User:Sblais/BPG Unsual Paper Supports

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THIS ENTRY IS A DRAFT

Over-Sized Papers

Large-sized and non-traditional materials and presentation of many contemporary drawings challenge traditional definitions of drawing. These objects now function as independent works of art whereas previously they more often served as preliminary steps in the evolution of more monumental works. Curatorial departments in museums frequently classify drawings exceeding 32 by 40 inches as over-sized (Volent 1989, 30-31). (See also Papier Marouflage).

• Single sheet: Wide rolls of paper have been commercially available since the early 1880s. Artists today may make use of over-sized rolls and sheets which are available in a variety of fiber qualities, surface textures, etc.

Western paper (machine made)

• Arches watercolor - 44 1/2 inches by 10 yards;

• 100% rag barrier - 80 inches by 20 yards;

• Rives BFK 100% rag - 41 inches by 100 yards;

• Tableau (Technical Papers, Boston), abaca fiber (For example, oversize Leonard Baskin woodblocks prints [Man of Peace, 1952] were made on Tableau paper.)

Western paper (handmade)

• Emperor Sheets - 72 inches by 48 inches (Volent 1989, 30-31).

Japanese paper (machine made)

• Machine made papers are available in rolls 100 cm x 6100 cm;

• Handmade paper 60-70 cm x 100 cm;

• Paper Nao sells several Japanese roll papers in varying weights.

The relative unavailability and expense of good quality, over-sized papers or ignorance of the quality of the papers may lead students and established artists to rely on poor quality materials such as acidic photographic backdrop paper (initial pH 4.5) and impermanent industrial packaging papers. However, a paper that is chemically of poor quality might still be aesthetically pleasing to an artist. The initial use of the paper (i.e., packing or industrial use) might have a significance to the artist which a "good quality" paper may not have. Artists may also make their own over-sized papers (Volent 1989, 31).

• Multi-sheet supports: Over-sized works may also be composite works, regularly or irregularly composed of smaller sheets of similar or varied paper types, variously joined (e.g., butt joins, overlapping joins).

Fans

Fans present special conservation problems because they are three-dimensional objects designed for use and made of a combination of materials. They may vary from simple screen fans (see below) to mechanically complex folding fans. A third type, the folding "brise" fan, has no paper leaf and will not be considered here. It is important to understand the structure in order to recognize causes of deterioration and to choose appropriate conservation methods.

Structure:

• Leaf: May be made of paper or skin. (Leaves of silk and other fabrics fall under the domain of the textile conservator and will not be considered here.) Folding fans were most often composed of two semi-circular leaves pasted together on either side of ribs. Single leaf paper fans are less common. Screen fans consisted of a rigid leaf (of jade, ivory, etc., which will not be considered here) or a flexible material stretched over a shaped wooden frame and then attached to a handle.

• Paper: Chinese fans were made from mulberry paper or shorter fibered papers. The leaves of Japanese fans were made of several sheets of laminated gampi. Western fans were made of antique or modern laid paper or wove paper; a paper imitation of skin, called "chicken skin" was also common.

• Skin: Range of types, qualities and finishes were used.

• Decoration: Painted or printed, with appliques of many materials.

• Sticks or Handle: In folding fans the visible, often decorated, parts of sticks terminate in the narrow and more fragile ribs which are inserted between the two leaves. Sticks are held together at the base by a rivet. Heavier guard sticks, to which two free ends of leaves are pasted, strengthen the fan when in use and protect it when closed. In stretched leaf or screen fans, a handle was fixed to the screen with a small nail or rivet. Handle or sticks could be made of many materials, including ivory, tortoise shell (genuine and imitation), bone or wood.

Screens (LP)

Japanese - Wooden grid covered with multiple layers of paper (see Toishi and Washizuka 1987; Koyano 1979). Western - see van der Reyden 1988.

Papier-mâché

Many examples of papier-mâché are found dating from ancient China to modern time. The term papier-mâché is used to refer to two different materials. (See van der Reyden and Williams 1986.)

• Literal definition: Paper macerated back into pulp and then cast or molded into a form. Popularized in Europe in the mid-eighteenth century for ornamenting architecture and furniture. (See Cast or Molded Paper).

