Varnishes and Surface Coatings: Cumulative Bibliography

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APPENDIX III

Compiler: Wendy Samet

This bibliography represents a cumulation of all literature references in this volume of the Catalog, excluding product brochures and manufacturers' safety data sheets. Personal communications listed under the “References” for many sections are similarly excluded from this compilation. The bracketed number following many citations is the reference number for BCIN, the bibliographic database of the Conservation Information Network, which was consulted to verify the references herein.

Allyn, G. 1971. Acrylic resins. Federation Series on Coatings Technology, Unit 17, W.H. Madson, ed. Philadelphia: Federation of Societies for Coatings Technology. [174894]

[Anon.] 1947. An Exhibition of cleaned pictures (1936–1947). London: National Gallery. [21551]

—. 1950. Acryloid helps preserve art treasures. Rohm and Haas Reporter 8(3): 14.

—. 1956. Brushes. In Encyclopedia Britannica 4: 293–5.

—. 1961. Push button spray coatings. Rohm and Haas Reporter 19: 12.

Armenini, G.B. 1977 [first published 1586]. On the true precepts of the art of painting. E.J. Olszewski, transl. and ed. New York: Burt Franklin & Co. [194289]

Arnold, B. 1990. Survey of Irganox-stabilized dammar varnishes. CCI newsletter (6): 16. [174339]

Baer, N.S., N. Indictor, and W.H. Phelan. 1971. An evaluation of adhesives for use in paper conservation. Guild of Book Worker's journal 10(1): 17–35. [94389]

Barrett, J. 1995. HVLP conversion spray guns. Woodworker's journal 19(6): 68–74.

—. 1996. HVLPs: Turbine spraying systems. Woodworker's journal 20(1): 84–9.

Barry, T.H. 1932. Natural resin varnishes. London: Ernest Benn, Ltd.

Berger, G.A. 1990. Inpainting using PVA medium. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 150–5. [167501]

—. 1995. Inpainting media and varnishes which do not discolor, part 1: Preparation for inpainting. The Picture restorer 8: 5–8.

—. 1996. Inpainting media and varnishes which do not discolor, part 2: Inpainting. The Picture restorer 8: 5–8.

Bernstein, J. 1992. A Review of varnish application fundamentals. In 1992 AIC Paintings Specialty Group Postprints: Papers presented at the Twentieth Annual Meeting of the American Institute for Conservation of Historic and Artistic Works, Buffalo, New York, Saturday, June 5, 1992. Washington, D.C.: American Institute for Conservation of Historic and Artistic Works: 111–19.

Billmeyer, F.W. 1971. Textbook of polymer science. 2d ed. New York: John Wiley and Sons.

—. 1984. Textbook of polymer science. 3d ed. New York: John Wiley and Sons.

Binks Manufacturing Company. 1990. 1890–1990: One Hundred Years. Binks Manufacturing Company.

Bock, E. 1969. Von Werden der Pinselmacherortes Bechhofen und des dort und in der Umgebung heimischen Handwerkszweiges. Bechhofen: Selbstverlag der Innung handwerklicher Pinsel-, Bürsten- und Zurichter-Betriebe.

—. 1983. Bürsten und Pinsel. Die vielfältigen Erzeugnisse des Bürsten- und Pinselmacher-gewerbes und ihre wichtigsten Bestandteile. Bechhofen, Germany: Zentralverband der Bürsten-und Pinselhersteller.

Bockrath, M. and B. A. Buckley. 1984. An Investigation of the materials and techniques of Sir Joshua Reynolds. Talk given at the Paintings Specialty Group at the twelfth annual meeting of the American Institute for Conservation, Los Angeles, California, May 19, 1984.

