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Polymer Clay Artist's Resource List
POLYMER CLAY ARTIST’S RESOURCE LIST ARTISTS: Accomplished & Emerging Artists & Teachers ............................................................................................................. 2 COMMUNITY: Guilds, Groups, Forums, & Member Communities ........................................................................................... 9 EVENTS: Workshops, retreats, classes & industry shows ............................................................................................................ 13 INFORMATION & LEARNING: Blogs, Tutorials, Publishers, & Schools ................................................................................. 14 ORGANIZATIONS: Organizations for Professional Craft Artists .............................................................................................. 17 SUPPLIES: Supplies for Polymer, Jewelry, & Sculpture ............................................................................................................... 18 SALES & MARKETS: Year-round Sales Avenues & Services ....................................................................................................... 23 TECHNIQUES & STANDARDS: Site Links and Document ....................................................................................................... 24 GENERAL TECHNIQUES/FREE TUTORIALS.......................................................................................................................... 24 PAID TUTORIAL SITES .............................................................................................................................................................. -
Distribution of Sales of Manufacturing Plants
SALESF O MANUFACTURING PLANTS: 1929 5 amounts h ave in most instances been deducted from the h eading, however, are not representative of the the total sales figure. Only in those instances where total amount of wholesaling done by the manufacturers. the figure for contract work would have disclosed data 17. I nterplant transfers—The amounts reported for individual establishments, has this amount been under this heading represent the value of goods trans left in the sales figure. ferred from one plant of a company to another plant 15. I nventory.—The amounts reported under this of the same company, the goods so transferred being head representing greater production than sales, or used by the plant to which they were transferred as conversely, greater sales than goods produced, are so material for further processing or fabrication, as con— listed only for purposes of reconciling sales figures to tainers, or as parts of finished products. production figures, and should not be regarded as 18. S ales not distributed.—In some industries, actual inventories. certain manufacturing plants were unable to classify 16. W holesaling—In addition to the sale of goods their sales by types of customers. The total distrib— of their own manufacture, some companies buy and uted sales figures for these industries do not include sell goods not made by them. In many instances, the sales of such manufacturing plants. In such manufacturers have included the sales of such goods instances, however, the amount of sales not distributed in their total sales. The amounts reported under is shown in Table 3. -
Library of Congress Classification
T TECHNOLOGY (GENERAL) T Technology (General) Periodicals and societies. By language of publication 1 English 2 French 3 German 4 Other languages (not A-Z) (5) Yearbooks see T1+ 6 Congresses Industrial museums, etc. see T179+ International exhibitions see T391+ 7 Collected works (nonserial) 8 Symbols and abbreviations Dictionaries and encyclopedias 9 General works 10 Bilingual and polyglot Communication of technical information 10.5 General works Information centers 10.6 General works Special countries United States 10.63.A1 General works 10.63.A2-Z By region or state, A-Z 10.65.A-Z Other countries, A-Z 10.68 Risk communication 10.7 Technical literature 10.8 Abstracting and indexing Language. Technical writing Cf. QA42 Mathematical language. Mathematical authorship 11 General works 11.3 Technical correspondence 11.4 Technical editing 11.5 Translating 11.8 Technical illustration Cf. Q222 Scientific illustration Cf. T351+ Mechanical drawing 11.9 Technical archives Industrial directories 11.95 General works By region or country United States 12 General works 12.3.A-Z By region or state, A-Z Subarrange each country by Table T4a 12.5.A-Z Other regions or countries, A-Z Subarrange each country by Table T4a 13 General catalogs. Miscellaneous supplies 14 Philosophy. Theory. Classification. Methodology Cf. CB478 Technology and civilization 14.5 Social aspects Class here works that discuss the impact of technology on modern society For works on the role of technology in the history and development of civilization see CB478 Cf. HM846+ Technology as a cause of social change History Including the history of inventions 14.7 Periodicals, societies, serials, etc. -
2015 Final Program