• Popular definition: Strips of paper laminated with an adhesive. In Western culture, laminated papier-mâché became popular in mid-eighteenth century as a base for Japanware (imitation East Asian lacquer). Pieces of paper adhered together with flour paste or a mixture of paste and glue were pressed between boards or metal plates, drenched in linseed oil for waterproofing, and dried in a hot stove. The finished product could be treated like wood (sawing, dovetailing, and screwing was possible). In the mid-nineteenth century the paper panels were softened with steam and forced into metal molds in order to form the paper into a variety of objects (e.g., trays, architectural moldings, chairs). They were sometimes coated with a gesso ground and varnished after drying. The surface would later be smoothed with pumice and decorated with paint, gilding, or inlays. There are many contemporary patents for papier-mâché processes similar to nineteenth century techniques.

Other examples of laminated papier-mâché include objects for religious ceremonies found in many cultures (e.g., masks, Mexican piñata) and papier-mâché sculpture and reliefs made by contemporary artists. The latter may be adhered with any available modern adhesive and may have surface coatings of various paints, synthetic or natural resins, or waxes. Some contemporary artists combine the basic principle of laminated papier-mâché (strips of paper laminated with an adhesive) with folding, bending, and compressing the wet laminate or with peeling, scraping, or otherwise manipulating the dry surface. Some work with wet sheets of paper that they fuse using only pressure, with no additional adhesive. Under these conditions, long-fibered papers will fuse best.

Cast or Molded Paper

The recent revival of interest in hand papermaking accounts for the growth of interest in cast paper. Paper sculpture or relief is formed by pouring a thick, liquid pulp into a mold or over a low-relief shape, by dipping a substrate, such as string or strips of paper into the pulp or by applying paper pulp by hand to a mold or to a substrate that will remain part of the work.

Embossed Papers

Relief is formed when paper, under pressure, is made to conform to a depression in a printing plate. Usually achieved through an intaglio process, though occasionally by relief or planographic processes. Can be done with or without printing inks (i.e., blind embossing). Embossing effects are incidental to some printing techniques (e.g., platemarks; light embossing of most woodcuts due to pressure used to print the block).

History: Earliest known deliberate embossings are fifteenth century paper-covered wax seals and rare "sealprints" made by pressing dampened paper over a wooden relief. Mid-eighteenth century Japanese Ukiyo-e prints were embossed by burnishing areas of the paper over an inked or uninked concave block. At the same time in Europe embossed chiaroscuro woodcuts and wall papers were produced. In the early nineteenth century various commercial items, such as book covers and hats, were made by embossing paper. In the 1830s uninked areas of lithographic stones were scratched out to create embossed highlights. In the late nineteenth century, after learning of the embossed ukiyo-e prints, Europeans first looked at embossing in its own right as a way to create an image. Among their innovations were color lithographs embossed by a second printing over an uninked intaglio plate, the first blind embossed print, and the "gypsographic," made by printing on an inked or uninked molded plaster plate. Embossing was widely popularized among printmakers after World War II.

Popular contemporary embossing techniques:

• Embossed lithographs and serigraphs: The dampened proof is run through an etching press over a relief or intaglio plate, or over another proof to which objects have been attached to give it texture.

• Collagraph (which emerged in the late 1950s): The artist makes a collage of materials which serves as the plate. Color and texture are produced simultaneously, as the inked collage is run through an etching press.

Wallpaper (MH)

Early wallpapers were made from single sheets of handmade laid or wove paper which had been joined to create the desired length. Hand painting, stencilling and wood block printing were the most common early decorative methods. Later wallpapers were often created from machine made (continuous roll) paper with roll printing and silk screening as the common decorative methods. The paper pulp available for wallpaper varied in quality and could include remnants of rags (cotton and linen) as well as inclusions of colored fibers, silk, wool, and straw. With machine made paper the use of soft and hardwoods, processed in a variety of ways, became very common. Wallpapers originating in the East (like Chinese export wallpaper) may be of a plied construction and composed of a variety of East Asian fibers. For design media, one may encounter inks, watercolor, gouache, distemper, water- and oil-based mediums, organic and inorganic pigments, and natural and synthetic dyes. One may also encounter mica, metallic elements, embossing, flocking (chopped textile fibers adhered to paper) and glazes on wallpaper.

