[Note: This issue of Investigación y Tecnica del Papel has five other papers on the history, reproduction and registration of watermarks.] (1E4) [Cited from the vol.
produces a digital infrastructure for the expertise and history of paper based on images visualizing the paper's structure. The individual ressources are databases of watermarks and other anotated features, image measurement software, contextual resources for cartography and bibliography, and an integrated workspace. Additionnaly the Consortium organizes tutorials and an exhibition on paper studies.
200 distinct watermarks) and at the Rijksmuseum (c.40 additional watermarks; the Bartsch Concordance; and a summary of information relating to the disposition and ownership of Rembrandt's etching plates.
Carter Hailey (University of Virginia), "Watermark Study inMixed Paper Quartos: The Example of Robert Crowley's Piers Plowman (1550)" 3:-3:30 pm Break 3:30-5 pm Session 2Chair TBA Stephen Shearon (Middle Tennessee State University), "Watermarksand Rastra in Neapolitan Music Manuscripts, 1700-1825" Dexter Edge (University of London), "The Study ofEighteenth-Century Music Paper: Problems and Prospects" Steven Zohn, "Watermarks at Dresden and Their Implications forTelemann Chronology" 7:30-8:30 pm Keynote Paper I Paul Needham (Sotheby's, New York), "Caxton's Paper Supplies" Reception to followFriday, 11 October8-9 am Continental Breakfast (full breakfast available in the RegencyDining Room) 9-10 am Session 3Chair TBA Nancy Ash and Shelley Fletcher (Philadelphia Museum of Art),"Watermarks in Rembrandt's Prints" Brett Charbeneau (Williamsburg Imprints Program), "PracticalWatermark Image Management in the Field" 10-10:30 am Break 10:30:-11:30 am Session 4Chair TBA Laetitia Yeandle (Folger Shakespeare Library), "Watermarks asEvidence for Dating and Authenticity in Ben Franklin and John Donne" Leonard Rapport, "Watermark Evidence for the Dating of Madison'sNotes to the 1787 Constitutional Convention" 11:30 am-1 pm Lunch & Announcements 1-2 pm Keynote Paper II Prof.
Laird (University of Kansas) and Greta Jean Olson (ChineseUniversity of Hong Kong), "Watermarks in Seventeenth-Century Spanish MusicManuscripts" 3:30-4 pm Break 4-5 pm Session 6Chair TBA Jeremy Smith (UC-Santa Barbara), "Dating the Hidden Editions ofThomas East with Paper Evidence" James E.
The Watermark Catalogue organizes the material by watermark type, systematically categorizes watermarks on Rembrandt's printing papers and identifies papers used in specific states of individual prints.
May (Penn State-DuBois), "The Uniformity of Paperstocks inMid-Eighteenth-Century Books and Pamphlets, Particularly Dublin Printing"Saturday, 12 October 8:00-9:00 am Continental Breakfast 9-10:00 am Session 7Chair TBA Carol Ann Eggert (National Gallery of Art), "PhosphorescenceWatermark Imaging" Deborah A.
Watermarks in Rembrandt's printing papers are organized and cross-referenced in two related sections: the Watermark Catalogue and the Bartsch Concordance.
All solvents used had the effect of moving or eliminating thewatermarks, and washing the paper in alkaline solutions (a common practice) blurred the marks and made them indistinct under UV radiation.
By studying watermarks on drawings and pictures scientists can determine whether a given piece of art is genuine or not. Fraunhofer Institute together with other institutes and a museum in Germany carried out a fascinating research into the works of Rembrandt.
In order to determine an artwork’s authenticity, its watermark is inspected. Watermarks were imprinted into paper sheets during production in a paper mill and every mill had its own watermark. By studying the watermark it’s possible to indicate when the paper – and therefore the artwork – was produced.
The author reviews the relationship of all aspects of the papermaking process, including pulping, bleaching, sizing, chemical additives, and storage environments, and strategies are provided for prolonging book life.