The 2nd edition of The Care of Prints and Drawings provides practical, straightforward advice to those responsible for the preservation of works on paper, ranging from curators, facility managers, conservators, registrars, collection care specialists, private collectors, artists, or students of museum studies, visual arts, art history, or conservation. A greater emphasis is placed on preventive conservation, a trend among collecting institutions, which reflects the growing recognition that scarce resources are best expended on preventing deterioration, rather than on less effective measures of reversing it. Expanded and richly illustrated chapters include: *Supports for Prints and Drawings discusses the properties of parchment and paper and introduces the general preservation needs and conservation problems of all works on paper, regardless of their media. *Conservation Problems Related to the Paper Support of Prints and Drawings presents a guide to recognizing the symptoms and diagnosing the causes of damage specific to paper. *Conservation Problems Related to the Materials and Techniques of Prints describes the conservation problems that affect certain printmaking materials and arise from specific processes. *Conservation Problems Related to the Materials and Techniques of Drawings focuses on the various materials used to create marks on paper. *Item-Level Collection Protection: Envelopes, Sleeves, Folders, Enclosures, Mats, Boxes, Frames, and Furniture, discusses measures taken for prints and drawings so that they can better withstand the rigors of handling, examination, exhibition, travel, and adverse environmental conditions. *Preventive Conservation for Prints and Drawings describes how the integration of a comprehensive Collections Care Program into a Collections Management Policy can reduce the need for item-level conservation treatments. *Basic Paper Conservation Procedures provides instructions on how to stabilize damaged works. *How to Make Starch Paste and Methyl Cellulose Adhesive and Suppliers of Paper Conservation Materials and Equipment are appended as well as a Glossary.

Denton Welch (1915-48) died at the age of thirty-three after a brief but brilliant career as a writer and painter. The revealing, poignant, impressionistic voice that buoys his novels was much praised by critics and literati in England and has since inspired creative artists from William S. Burroughs to John Waters. His achievements were all the more remarkable because he suffered from debilitating spinal and pelvic injuries incurred in a bicycle accident at age eighteen. Though German bombs were ravaging Britain, Welch wrote in his published work about the idyllic landscapes and local people he observed in Kent. There, in 1943, he met and fell in love with Eric Oliver, a handsome, intelligent, but rather insecure "landboy"--an agricultural worker with the wartime Land Army. Oliver would become a companion, comrade, lover, and caretaker during the last six years of Welch's life. All fifty-one letters that Welch wrote to Oliver are collected and annotated here for the first time. They offer a historical record of life amidst the hardship, deprivation, and fear of World War II, and also are a timeless testament of one young man's tender and intimate emotions, his immense courage in adversity, and his continual struggle for love and creative existence.

A selection of photographs from the UK and Europe. Categories include Flora, Fauna, Landscapes, Architecture and Details.

""Beautiful and inspiring."
"Wonderfully presented.""

American artist Sam Francis (1923-1994) brought vivid colour and emotional intensity to Abstract Expressionism. He was described as the "most sensuous and sensitive painter of his generation" by former Guggenheim Museum director James Johnson Sweeney, and curator Howard Fox called him "one of the acknowledged masters of late-modern art." Francis's works, whether intimate or monumental in scale, make indelible impressions; the intention of the artist was to make them felt as much as seen. At the age of twenty, Francis was hospitalised for spinal tuberculosis and spent three years virtually immobilised in a body cast. For physical therapy he was given a set of watercolours, and, as he described it, he painted his way back to life. The exuberant colour and expression in his paintings celebrated his survival; his five-decade career was an energetic visual and theoretical exploration that took him around the world. Francis' idiosyncratic painting practices have long been the subject of speculation and debate among conservators and art historians. Presented here for the first time in this volume are the results of an in-depth scientific study of more than forty paintings from the late 1940s to early 1990s, which reveal new discoveries about his creative process, inventive techniques, and specially formulated paints and binders. The data provides a key to the complicated evolution of the artist's work and informs original art historical interpretations.