Globes

The heyday of terrestrial and celestial globes occurred from 1500 to 1850. During this time globes were usually constructed for use as scientific and mathematical instruments. Two graduated circles on the globe allowed it to be used as a practical working instrument — the meridian ring which runs through the poles and the horizon circle which passes around the Equator. Globes were constructed from a variety of materials such as gold, silver, glass, parchment, bond, and cloth. Generally, the globe sphere is hollow. Inside the shell there is often a single wooden rod connecting the North and South Poles; there is a metal pivot at each pole to which the shell is nailed. However, an x-radiograph of the sphere may reveal a complex internal structure of wooden ribs running from the Poles to a wooden ring at the Equator. Traditionally, shells were made of papier-mâché by pasting the paper scraps over a plaster form. Once the papier-mâché dried, the shell was cut around the Equator and the halves lifted away from the mold. The papier-mâché shell was covered with plaster and trimmed to the correct thickness using a semi-circular template. Shells were also formed of other materials, such as felted manilla fibers. To balance the globe, if necessary, a bag of lead shot was inserted inside the shell at the Equator before plastering.

This description deals with globes with paper gores on their outermost surface. The gores were sometimes cut and split to ease their application to the sphere. A circular section called a calotte was prepared to fit over each pole. The first printed maps appeared in the 1470s using copper and wood engraving techniques. A map was intaglio printed on the flat paper gores. The sections were then wetted and stretched down onto the globe. The number of paper gores used to cover the surface of a sphere ranged from 8 to 36, with 12 being the most common. Often the globe gores were given a protective coat of varnish.

The printed paper on the horizon circle was adhered to a thin layer of gesso and varnished. Usually, the gores and the horizon circle were sized before they were varnished.

Varnished Wall Maps

See bibliography

Boxes (EW)

Paper based boxes have been used to house items such as hats, books, and games. The basic construction of a box and its lid consists of laminated boards stitched or glued together and covered in the interior and exterior with a variety of papers. Some boxes are made from thick, stiff paper that was scored, folded, and glued to form an enclosure, such as a box for a deck of cards.

Other Objects Made By Distortion of Planar Sheet

Scoring, folding, rolling, and curling are the basic methods by which the flat plane of a sheet of paper can be shaped into a three-dimensional form. Adhesives or fasteners may be used to keep the sheet in the distorted form.

Examples: Japanese origami; ritual paper facsimiles of clothing, household objects, etc., used in buddhist funeral rites; paper models for sculpture, engineering designs and architecture; foldouts in illustrations (e.g., books of hand-drawn landscape, theatre set and architectural designs containing fold-out elements to be considered as design options); puppets; lamp shades; contemporary works of art made by folding, bending, weaving, curling, and otherwise distorting paper; quilling.

Strength of the object is determined in part by the properties of the paper used. Paper folds and curls more easily along the grain. The density of fibers and how tightly they are compacted affects ease of compression for folding. Internal additives like fillers or sizes play a role in how paper responds to deformation, especially in bulky papers of low fiber density. Surface coatings can stiffen paper, making it resist folding or curling, and resulting in flaking of the coating. The tensile strength of the paper, an indication of how much the paper can stretch before it ruptures, is partially determined by fiber length. In general, longer fibered papers have greater tensile strength and fold endurance than short fibered papers because "...the wire side of the sheet inherently contains a slightly larger proportion of larger fibers to fine and a greater filler ratio than the felt side...less cracking at the fold is encountered when the stronger wire side of the sheet is kept to the outside fold area where more tension prevails" (Byers 1971, 104). Another factor is the stress to which the paper is subjected when curled or folded. In folding, the outer surface must cover a wider radius than the inner surface. It will be stretched under tension while the inner surface will be compressed. If the stress on the outer surface exceeds the elasticity of the paper, fibers will rupture and the paper will crack (Byers 1971, 104). Scoring reduces this problem by stretching or breaking fibers, thus reducing the number of fibers which must be bent. The strength of a folded paper object is also affected by the integral strength of the geometric form which has been constructed. When properly constructed, pyramid shapes like the cone and the equilateral triangle are the strongest geometric forms. The failure of adhesives and fasteners also contribute to the weakening of three-dimensional paper objects.

References

(See also General References)

Wallpaper

"Conservation of Wallpaper." Special issue of the Journal of the American Institute of Conservation. Spring, 1981.

Clise, D. & Draper, B. 2007. "Jean Zuber et Compagnie’s Le Paysage à Chasses at Willow Wall: Removal, Treatment, and Reinstallationof an Early Nineteenth-Century Scenic Wallpaper". The Book and Paper Group Annual. Volume 26, pp. 9-20.