FINAL PROGram Practical Philosophy, or Making Conservation Work 43rd Annual Meeting May 13-16, 2015 Miami, FL Hyatt Regency Miami American Institute for Conservation of Historic and Artistic Works Board of Directors American Institute for Conservation of Historic & Artistic Works President Pamela Hatchfield Vice President Margaret Holben Ellis Practical Philosophy, or Secretary Sanchita Balachandran Treasurer Jennifer Hain Teper Director, Committees & Task Forces Sarah Stauderman Making Conservation Work Director, Communications Carolyn Riccardelli Director, Professional Education Stephanie M. Lussier Director, Specialty Groups Deborah Lee Trupin May 13-16, 2015 Miami, Florida THE GETTY CONSERVATION INSTITUTE 2015 Annual Meeting Program Committees Hyatt Regency Miami GENERAL SESSION Margaret Holben Ellis Zoe Perkins Welcome to Miami! Margo Delidow Alisha Chipman As you certainly know by now, the theme for AIC’s 43rd Sustainability: Betsy Haude, Melissa Tedone, Robin O’Hern Annual Meeting in Miami, FL May 13-16, 2015 is: Practical Year of Light : Paul Himmelstein, Paul Whitmore, James Druzik, Steven Philosophy, or Making Conservation Work. Interesting Weintraub conversations about many aspects of conservation should SPECIALTY SESSIONS be bubbling up around you, as we explore a wide range of Architecture issues, preventive, practical, and philosophical, and where Chair Jennifer Correia Vice Chair Jennifer Schork they are situated between theory and practice. Many factors, ranging from available resources to questions of public Book and Paper Chair Michelle Facini access and politics, can thwart even the best treatment plans Program Chair Fletcher Durant and noblest intentions. We hope you enjoy the presentations, Collections Care posters, and the discussions, as you catch up with your old Chair Rebecca Fifield friends and colleagues, and meet up with new ones. -
A Handbook on Japanning by William N. Brown
A HANDBOOK ON JAPANNING FOR IRONWARE, TINWARE, WOOD, ETC. WITH SECTIONS ON TIN-PLATING AND GALVANIZING BY WILLIAM N. BROWN SECOND EDITION: REVISED AND ENLARGED WITH THIRTEEN ILLUSTRATIONS LONDON SCOTT, GREENWOOD AND SON "THE OIL AND COLOUR TRADES JOURNAL" OFFICES 8 BROADWAY, LUDGATE, E.C. 1913 D. VAN NOSTRAND COMPANY 8 WARREN ST., NEW YORK First Edition under title "A Handbook on Japanning and Enamelling", 1901 Second Edition, Revised and Enlarged, under title "A Handbook on Japanning"— January, 1913 CONTENTS PAGE SECTION I. INTRODUCTION. 1-5 Priming or Preparing the Surface to be Japanned 4 The First Stage in the Japanning of Wood or of Leather without a Priming 5 SECTION II. JAPAN GROUNDS. 6-19 White Japan Grounds 7 Blue Japan Grounds 9 Scarlet Japan Ground 9 Red Japan Ground 10 Bright Pale Yellow Grounds 10 Green Japan Grounds 10 Orange-Coloured Grounds 11 Purple Grounds 11 Black Grounds 11 Common Black Japan Grounds on Metal 12 Tortoise-shell Ground 12 Painting Japan Work 13 Varnishing Japan Work 17 SECTION III. JAPANNING OR ENAMELLING METALS. 20-28 Enamelling Bedstead Frames and similar large pieces 24 Japanning Tin, such as Tea-trays and similar goods 25 Enamelling Old Work 27 SECTION IV. THE ENAMELLING AND JAPANNING STOVE—PIGMENTS SUITABLE FOR JAPANNING WITH NATURAL LACQUER—MODERN METHODS OF JAPANNING WITH NATURAL JAPANESE LACQUER. 29-48 Appliances and Apparatus used in Japanning and Enamelling 29 Modern Japanning and Enamelling Stoves 34 Stoves heated by direct fire 34 Stoves heated by hot-water pipes 36 Pigments suitable for Japanning with Natural Lacquer 45 White Pigments 45 Red Pigments 46 Blue Pigment 46 Yellow Pigments 46 Green Pigment 46 Black Pigment 46 Methods of Application 46 Modern Methods of Japanning and Enameling with Natural Japanese 47 Lacquer SECTION V. -
Japanning 101. Japanning in a Can, Easy Peasy
Japanning 101. Japanning in a Can, Easy Peasy For a full discussion on various japanning mixes, quality of finish, durability and tips and techniques for success, refer to my earlier article, Japanning, or The Art of Embracing the Arcane at www.aPlaneLife.us. I highly recommend reading this article before beginning your project to understand the various mixtures and results. Have proper expectations goes a long way toward success. At the request of some readers, this series of articles will serve as a condensed, “how-to” for japanning an antique cast iron hand plane using various japanning products and mixtures. This series will start with the easiest method, commercially available japanning mix. This article will only cover the use of commercially available Rio Grande Asphaltum Varnish, although the tips and techniques should apply equally well to another commercially available pre-mixed japanning, Old PontyPool. I have chosen to focus on the Rio Grande product as I have significant experience using it, and it is very favorably priced compared to Old PontyPool. Affordable, economically sized and delivered to your door, easy. This product delivers a very deep, rich finish. Absolutely beautiful. Rio Grande Jewelers Asphaltum Varnish is available in pint cans online for about $17.00 plus shipping. Old PontyPool is sold by the quart at around $84.00 plus shipping. A pint of asphaltum varnish should cover about 15 size 4 hand planes. Old PontyPool may have more favorable performance, I have not used it, but given a limited shelf life and the quantity sold, I believe more people will be satisfied with the Rio Grande product. -
