokyo National Research Institute for Cultural Properties . (2001)
- Florec-Motte , E. and Jacqueline , T. M.C. , eds. 2004 . Les “insectes” dans la tradition oral = Insects In Oral Literature And Traditions Herent : N.V. Peeters . Watercolour paintings on spider web were first made c. 1730 and became popular as tourist souvenirs from 1870–1920. They were produced mainly in the Tyrol region of Austria, see: Barrett, A.K., ‘Par for the palette: Insects and arachnids as art media’, eds. (175–196;
- Clare , J. and Marsh , F. 1979 . ‘A dry repair method for Islamic illuminated manuscript pages’ . The Paper Conservator , 4 : 3 – 9 .
- Maheux , A. 2001 . ‘Crossing boundaries: A summary of recent interdisciplinary developments in paper conservation’ . The Paper Conservator , 25 127;Stiber, L.S., Eusman, E., and S. Albro, “The triumphal arch and the large triumphal carriage of Maximillian 1st: Two oversized, multiblock 16th century woodblocks from the studio of Albrecht Dürer’, The Book and Paper Group Annual 14 (Washington, DC: American Institute for Conservation, 1995) 6–10
- 1986 . 42 – 53 . See A. Thompson's article'Japanese tools for conservation’ in this publication, for information on bamboo spatulas and other tools; and his earlier article'Japanese brushes for conservation' The Paper Conservator 9 (for information on brushes, paste bowls, and paste trays
- Van Gulik 294
- Wills , P. 1986 . ‘New directions of the ancient kind: Conservation traditions in the Far East’ . The Paper Conservator , 11 : 36
- Johnson , H. B. 1963 . Carta Marina, World Geography in Strassburg Minneapolis : University of Minnesota Press . 1525 (52
- 1697 . The Burlington Magazine 1141.CXL 236 – 250 . The recognition of the cartoons as independent works of art is associated with William III, who in ordered that the sections be re-united and mounted onto the canvas that still supports them. See Fermer, S. and A. Derbyshire, “The Raphael tapestry cartoons reexamined’, (1998
- Nielson , I. 1992 . Conference Papers Manchester Edited by: Fairbrass , Sheila . Leigh : Institute of Paper Conservation . ’ The conservation of 41 Toulouse Lautrec posters,’ 1992, ed. (69.Facing the object with rayon paper if held in place with water acts as a protective layer. Rayon paper pasted out using funori seaweed gel, is used as a temporary facing for paintings on silk
- Meredith , P. , McClintock , T. K. , Snoek , J. and van Grevenstein-Kruse , A. 1997 . “The conservation of Chinese export wallpapers: Wallpapers at Huis ten Bosch’ ” . In IPC Conference Papers London 1997 Edited by: Eagan , J. 38 – 39 . Leigh : Institute of Paper Conservation .
- Brooks , M , Eastop , D. , Hillyer , L. and Lister , A. 1995 . “ ‘Supporting fragile textile: The evolution of choice’ ” . In Lining and Backing: The Support of Paintings, Paper and Textiles 5 – 13 . London : United Kingdom Institute for Conservation . References are made to techniques where Japanese paper linings with wheat starch are used for lining textiles, see: (-.See also: Xiangmei, G., Hon, Y.-L., and V. Gouet, ‘A treatment of Chinese portraits: An introduction to Chinese painting-conservation techniques’, The Book and Paper Group Annual 18 (Washington, DC: American Institute for Conservation, 1999)1-21
- 10 – 17 . Keyes
- McClintock , T. K. 2005 . Director, Studio TMK Ltd, Boston, USA, personal communication, Nov
- Mullock , H. 1995 . ‘Xuan papers’ . The Paper Conservator , 19 : 23 – 30 .
- Huxtable , M. 1995 . “ ‘The lining of unglazed fragile paintings on paper, from Ham House, attributed to the 17th century artist Frans Cleyn’ ” . In Lining and Backing: The Support of Paintings, Paper and Textiles 119 – 123 . London : United Kingdom Institute for Conservation .