Bomford, D., J. Kirby, J. Leighton, and A. Roy, with contributions by R. White and L. Williams. 1990. Art in the making: Impressionism. London: National Gallery Publications; New Haven: Yale University Press. [172215]

Bomford, D., J. Dunkerton, D. Gordon, and A. Roy. 1990. Art in the making: Italian painting before 1400. London: National Gallery Publications. [170909]

Book and Paper Group. 1989. Adhesives: Section 46. In Paper conservation catalogue, 6th ed. Washington, D.C.: Book and Paper Group, American Institute for Conservation of Historic and Artistic Works. (Editors: Smith, C., Bertalan, S., Dwan, A., English, J., Nicholson, C., Albro, S.R., Schneck, K., Stiber, L. and Wagner, S.) [154774]

Boon, J. J. and D. Rainford. 1994. The Mass spectrometric identification of natural resins and their degradation products in and on paintings. In Varnishes: Authenticity and Permanence. Workshop Handbook. Ottawa: Canadian Conservation Institute: 19–20 September 1994.

Bourdeau, J. 1989. An Examination of the barrier properties of selected ultraviolet absorbers within acrylic surface coatings. In Papers presented at the fourteenth Conservation Training Programs Annual Conference, 1988. Buffalo, N.Y., Buffalo State College. Washington, D.C.: American Institute for Conservation: 41–61. [161914]

—. 1990. A Further examination of the barrier properties of Tinuvin 327 ultraviolet absorber in the protection of dammar films. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 165–7. [166586]

—. 1995a. Practical considerations in the use of acrylic UV barrier top-coats for the protection of dammar picture varnishes. In Arbeitgemeinschaft der Restauratoren, Annual Conference. Bremen: AdR.

—. 1995b. The Use of UV absorbers in acrylic top coats as a remedial treatment for dammar varnishes containing Irganox 565. In Varnishes: Authenticity and permanence: Proceedings on audio cassette. Ottawa: Canadian Heritage - Canadian Conservation Institute: Cassettes 6–7.

—. 1995c Varnishes: Authenticity and permanence, a report on the Ottawa Colloquium. In AIC Paintings Specialty Group Postprints, St. Paul Minnesota, June 9–10, 1995. American Institute for Conservation of Historic and Artistic Works: 10–19. [222826]

Bradley, M.C., Jr. 1950. The Treatment of pictures. Cambridge, Mass.: Art Technology.

Brandi, C. 1949. The Cleaning of pictures in relation to patina, varnish and glazes. Burlington magazine 91(556):183–8. [58622]

Brendley, W.H., Jr. 1973. Fundamentals of acrylic polymers. In Paint and Varnish Production.

Brenner, A. 1974. High polymers for forming an invisible, soil-resistant coating on canvas. In The Great decade of American Abstraction Modernist Art 1960 to 1970, E.A. Carmen, Jr., ed. Houston: Museum of Fine Arts: 130–8. [93009]

Brommelle, N. 1956. Material for a history of conservation: The 1850 and 1853 reports on the National Gallery. Studies in conservation 2(4): 176–88. [105936]

Buckley, B.A. 1986. Sir Joshua Reynolds, The Ladies Annabel and Mary Jemima Yorke. Cleveland Museum of Art Bulletin 73(9):350–71. [137400]

Burtin, F.X. de. 1845. Treatise on the knowledge necessary to amateurs in pictures. London: Longman, Brown, Green and Longmans, Paternoster-Row. [175152]

Caley, T. 1990. Aspects of varnishes and the cleaning of oil paintings before 1700. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 70–2. [167311]

Carlyle, L.A. 1990. British nineteenth-century oil painting instruction books: A Survey of their recommendations for vehicles, varnishes and methods of paint application. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 76–80. [166903]

—. 1991. A Critical analysis of artists' handbooks, manuals and treatises on oil painting published in Britain between 1800–1900: With reference to selected eighteenth century sources. Ph.D. dissertation, Courtauld Institute of Art, University of London. 2 vols. [192108]

—. 1994. Reproducing traditional varnishes: Problems in representing authentic surfaces for oil paintings. In Varnishes: Authenticity and permanence. Workshop handbook. Ottawa: Canadian Conservation Institute.

Carlyle, L.A. and J. Bourdeau. 1994. Varnishes: Authenticity and permanence. Workshop handbook. Ottawa: Canadian Conservation Institute.