On Chinoiserie Design & Japanning in the University of Coimbra's
theme 6 open strand Yoshie Itani [email protected] Blucher Design Proceedings author(s) Dezembro de 2014, Número 5, Volume 1 Tama University www.proceedings.blucher.com.br/evento/icdhs2014 On Chinoiserie Design & Japanning in the University of Coimbra’s Biblioteca Joanina abstract The Joanine Library (the “Old Library”) at Portugal’s University of Coimbra was built between 1717 and 1728 during the reign of King João V. Inside the Joanine Library, with the exception of the ceiling, many of the interior surfaces—columns, walls, bookshelves, and doors—are colored in black or vermillion “japanning” and decorated in the Chinese- style designs known as “chinoiserie.” In this paper, I present the results of my study of this interior, considering why such japanning and chinoiserie were selected for the interior design and introducing some of the significant design elements I was able to identify within these. Relationships between various world regions and Europe clearly defined the places of the art created in those regions, but routes of exchange at that time were much broader than merely “toward Europe.” The Old Library at the University of Coimbra is one representative example, built using gold and wood brought from Brazil, offering an entirely European baroque appearance outside, but decorated in chinoiserie within. In the Old Library we see the results of an attempt, motivated purely by intellectual curiosity and quite apart from Western intentions of discovery or conquest, to integrate aspects of a different culture and a new aesthetic. Through my survey and analysis of the panels within the Old Library, my intention is to gain some insight into the views of Asia held by the Portuguese of that time. -
Painted Wood: History and Conservation
PART FOUR Investigations and Treatment 278 Monochromy, Polychromy, and Authenticity The Cloisters’ Standing Bishop Attributed to Tilman Riemenschneider Michele D. Marincola and Jack Soultanian 1975, Standing Bishop was acquired for The Cloisters collection, the Metropolitan Museum of IArt, New York. This piece—considered at purchase to be a mature work of Tilman Riemenschneider (ca. 1460–1531), a leading German mas- ter of Late Gothic sculpture—was intended to complement early works by the artist already in the collection. The sculpture (Fig. 1) is indisputably in the style of Riemenschneider; furthermore, its provenance (established to before 1907) includes the renowned Munich collection of Julius Böhler.1 The Standing Bishop was accepted as an autograph work by the great Riemenschneider scholar Justus Bier (1956), who was reversing his earlier opinion. It has been compared stylistically to a number of works by Riemenschneider from about 1505–10. In the 1970s, a research project was begun by art historians and conservators in Germany to establish the chronology and authorship of a group of sculptures thought to be early works of Riemenschneider. The Cloisters’ sculptures, including the Standing Bishop, were examined as part of the project, and cross sections were sent to Munich for analysis by Hermann Kühn. This research project resulted in an exhibition of the early work of Riemenschneider in Würzburg in 1981; The Cloisters sent two sculptures from its collection, but the loan of the Standing Bishop was not requested. Certain stylistic anomalies of the figure, as well as several Figure 1 technical peculiarities discussed below, contributed to the increasing suspi- Standing Bishop, attributed to Tilman cion that it was not of the period. -
College Students and Scholars from Nine States, the District of Columbia, and Five Countries Awarded Summer Internships at the National Gallery of Art
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: July 26, 2006 College Students and Scholars from Nine States, the District of Columbia, and Five Countries Awarded Summer Internships at the National Gallery of Art Participants in the National Gallery of Art 2006 Summer Internship Program pictured with Gallery director Earl A. Powell III are: Back row (lef t to right): Douglas Lachance, Angelica Soleiman, Juliet Baillie, Edward Puchner, Elizabeth Oliv er, Kate Markoski, Amanda Herrin, Luisa Materassi, Kathry n Turnage Middle row (lef t to right): Brianna McMullen, Jessica Sanet, Melissa Ragain, Earl A. Powell III, Brigid Barrett, Kathleen McGov ern, Molly Bloom Front row (lef t to right: Ulla Visscher, Jes Therkelsen, Tif f any Lee, Yuko Waragai Not pictured: Anna Marsh, Jannette Vusich Washington, DC – The National Gallery of Art awarded internships to 21 college students and scholars representing nine states, the District of Columbia, and five countries. The Gallery’s summer internship program, which offers paid professional museum training, began its full-time, nine-week session on Monday, June 5, and runs through Friday, August 4. The interns represent diverse backgrounds with a range of educational experience— from art history, photographic preservation, and chemistry to music, communications, law, and geology. They were chosen based on their strong interest in museum work, outstanding academic achievement, and letters of recommendation. Many of the students are pursuing advanced degrees. A Gallery-wide committee, with input from mentoring departments, selected the interns through a competitive process. -