Entwisle, E.A. A Literary History of Wallpaper. London: B.T. Batsford, 1960.

Frangiamore, Catherine Lynn. Wallpapers in Historic Preservation. Washington, D.C.: National Park Service, U.S. Department of the Interior, 1977.

Gilmore, A.M., 1981. "Wallpaper and Its Conservation: An Architectural Conservator's Perspective", Journal of the American Institute for Conservation, Vol. 20, No. 2, Conservation of Historic Wallpaper, pp. 74-82.

Greysmith, Brenda. Wallpaper. New York: MacMillan, 1976.

Harroun, S.G., Bergman, J., Jablonski, E. and Brosseau, C.L., 2011. "Surface-Enhanced Raman Spectroscopy Analysis of House Paint and Wallpaper Samples from an 18th Century Historic Property". Analyst, Volume 136. Pp. 3453-3460.

Lynn, Catherine. Wallpaper in America from the 17th Century to World War I. New York: W.W. Norton, 1980.

Mapes, P. 2015. Historic Wallpaper Conservation. [Accessed 7th April 2015].

McClelland, Nancy V. Historic Wallpapers from Their Inception to the Introduction of Machinery. Philadelphia and London: J.B. Lippincott, 1924.

McClintock, T.M., 2002. "Case Studies on the Effect of Conservation on the Appearance of Historic Wallpapers". Restaurator. Vol.23, pp. 165-186.

National Park Service. 2007. Wallpapers in Historic Preservation: History of Wallpaper Styles and their Use. Published: 26th April 2007. [Accessed 2nd April 2015].

Nylander, Richard. Wallpapers for Historic Buildings. Washington, D.C.: The Preservation Press, 1983.

Oman, Charles C. and Jean Hamilton. Wallpapers: An International History and Illustrated Survey from the Victoria and Albert Museum. New York: Abrams, 1982.

Shelley, M. 1981. "The Conservation of the Van Rensselaer Wallpaper". Journal of the American Institute of Conservation. Volume 20, Number 2, pp. 126-138.

Teynac, Francoise, Pierre Nolot, and Jean-Denis Vivien. Wallpaper: A History. New York: Rizzoli International Publications, 1982.

Vitale, T. & Messier, P. 2004. "Historic Wallpaper Digitally Remastered: Early Twentieth-Century Block-Printed English Wallpaper in the Yin Yu Tang House at the Peabody Essex Museum", The Book and Paper Group Annual, Volume 23, pp. 109-113.

V&A. 2015. Flock Wallpapers. [Accessed 1st April 2015].

Welsh, F.S. 2004. "Investigation, Analysis, and Authentication of Historic Wallpaper Fragments". Journal of the American Institute of Conservation. Vol. 43, No. 1, pp. 91-110.

Restrained Papers

Harding, E.G. "The 'Inlaying' of Works of Art on Paper." Letter to the editor and response from Jane McAusland, Paper Conservation News No. 40, Dec. 1986, pp. 2-;3.

Over-Sized Papers

Albright, Gary and T.K. McClintock. "The Treatment of Oversize Paper Objects." Postprints of the AIC Book and Paper Group Meeting. Washington, DC: AIC, 1982, 6 pages.

Eckmann, Inge-Lise. "The Lining of a Super-Sized Contemporary Drawing." AIC Preprints. Washington, DC: AIC, 1985, pp. 36-43.

Fairbrass, Sheila. "The Problems of Large Works of Art on Paper." The Paper Conservator 10, 1986, pp. 3-9.

Hamm, P. Dacus. "Treatment of an Oversized, Hand-Drawn Shaker Map." Book and Paper Group Annual 7, 1988, pp. 17-22.

Nicholson, C. and Susan Page. "Machine Made Oriental Papers in Western Paper Conservation." Book and Paper Group Annual 7, 1988, pp. 44-51.

Owen, Antoinette. "Treatment and Mounting of a Poster ‘Angleterre’ by A.M. Cassandre." Journal of the American Institute for Conservation 24, No. 1, 1984, pp. 23-32.

Potje, Karen. "A Travelling Exhibition of Oversized Drawings." Book and Paper Group Annual 7, 1988, pp. 52-57.

Volent, Paula. "Consideration in the Acquisition and Care of Oversized Contemporary Drawings." Drawing 11, No. 2 (July/August) 1989, pp. 30-34.