Cennini, C. d'A. 1960 [Reprint of 1933 edition]. The Craftsman's handbook, translation of the Italian “Il libro dell'arte” D.V. Thompson, Jr., transl. New York: Dover Publications. [86906]

Christensen, C. 1993. The Painting materials and technique of Paul Gauguin. In Conservation research (Studies in the history of art, no. 41 1, Monograph Series II). Washington, D.C.: National Gallery of Art: 63–103. [220640]

Church, A.H. 1890. The Chemistry of paints and painting. London: Seeley and Co. [179506]

Ciabach, J. 1982. Investigation of the cross-linking of thermoplastic resins effected by ultraviolet radiation. In Resins in conservation: Proceedings of the Symposium, Edinburgh, 1982. J.O. Tate, N.H. Tennent, and J.H. Townsend, eds. Edinburgh: Scottish Society for Conservation and Restoration: 5.1–5.8. [118107]

—. 1995. Plasticized and stabilized cyclohexanone resins. In Resins: Ancient and modern, preprints of the SSCR's 2nd Resins Conference. Edinburgh: Scottish Society for Conservation and Restoration: 85–7.

Clydesdale, A. 1994. Beeswax: A Survey of the literature on its properties and behaviour. SSCR Journal 5(2): 9–12.

Crombie, D. 1994. Background history of MS2A, Conservation news (UKIC) 54 (July 1994): 43.

Curran, M. 1975. Scattering of light over a black background by matt varnishes based on Paraloid® B-72. In ICOM Committee for Conservatioon 4th Triennial Meeting. Venice 22/3/1–5. [444]

Daniels, W. 1985. Poly(vinyl acetate). In Kirk-Othmer concise encyclopedia of chemical technology. 3d ed. M. Grayson et al., ed. New York: John Wiley and Sons: 817–47. [76407]

David, C., M. Borsu, and G. Geuskens, 1970. Photolysis and radiolysis of poly(vinyl acetate). European polymer journal 6:959–63.

Davidsohn, A. and B.M. Milwidsky. 1968. Polishes. Cleveland, Oh.: Leonard Hill.

de la Rie, E.R. 1987a. The influence of varnishes on the appearance of paintings. Studies in conservation 32(1):1–13. [126065]

—. 1987b. Research on picture varnishes: Status of the project at the Metropolitan Museum of Art. In Preprints of the 8th triennial meeting of the ICOM Committee for Conservation. Paris: International Council of Museums: 791–6. [126233]

—. 1988a. Stable varnishes for Old Master paintings. Ph.D. Oral Dissertation, University of Amsterdam, Netherlands. Meppel: Krips Repro Meppel B.V. [180658]

—. 1988b. An Evaluation of Irganox 565 as a stabilizer for dammar picture varnishes. Studies in conservation 33(3):109–14. [147191]

—. 1988c. Photochemical and thermal degradation of films of dammar resin. Studies in conservation 33(2):53–70. [146191]

—. 1988d. Polymer stabilizers: A survey with reference to possible applications in the conservation field. Studies in conservation 33(1):9–22. [138274]

—. 1989. Old Master paintings: A study of the varnish problem. Analytical chemistry 61(21):1228A–40A. [162875]

—. 1992. Stability and function of coatings used in conservation. In Polymers in conservation: Proceedings of an international conference organized by Manchester Polytechnic and Manchester Museum, Manchester, 17–19 July 1991. N.S. Allen, M. Edge, and C.V. Horie, eds. Cambridge: Royal Society of Chemistry:62–81. [203428]

—. 1993. Polymer additives for synthetic low-molecular-weight varnishes. In ICOM Committee for Conservation, 10th triennial meeting, Washington, DC, USA, 22–27 August 1993, Preprints, Vol. 2. Lawrence, Kan.: Allen Press: 566–73. [174507]

de la Rie, E.R. and C.W. McGlinchey. 1989. Stabilized dammar picture varnish. Studies in conservation 34(3):137–46. [162238]

—. 1990a. New synthetic resins for picture varnishes. In Cleaning retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 168–73. [167319]

—. 1990b. The Effect of a hindered amine light stabilizer on the aging of dammar and mastic varnish in an environment free of ultraviolet light. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works: 160–4. [167800]

de la Rie, E.R. and A.M. Shedrinsky. 1989. The Chemistry of ketone resins and the synthesis of a derivative with increased stability and flexibility. Studies in conservation 34 (1):9–19. [156005]

Del Serra, A. 1985. A Conversation on painting techniques. Burlington magazine 127(982):4–16. [153666]