- Kite , M. and Webber , P. 1995 . The conservation of an English embroidered picture using an Oriental paper method: A joint approach’ . The Conservator , 19 ’ 29–35;McAusland, J. and P. Stevens,'Techniques for the lining of fragile works on paper’, The Paper Conservator 4 (1979): 29–35. The use of karibari is suggested as an alternative method of flattening Western works of art on paper
- There is no written evidence as to when the karibari was used in the mounting studio; pictorial evidence suggests that the same lattice structure covered with layers of pasted paper was used to support paintings on sliding screens (fusuma) and folding screens (byõbu) during the period from the eighth to eleventh centuries. See: Grantham (part 2) 55–60. It is thought that the Chinese drying board came into regular using in the middle of the Ming period (1400–1500), when paper and paintings increased in size and could no longer be assembled on the mounter's table. Papers and silk for use in mounting were sometimes strained out onto tongue and groove panelling fixed to a wall in the studio of the Palace Museum, Taipei, Taiwan
- These are the author's observations during an exchange visit to the mounting studio of the National Palace Museum, Taiwan. This is also a technique used when dyeing sheets of Chinese papers
- Van Gulik 299
- 2006 . During a visit to Beijing Palace Museum in May, the author observed evidence of original lattice structure that used to support paper and silk painted wall coverings which had been revealed during a conservation project. This would indicate that a similar system was also used in Chinese interiors
- 2006 . Higashiyama Kaii Philip Meredith, Conservator, Museum of Fine Arts, Boston, USA, personal communication, June
- Jenkins , C. J. 1993 . ‘An investigation of vegetable fibres used in upholstery under structures for the purpose of identification and interpretation within the conservation profession’, diploma report, Textile Conservation Centre, Winchester School of Art, University of Southampton
- Doyal , S. and Sandiford , M. 1995 . “ ‘Architectural linings and backings’ ” . In Lining and Backing: The Support of Paintings, Paper and Textiles 60 – 71 . London : United Kingdom Institute for Conservation .
- Rickman , C. 1988 . “ ‘Conservation of Chinese export works on paper; watercolours and wallpapers,’ IIC: Preprints of Kyoto Congress ” . In The Conservation of Eastern Art Edited by: Mills , J. S. , Smith , P. and Yamasaki , K. 44 – 51 . London : International Institute for Conservation .
- Webber , P. and Huxtable , M. 1988 . “ ‘The conservation of eighteenth-century Chinese wallpapers in the UK,’ IIC: Preprints of Kyoto Congress ” . In The Conservation of Eastern Art Edited by: Mills , J. S. , Smith , P. and Yamasaki , K. 52 – 58 . London : International Institute for Conservation .
- 1999 . 17 – 22 . Copenhagen : Royal Academy of Fine Arts . Meredith et al., ‘Conservation of Chinese export wallpapers’ 34–47; and van Grevenstein, A. and Monique Staal, ‘Conservation of Chinese wallpapers; training and conservation’, IADA: Preprints of the 9th International Congress, Copenhagen, ed. M.S. Koch
- Meredith , P. 1999 . 41 – 45 . Copenhagen : Royal Academy of Fine Arts . Sandiford, M. and P. Mapes, ‘A new conservation lining for historic wallpapers’, IADA: Preprints of the 9th International Congress, Copenhagen, ed. M.S. Koch
- Hexalite®, formerly known as Aerolam®, has a glass-fibre-reinforced epoxy skin over a core of Aeroweb™ aluminium honeycomb. It is supplied in sheets measuring 2.44 × 1.22m and in 2.54cm and 1.27cm thicknesses, which can be bonded together to form larger sheets. Hexalite® is supplied by Ciba Geigy
- Huxtable , M. 1996 . ‘Time for a change—The new paper conservation studio’ . V&A Conservation Journal , 20 : 18 – 20 .
- Melamine is a thermosetting polymer based on urea formaldehyde, resistant to heat and scratching
- Van Gulik . “ 58. In the ” . In Li-tai-ming-hua-chi written in 847 by Chang Yen-Yuan said ‘you must use a flat table for mounting, with a lacquered top, ruled with red lines, for ensuring straight and square cutting’
- 33 – 36 . Masuda ‘Developments’
The Paper Conservator
Volume 30, 2006 - Issue 1