Notice catalographique « Lining and backing : the support of paintings, paper and textiles - papers delivered at the UKIC conference, 1995 »

Contents:

Supporting fragile textiles: the evolution of choice
Mary Brooks, Dinah Eastop, Lynda Hillyer, Alison Lister 5

Paper lining: an overview
Alan Donnithorne 14

Lining of paintings: traditions, principles and developments
Alan Phenix 21

How backings work: the effect of textile properties on appearance
Mary W Ballard 34

Artists' original support: conservation versus historical evidence
Nicola Walker 40

The development and present status of structural conservation treatments of canvas paintings in Denmark Mikkel Scharff 48

Painted and gilded cartoons on canvas intended for a mosaic scheme in St. Paul's Cathedral, London
Hugh H Stannus and David S Crombie 54

Architectural linings and backings
Sherry Doyal and Mark Sandiford 60

The influence of lining and drying methods on the dimensional stability of lined paper objects
Ingelise Nielsen and Derek Priest 67

The reversibility of starch paste
Vincent Daniels 72

The Florentine paste technique: what makes it different from other glue paste linings for pictures
Joan Marie Reifsnyder 77

Glue-paste lining of paintings: an evaluation of the bond
performance and relative stiffness of some glue-paste linings
Paul Ackroyd 83

19th century oil paintings on paper / canvas laminate support
Angela Geary and Piers Townsend 92

Conservation of painted trade union banners Vivian Lochhead 96

Lining maps at the Bodleian Library-1960 to 1995
Helen Lindsay 102

Reversible supports for paintings as an alternative to lining
Karoline Beltinger 111

The lining of unglazed, fragile paintings on paper, from Ham
House, attributed to the 17th century artist Frans Cleyn
Merryl Huxtable 119

• Art - Conservation and restoration
• Painting - Conservation and restoration
• Art - Conservation et restauration
• Peinture - Conservation et restauration