De Witte, E. 1975. The Influence of light on the gloss of matte varnishes. In ICOM Committee for Conservation. Preprints of the 4th triennial meeting, Venice, 13–18 October 1975. Paris: International Council of Museums: 75/22/6/1–9. [447]

—. 1983. Resins in conservation: Introduction to their properties and applications. In Resins in conservation: Proceedings of the Symposium, Edinburgh, 21st-22nd May 1982. Edinburgh: Scottish Society for Conservation and Restoration: 1–1 to 1–6. [118103]

De Witte, E. and M. Goessens-Landrie. 1976. The Use of synthetic polymers in conservation: An annotated bibliography. Part 1, 1932–1965. Part 2, 1966–1974. In Art and archaeology technical abstracts 13: 201–354. [153786]

De Witte, E., M. Goessens-Landrie, E.J. Goethals, and R. Simonds. 1978. The structure of “old” and “new” Paraloid B-72. In ICOM Committee for Conservation. Preprints of the 5th triennial meeting, Zagreb, 1–8 October 1978. Paris: International Council of Museums: 78/16/3/1–9. [12962]

De Witte, E., M. Goessens-Landrie, E.J. Goethals, K. Van Lerberghe, and C. Van Springel. 1981. Synthesis of an acrylic varnish with high refractive index. In ICOM Committee for Conservation. Preprints of the 6th triennial meeting, Ottawa, 21–25 September 1981. Paris: International Council of Museums:81/16/4/1–7. [5395]

Di Bernardo, D.J. 1945. Painting and decorating. New York: Van Nostrand Company.

Doerner, M. 1949 [Orig. pub. in German 1922; first American translation, 1934]. The Materials of the artist and their use in painting with notes on the techniques of the Old Masters. Revised ed. E. Neuhaus, transl. New York: Harcourt, Brace and Company.

—. 1962. The Materials of the artist and their use in painting with notes on the techniques of the Old Masters. E. Neuhaus, transl. New York: Harcourt Brace. [177548]

Doolittle, A.K. 1941. Vinyl resins. In Protective and decorative coatings. Washington, D.C.: U.S. Government Printing Office: Vol. 1:433–46. [180338-book]

Drinberg, A and A.D. Yakovlev. 1953. Transformation of polybutyl methacrylate into a tridimensional polymer. Zhurnal Prikladnoi khimii 26:532–7, cited in Chemical abstracts 47:10318. [107611]

Dunkerton, J., J. Kirby, and R. White. 1990. Varnish and early Italian tempera paintings. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works:63–9. [167856]

Dwyer, D. 1992. A Varnishing technique used by Mario Modestini. In 1992 AIC Paintings Specialty Group Postprints: Papers presented at the Twentieth Annual Meeting of the American Institute for Conservation of Historic and Artistic Works, Buffalo, New York, Saturday, June 5, 1992. Washington, D.C.: American Institute for Conservation of Historic and Artistic Works:121–2. [197041]

Eastaugh, N. 1984. Gloss. The Conservator 8:10–14. [121363]

Eastlake, C.L. 1847. Materials for a history of oil painting. London: Longman, Brown, Green and Longmans. [193909]

Ellen, R.F. and I.C. Glover. 1974. Pottery manufacture and trade in the Central Moluccas, Indonesia: The modern situation and the historical implications. Man New Series 9(3):353–79. [88899]

Federation of Societies for Coatings Technology. Definitions Committee. 1978. Paint/Coatings Dictionary. Philadelphia: Federation of Societies for Coatings Technology. [174893]

Feller, R.L. 1957a. Factors affecting the appearance of picture varnish. Science 125(3258):1143–4. [106654]

—. 1957b. Cross-linking of methacrylate polymers by ultraviolet radiation. Papers presented at the New York Meeting, Division of Paint, Plastics and Printing Ink Chemistry, American Chemical Society 17(2):465–70. [106714]

—. 1958. Dammar and mastic varnishes: Hardness, brittleness and change in weight upon drying. Studies in conservation 3(4):162–74. [106056]

—. 1959. Identification and analysis of resin and spirit varnishes. In Application of science in examination of works of art: Proceedings of the seminar: September 15–18, 1958. Boston: Museum of Fine Arts:51–76. [88162]

—. 1963. New solvent type varnishes. In Recent advances in conservation. Contributions to the Rome Conference, 1961. G. Thomson, ed. London: Butterworths:171–5. [123038]

—. 1966. First description of dammar picture varnish translated. Bulletin of the IIC-American Group 7(1):8, 20.