The Artist's Frame for a Work on Paper
A fragile connection: the artist’s frame for a work on paper Louise Bradley ABSTRACT A frame and the artwork it encloses have a fragile connection. A frame is easily removed from the artwork and once removed may be discarded and information attached to that frame or the backing board may also be lost. Especially fragile in their connection are frames designed and made by artists for their own work. Some Australian modern artists made their own frames by hand from found materials or timber from the hardware store. These frames can have a very handmade, or rough, appearance that can jar visually with the aesthetic of a seamless white gallery space. What do we lose when these frames are removed? Should we preserve an artist’s frame if the frame is removed because storage concerns are paramount? In this paper I will focus on two Australian modern artists and their frame choices and offer a few solutions for the preservation of artist’s frames. Keywords Picture frame, Danila Vassilieff, Mike Brown, Peter Tyndall INTRODUCTION is an important consideration. The quality of mounting and hinging are sometimes lacking in high turnover commercial A picture frame protects an artwork but it is also a piece of framing, so the deframing and remounting of a work on paper decorative art in its own right. It may also carry information when it enters a museum collection may be necessary for about the enclosed artwork. Unfortunately a frame and the the longevity of the artwork. Deframing though cuts the artwork it encloses have a fragile connection. -
Past and Present
2nd Scandinavian Symposium on Furniture Technology & Design Marquetry Past and Present May 2007 Vadstena Sweden Cover photo: Detail of ‘Scarab table’ by Rasmus Malbert. Photo taken by © Rasmus Malbert. This publication was made possible thanks to Carl Malmstens Hantverksstiftelse Editor Ulf Brunne Director of Studies Carl Malmsten Furniture Studies Linköping University Tel. +46 (0) 13 28 23 20 e-mail: [email protected] Layout Elise Andersson Furniture Conservator Tel. +31 (0) 686 15 27 06 / +46 (0) 704 68 04 97 e-mail: [email protected] Foreword The Marquetry Symposium in Vadstena 2007 was all over the world. The presentations covered a the second international symposium hosted by Carl multitude of aspects and were well inline with our Malmsten Centre of Wood Technology & Design ambition to include both historical, theoretical, at Linköping University. Since then we not only technical and design related aspects. changed our name, we also moved to new purpose- Even if the symposium, as intended, covered both built premises and above all, updated our programs historical and modern applications we conclude in order to meet future challenges. Carl Malmsten that presentations of contemporary works and Furniture Studies, which is our new name, is techniques were in minority. It is therefore with great satisfaction we during the past few years have Marquetry has since ancient times been used to registered a growing interest not only in traditional decoratedefinitely furniture back on track! and interiors. Starting with basic marquetry but also in the use of marquetry on but intricate geometric patterns in the Middle Ages, industrially manufactured design furniture. -
Materials for Safety Wearing Apparel
itionai Bureau ef Standards book fn ^cikvu iiOiji illy OCT 6 Liijrdiy MATERIALS FOR SAFETY WEARING APPAREL (Second Edition) COMMERCIAL STANDARD CS129^7 Effective Date for New Production from July 21, 1947 A RECORDED VOLUNTARY STANDARD OF THE TRADE UNITED STATES DEPARTMENT OF COMMERCE W. AVBRELL HARRIMAN, Secretary For sal© by the Superintendent of Documents, U. S. Government Printing Office. Washington 25, D, C—^Price 5 cent? COMMERCIAL STANDARDS Commercial Standards are voluntary standards of the trade developed through concerted action of those directly concerned, and issued by the United States Department of Commerce upon written evidence of their acceptability to the trade. They are initiated by written request from a responsible element of business to the Division of Trade Standards of the National Bureau of Standards. The Division of Trade Standards of all concerned. acts as a coordinating and fact-finding agency in ascertaining the desires The Federal Government exercises no regulatory authority in the enforcement of Commercial Standards. In accepting a Commercial Standard, the producer, distributor, or user says in eflfect that he con- siders it a useful standard of practice, and plans to utilize it as far as practicable in his business, reserving the right to depart from the standard so long as no deception results from such departure. When reference to a Commercial Standard is made in contracts, labels, invoices, or adver- tising literature, however, the provisions of the standard are enforcible through usual legal channels as a part of the sales contract. Organized in 1927, the Division of Trade Standards has assisted many industries in the development of Commercial Standards for a wide variety of commodities.