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The Restoration Of Engravings, Drawings, Books, And Other Works On Paper (Getty Trust Publications: Getty Conservation Institute)

Ever since its original publication in Germany in 1938, Max Schweidler's Die Instandetzung von Kupferstichen, Zeichnungen, Buchern usw has been recognized as a seminal modern text on the conservation and restoration of works on paper. To address what he saw as a woeful dearth of relevant literature and in order to assist those who have 'set themselves the goal of preserving cultural treasures, ' the noted German restorer composed a thorough technical manual covering a wide range of specific techniques, including detailed instructions on how to execute structural repairs and alterations that, if skilfully done, can be virtually undetectable. By the mid-twentieth century, curators and conservators of graphic arts, discovering a nearly invisible repair in an old master print or drawing, might comment that the object had been 'Schweidlerized.' This volume, based on the authoritative revised German edition of 1949, makes Schweidler's work available in English for the first time, in a meticulously edited and annotated critical edition. The editor's introduction places the work in its historical context and probes the philosophical issues the book raises, while some two hundred annotati

Series: Getty Trust Publications: Getty Conservation Institute

Hardcover: 316 pages

Publisher: Getty Conservation Institute (March 27, 2006)

Language: English

ISBN-10: 0892368357

ISBN-13: 978-0892368358

Product Dimensions: 10.5 x 1 x 10.6 inches

Shipping Weight: 2.2 pounds (View shipping rates and policies)

Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)

Best Sellers Rank: #1,404,531 in Books (See Top 100 in Books) #134 in Books > Crafts, Hobbies & Home > Antiques & Collectibles > Antiques Care & Reference > Care & Restoration #1208 in Books > Reference > Encyclopedias & Subject Guides > Art #3757 in Books > Arts & Photography > Collections, Catalogs & Exhibitions

First I offer a correction: on page 41, the word "feuchtigkeit" is translated as dampness and a footnote suggests he means discoloration due to mold. The term "feucht" has an additional use in dying to refer to colorfastness; ie. how sticky the dye is, meaning likelihood it would be removed by the ash solution (soda ash or sodium carbonate).The book is excellent and the editorial emendations are indispensable. Regrettably, they don't go far enough. This is perhaps the product of the ultra-cautious mindset of the conservator editor. The refrain from editorial intervention turns what could have been in invaluable resource into more of a historical curiosity. This is sad because it undervalues the book's content in the process. On a side note, the book is beautifully designed and laid out, although I might fault its faux-bradel bound spine (made in China).One of the biggest flaws is the decision to banish the editor's essential commentary into endnotes rather than footnotes. This makes reading *this* book very frustrating. Often an endnote does no more than say "see glossary" meaning the poor reader has to flip through the pages twice. I suggest having some sticky notes at hand. Furthermore, there are two sets of endnotes, and the main set is not at the end; rather, it is two thirds of the way through. I found myself turning to the wrong set on many occasions. After the introduction where the editor makes clear the valuable insight in his commentary, he puts the commentary where the reader is challenged to bother with it. Footnotes would have been perfect, especially given the ample upper margin in the book's somewhat-overwrought design, and given their urgency when the author is occasionally dead wrong.

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