—. 1971. Resins and the properties of varnishes. In On Picture varnishes and their solvents, R.L. Feller, N. Stolow, and E.H. Jones eds. Washington, DC: National Gallery of Art:117–68.

—. 1972. Problems in the investigation of picture varnishes. In Conservation of paintings and the graphic arts, Lisbon Congress, International Institute for Conservation of Historic and Artistic Works, 1972. London: Butterworths:201–9. [40412]

—. 1973–74. {From Section 4. Further tests on Soluvar, a brushable varnish]. Quarterly Report of the Mellon Institute (November-April):12–13.

—. 1975. Studies on the photochemical stability of thermoplastic resins. In ICOM Committee for Conservation. 4th Triennial Meeting. Preprints. Paris: International Council of Museums:75/22/4/1–11.

—. 1976a. Problems in the investigation of picture varnishes. In Conservation and restoration of pictorial art. Preprints to the 1976 meeting of the International Institute for Conservation of Historic and Artistic Works. N.S. Brommelle and P. Smith, eds. London: Butterworths:137–44. [117821]

—. 1976b. Relative solvent power needed to remove aged solvent-type coatings. In Conservation and Restoration of Pictorial Art. Preprints to the 1976 meeting of the International Institute for Conservation of Historic and Artistic Works. N.S. Brommelle and P. Smith, eds. London: Butterworths:158–61.

—. 1978. Standards in the evaluation of thermoplastic resins. In ICOM Committee for Conservation. 5th triennial meeting, Zagreb, 1–8 October 1978. Preprints. Paris: ICOM:78/16/4. [12963]

—. 1981. Developments in the testing and application of protective coatings. In ICOM Committee for Conservation. 6th triennial meeting, Ottawa, 21–25 September 1981. Preprints. Paris: ICOM:81/16/7. [5392]

—. 1984. Thermoplastic polymers currently in use as protective coatings and potential directions for further research. Institute for the Conservation of Cultural Material Bulletin 10(2):5–18. [27863]

Feller, R.L. and C.W. Bailie. 1966. Studies on the effect of light on protective coatings using aluminum foil as a support: determination of ratio of chain breaking to cross-linking. Bulletin of the IIC-American Group 6(1):10–12. [14075]

—. 1972. Solubility of aged coatings based on dammar, mastic and resin AW-2. Bulletin of the IIC-American Group 12(2):72–81. [40423]

Feller, R.L. and M. Curran. 1970. Solubility and crosslinking characteristics of ethylene/vinyl acetate copolymers. Bulletin of the IIC-American Group 11(1):42–5. [40422]

—. 1975. Changes in solubility and removability of varnishes with age. Bulletin of the IIC-American Group 15(2):17–26. [92430]

Feller, R.L., M. Curran, and C. Bailie. 1981. Photochemical studies of methacrylate coatings for the conservation of museum objects. In Photodegradation and photostabilization of coatings. American Chemical Society Symposium Series, Vol. 151. 179th Meeting of the American Chemical Society:183–96. [82438]

Feller, R.L., N. Stolow, and E.H. Jones. 1959. On Picture varnishes and their solvents. Oberlin, Ohio: Intermuseum Conservation Association. [105971]

—. 1971. On Picture varnishes and their solvents. Revised and enlarged ed. London: The Press of Case Western University. [133579]

—. 1985. On Picture varnishes and their solvents. Revised and enlarged ed. Washington, D.C.: National Gallery of Art. [130184]

Fleck, H.R. 1945. Plastics. Brooklyn: Chemical Publishing Company.