Three-Dimensional Paper Objects

Evetts, Debora E. "Treatment of Folded Paper Artifacts." The Book and Paper Group Annual 6, 1987, pp. 35-39.

Florian Papp Gallery. Rolled, Scrolled, Crimpled, and Folded: The Lost Art of Filigree Paperwork. New York: Florian Papp Gallery, 1989.

Newman, Jerri, Margaret Leveque, and Leslie Smith. "An Interspeciality Approach to the Conservation of Multi-Media Objects." Preprints of Papers Presented at the 15th Annual Meeting of the AIC. Vancouver, 1987, pp. 84-98.

Nichols, K., Elgar, J., Gausch, K. 2006. "Illuminating the Way: Conservation of Two Japanese Paper Lanterns" Journal American Institute of Conservation, Volume 46, pp. 123-136.

• Two nineteenth-century Katsushika Hokusai paintings in the form of paper folding-lanterns were conserved for the exhibition "The Allure of Edo" at the Museum of Fine Arts, Boston. The paintings had been dismantled from their original mounts, and in doing so they were severely damaged. The article describes the conservation treatment and the process of determining the original shape of each lantern. Polyethylene foam mounts were made and the paintings, which were relined, were adhered to them. The treatment was successful and the article exemplifies a unique and complex treatment that returned the paintings to their intended three-dimensional format.

Tombs, Rebecca. "Three Dimensional Objects of Paper." Unpublished paper Queen's University Art Conservation Program, Kingston, 1982.

Fans and Screens

Armstrong, Nancy. The Book of Fans. Surrey: The Colour Library International Ltd, 1978.

Hendry, Heather and Juliet Baines. 2018. "A Local Mending Technique for Japanese Screens". Journal of Paper Conservation, 19:3, 115-117.

Kakoauei, M., Kakouei Ezbarami, M., and Kumaran, S., 2014. "History, Technology, and Treatment of a Painted Silk Folding Screen Belonging to the Palace-Museum of Golestan in Iran". Fibres & Textiles in Eastern Europe, Vol. 22, No. 2(104), pp. 69-75.

• This article is a case study illustrating the treatment of a historical Chinese folding screen from the Palace-Museum of Golestan in Iran. The main aim of this study was to develop the conservation treatment using paper conservation techniques as a basis. To restore the folding screen, a method often used in paper conservation was adopted. Self-adhesive heat reactivated Japanese tissue paper was attached to support the silk, in order to avoid stitching through the painted surface. Tengujo Japanese tissue, with Lascaux 498 HV diluted with water (10%) were selected for the repairs. Lascaux 498 HV has a pH of 8 – 9, great flexibility, is reversible and soluble in acetone, toluene and xylene but insoluble in water once dry. The self-adhesive tissue paper was reactivated at 50 °C with a heated spatula. Koyano, Masako. Japanese Scroll Paintings, a Handbook of Mounting Techniques. Washington, D.C: FAIC, 1979.

Maxson, Holly. "Design and Construction of a Support for a Folding Fan." The Book and Paper Group Annual 4, 1986, pp. 33-38.

Nishio, Y. 2001. "Maintenance of Asian Paintings II: Minor Treatment of Scroll Paintings", The Book and Paper Group Annual, Volume 20, pp. 15-26.

• A well explained article describing how to repair tear, areas of loss, creases and damaged chords on Asian scroll paintings. The article is aided with images, diagrams and step-by-step explanations on how to carry out treatments.

Toishi, K. and H. Washizuka. Characteristics of Japanese Art That Condition Its Care. Japanese Association of Museums, 1987.

Webber, Pauline. "The Conservation of Fans." The Paper Conservator 8, 1984, pp. 40-58.

Papier-Maché

Moir, Gillian. "The Care of Papier-M&acaron;ché." History News 35, No. 6, June 1980, pp. 57-58.

van der Reyden, Dianne and Don Williams. "The Technology and Conservation Treatment of a 19th Century Paper-Mache Chair." AIC Preprints. Chicago Meeting. Washington, DC: AIC, 1986, pp. 125-142.

Globes

Baynes-Cope, A.D. The Study and Conservation of Globes. Vienna: Internationale Coronelli-Gesellschaft, 1985.

