NOTES

1. Friction drying was undertaken with the grain of the friction-drying papers across the grain of the object papers. The author thought that this procedure might encourage alteration in the size and shape of the paper sheets. Subsequent testing suggests that crossing the grain of the friction-drying papers to the grain of the object paper makes no difference to the stretching effect of the friction-drying process. In fact, for the mock-ups prepared, the alteration in the size of the sheets caused by friction-drying was exactly the same when the friction-drying papers were across, or with, the grain of the object. In both cases the sheet size increased by 1–2 mm with the grain, and 4–5 mm across the grain. Only one type of paper was tested. Tests were not undertaken to determine the effect of having one friction drying paper across the grain, and one with the grain, of the object paper.

REFERENCES

Burns, T., and K.Potje. 1990. Paper conservation catalog. 4, Support problems. Washington, D. C.: AIC-BPG.

Gott, T.1990. The enchanted stone: The graphic worlds of Odilon Redon. Melbourne: National Gallery of Victoria.

Jenkins, P.1990. India proof prints. Paper Conservator14:46–57.

Keyes, M. K.1978. The unique qualities of paper as an artifact in conservation treatment. Paper Conservator3:4–8.

McAusland, J., and P.Stevens. 1979. Techniques of lining for the support of fragile works of art on paper. Paper Conservator4:33–44.

Petukhova, T.1987. Treatment of chine-coll� prints. The Book and Paper Group annual. 6. Washington, D.C.: AIC-BPG. 106–10.

Szczepanowska, H., and B.Schuettinger. 1997. 45 chine coll� miniature engravings of portraits of presidents and other U.S. government officials, 1880. Conference handbook, Institute of Paper Conservation 4th International Conference, London. London: IPC. E14–E15.

SOURCES OF SUPPLIES

Hercules Incorporated, 500 Hercules Rd., Research Center, Building 8145, Wilmington, DE 19808

AUTHOR INFORMATION

CAROLYN MURPHY graduated from the conservation program at the University of Canberra, Australia, in 1995. She worked in private practice for one year before undertaking a Getty Fellowship at the Fine Arts Museums of San Francisco in 1996–97. Currently she is the conservator (works on paper) at the Queensland Art Gallery, Brisbane, Australia. Address: Queensland Art Gallery, P.O. Box 3686, South Brisbane, Queensland 4101, Australia