Garland, P.S. 1983. Joseph Albers: His paintings, their materials, techniques and treatment. Journal of the American Institute for Conservation 22(2):62–7. [74797]

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Gettens, R.J. and G.L. Stout. 1966. Painting materials: A short encyclopedia. Unabridged and corrected 1942 ed. New York: Dover Publications. [133578]

Gombrich, E.H. 1962. Dark varnishes: Variations on a theme from Pliny. Burlington magazine 104:51–5. [104387]

—. 1963. Controversial methods and methods of controversy. Burlington magazine 105:90–3. [87215]

Hansen, E.F., M.R. Derrick, M.R. Schilling, and R. Garcia. 1991. The effects of solution application on some mechanical and physical properties of thermoplastic amorphous polymers used in conservation: Poly(vinyl acetate)s. Journal of the American Institute for Conservation 30(2):203–13. [183949]

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Horie, C.V. 1987. Materials for conservation: Organic consolidants, adhesives and coatings. London: Butterworths. [193910]

Hough, Mary Paper, column ed. 1995. Conference reviews. [Review of a talk by Stephen Hackney at the September 1994 Ottawa Conference “Varnishes: Authenticity and Permanence”]. Western Association for Art Conservation (WAAC) Newsletter 17(1):32.

Hulmer, E.C. 1972. Notes on the formulation and application of acrylic coatings. In Conservation of paintings and the graphic arts, Lisbon Congress, International Institute for Conservation of Historic and Artistic Works, 1972. London: Butterworths:211–13. [95075]

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Jensen, L.N. 1964. Synthetic painting media. Englewood Cliffs, N.J.: Prentice-Hall. [87226]

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Jones, E.H. 1961. The effect of aging and re-forming on the ease of solubility of certain resins. In Recent advances in conservation, IIC Rome Conference. London: Butterworths:79–83. [87231]

—. 1977. Monet observed. In Monet unveiled: A new look at Boston's paintings. Boston: Museum of Fine Arts:6–10.

Keck, S. and R.L. Feller. 1964. Detection of an epoxyresin coating on a seventeenth century painting. Studies in conservation 9(1):1–8. [103985]

Kurz, O. 1962. Varnishes, tinted varnishes and patina. Burlington magazine 104:56–9. [104395]

Jones, E.H. 1963. Time the painter. Burlington magazine 105:94–7. [87240]

Lafontaine, R.H. 1975–76. Comparison of the efficiency of ultraviolet absorbing compounds. Bulletin of the IIC-American Group 16(1):74–94. [61239]

—. 1978. The Effect of inhibitors on the removability of aged Ketone Resin N (BASF) film. Journal of the International Institute for Conservation of Historic and Artistic Works-Canadian Group 3(2):7–12. [13463]

—. 1979a. Decreasing the yellowing rate of dammar varnish using antioxidants. Studies in conservation 24(1):14–22. [86232]

—. 1979b. The Effect of Irganox 565 on the removability of dammar films. Studies in conservation 24(4):179–81. [83471]

Lank, H. 1972. Picture varnishes formulated with resin MS2A. In Conservation of paintings and the graphic arts, Lisbon Congress, International Institute for Conservation of Historic and Artistic Works, 1972. London: Butterworths:215–6. [95082]

—. 1976. Picture varnishes formulated with resin MS2A. In Conservation and restoration of pictorial art. N. Brommelle and P. Smith, eds. London: Butterworths:148–9. [117823]

Lawrence, C. 1990. The Effects of solvent variations on the long term properties of resin coatings. In Papers presented at the sixteenth annual Art Conservation Training Programs Conference. Winterthur: University of Delaware/Winterthur Museum Art Conservation Department:65–82. [168224]

Leonard, M. 1990. Some observations on the use and appearance of two new synthetic resins for picture varnishes. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the contributions to the Brussels Congress, 3–7 September 1990. J.S. Mills and P. Smith, eds. London: International Institute for Conservation of Historic and Artistic Works:174–6. [166904]

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Lomax, S.Q. and S.L. Fisher. 1990. An Investigation of the removability of naturally aged synthetic picture varnishes. Journal of the American Institute for Conservation 29(2):181–91. [159095]

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Mayer, L. 1977. The Examination and treatment of an unvarnished painted crucifix by Neri di Bicci. In Student papers presented at the third annual art conservation training programmes conference, May 8th to 11th, 1977, Queen's University, Kingston, Ontario. Kingston, Ont.: Queen's University:61–7. [85359]

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