Lewis, Gillian, Anne Leane, and Sylvia Sumira. "Globe Conservation at the National Maritime Museum, London." The Paper Conservator 12, 1988, pp. 3-12.

Leyshon, Kim Elizabeth. "The Restoration of a Pair of Senex Globes." The Paper Conservator 12, 1988, pp. 13-20.

McClintock, T.K., 2002. “Observations On The Conservation Of Globes”, Studies in Conservation, Volume 47. Special Issue: Contributions to the Baltimore Congress, 2-6 September 2002. Works of Art on Paper Books, Documents and Photographs: Techniques and Conservation. Pp. 135-138.

• Globes are also often made from plaster, wood, metal, and have varnished and painted surfaces. A conservator of globes must also have conservation knowledge on these materials in order to make the treatment credible.The article gives reasons to why the conservation of globes falls under the role of the paper conservator rather than an objects or decorative arts conservator, even though the object is not solely made out of paper. McClintock writes that it is on the globe’s paper surface that the design and function of the globe is found, and it is the paper which is the most susceptible to damage. The author also explains the structure of a globe, describing the way the paper is prepared in order to paint and varnish it, without damaging the paper, as well as the wooden and metallic components that make up its structure.

McClintock, T.K., Bigrigg, Lorraine & LaCamera, Deborah. 2015. "Case study: conservation and restoration of a pair of large diameter English globes", Journal of the Institute of Conservation, 38:1, 77-91, DOI: 10.1080/19455224.2015.1007072

• The globes illustrated in these case studies were in very poor condition and hard to read. This article not only looks at the conservation treatment of the globes but also at the development of filling losses using digital photography and archival printing, which helped maintain the integrity of the globes as works of cartography. It was possible to use digital photography to recreate the losses because the same globe gores were printed in an Atlas, and could be used as models to reproduce the scans.

Sumira, Sylvia. "Conservation Treatment of Globe Surfaces." IIC Preprints, Brussels Congress: Cleaning, Retouching and Coatings. John S. Mills and Perry Smith, eds. IIC, 1990, pp. 56-58.

Stevenson, E.L. Terrestrial and Celestial Globes: Volumes I and II. New Haven: Yale University Press, 1921.

van Der Reyden, Dianne. "The Technology and Treatment of a Nineteenth Century American Time-Globe." The Paper Conservator 12, 1988, pp. 21-30.

Varnished Wall Maps

Boodle, Katie. 2024. "The 'One-Day' Conservation Treatment Method for Wall Maps at the Northeast Document Conservation Center." Book and Paper Group Annual Special Issue: 1 - 9.

Boodle, Katie and Natalia Paskova. 2024. "An Investigation into Alternative Recreations for Surface Coatings on 19th-Century Wall Maps After Conservation Treatment." Book and Paper Group Annual Special Issue: 10 - 20.

Brückner, Martin. 2024. "Varnished Maps and Social Chemistry in Early America: A Material History." Book and Paper Group Annual Special Issue: 21 - 38.

Edmondson, Thomas M. 2024. "An Aqueous Alternative for the Removal of Varnish from 19th Century Wall-maps." Book and Paper Group Annual Special Issue: 39 - 41.

Hendry, Heather. 2024. "Varnished Maps Treatment Protocol at the Conservation Center for Art and Historic Artifacts." Book and Paper Group Annual Special Issue: 42 - 50.

Irwin, Seth. 2024. "Mapping the Crossroads: The Conservation of County Wall Maps from the Indiana State Library." Book and Paper Group Annual Special Issue: 51 - 62.

Schneider, Cher. 2024. "ICA Treatment of Map of Pike County Ohio." Book and Paper Group Annual Special Issue: 63 - 68.

Stockman, Denise, Emma Guerard, Malena Ramsay, and Eleonora Del Federico. 2024. "Initial Characterization of Wall Map Varnishes Using UVA, Solubility Tests, and ATR FTIR." Book and Paper Group Annual Special Issue: 69 - 77.

Wanser, Heather, and Holly Krueger. 2024. "Treatment of a 19thc Varnished Map in the Library of Congress Geography and Map Division." Book and Paper Group Annual Special Issue: 78 - 81.

Zukor, Karen. 2024. "Temporary Facings on a Varnished Wall Map." Book and Paper Group Annual Special Issue: 82 - 84.

History of this Page

This page was created in April 2025 by Sandrine Blais from the BPG Paper Supports and BPG Support Problems pages.