Illustration acknowledgements

The authors wish to thank the many individuals and institutions, as well as authors, illustrators and publishers, who have generously supplied or given permission to reprint illustrations in this book.

Plate 1 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Plate 2 Courtesy of the Victoria and Albert Museum, London: (a,b,c) photographs by Nanke Schellmann; (d,ef photographs by Clara von Engelhardt

Plate 3 Courtesy of the Victoria and Albert Museum, London: photograph by Shayne Rivers

Plate 4 Photograph by Herb Crossan, Winterthur Museum Garden and Library, with kind permission to reprint.

Plate 5 Courtesy of Winterthur Museum, Garden and Library

Plate 6 Photograph by Herb Crossan, the Winterthur, University of Delaware Art Conservation Programme (WUDPAC), with kind permission to reprint

Plate 8 (a,c) Photographs by Shayne Rivers; (b) Photograph by Dr Lucia Burgio

Figure

Oxford

1.1

Courtesy of the Griffith Institute,

Figure

1.2

Courtesy of the V&A Picture

Library

Figure

1.3

Courtesy of the V&A Picture

Library

Figure

1.4

Drawings by Liz Wray

Figure

1.5

Drawing by Liz Wray

Figure

1.6

Drawing by Liz Wray

Figure

1.7

Drawings by Liz Wray

Figure 1.8 Courtesy of the V&A Picture Library Figure 1.9 Courtesy of the V&A Picture Library Figure 1.10 Drawing by Liz Wray

Figure 1.11 Drawing by Liz Wray Figure 1.12 Drawings by Liz Wray

Figure

1.13

Courtesy

of

the V&A Picture

Library

Figure

1.14

Courtesy

of

the V&A Picture

Library

Figure

1.15

Courtesy

of

the V&A Picture

2002

1.16

Courtesy

of

Christies Images

Ltd,

Figure

1.17

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of

the

V&A

Picture

Library

Figure

1.18

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of

the

V&A

Picture

Library

Figure

1.19

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of

the

V&A

Picture

Library

Figure

1.20

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of

the

V&A

Picture

Library

Figure

1.21

Courtesy

of

the

V&A

Picture

Library

Figure

1.22

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of

the

V&A

Picture

Library

Figure

1.23

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of

the

V&A

Picture

Library

Figure

1.24

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of

the

V&A

Picture

Library

Figure

1.25

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of

the

V&A

Picture

Library

Figure

1.26

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the

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Picture

Library

Figure

1.27

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the

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Picture

Library

Figure

1.28

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of

the

V&A

Picture

Library

Figure 2.1 Reproduced from Hoadley, R.B. (1990) Understanding Wood: A Craftsman's Guide to Wood Technology, The Taunton Press, with permission

Figure 2.2 Reproduced from Hoadley, R.B. (1990) Understanding Wood: A Craftsman's Guide to Wood Technology, The Taunton Press, with permission

Figure 2.3 provided by Bruce Hoadley

Figure 2.4 Reproduced from Hoadley, R.B. (1990) Understanding Wood: A Craftsman's Guide to Wood Technology, The Taunton Press, with permission

Figure 2.5 Reproduced from Hoadley, R.B. (1990) Identifying Wood: Accurate Results with Simple Tools, The Taunton Press, p. 38, with permission

Figure 2.6 Drawings by Liz Wray

Figure 2.7 Reproduced from Hoadley, R.B. (1990) Identifying Wood: Accurate Results with Simple Tools, The Taunton Press, pp. 38, 39, with permission

Figure 2.8 Reproduced from Hoadley, R.B. (1990) Identifying Wood: Accurate Results with Simple Tools, The Taunton Press, with permission

Figure 2.9 Reproduced from Hoadley, R.B. (1990) Identifying Wood: Accurate Results with Simple Tools, The Taunton Press, Bruce Hoadley, p. 18, with permission

Figure 2.10 Reproduced from Hoadley, R.B. (1990) Identifying Wood: Accurate Results with Simple Tools, The Taunton Press, p. 36, with permission

Figure 2.11 Reproduced from Hoadley, R.B. (1990) Identifying Wood: Accurate Results with Simple Tools, The Taunton Press, pp. 37, 40, with permission

Figure 2.13 Drawing provided by Bruce Hoadley

Figure 2.14 Reproduced from Hoadley, R.B. (1990) Understanding Wood: A Craftsman's Guide to Wood Technology, The Taunton Press, with permission

Figure 2.15 Reproduced from Hoadley, R.B. (1990) Understanding Wood: A Craftsman's Guide to Wood Technology, The Taunton Press, with permission

Figure 2.16 Drawings by Liz Wray

Figure 2.17 Reproduced from Hoadley, R.B. (1990) Understanding Wood: A Craftsman's Guide to Wood Technology, The Taunton Press, with permission

Figure 2.18 Drawing by Bruce Hoadley/Liz Wray

Figure 2.19 Reproduced from Hoadley, R.B. (1990) Understanding Wood: A Craftsman's Guide to Wood Technology, The Taunton Press, with permission

Figure 2.20 Reproduced from Hoadley, R.B. (1990) Understanding Wood: A Craftsman's Guide to Wood Technology, The Taunton Press, with permission

Figure 2.21 Drawing by Bruce Hoadley/LizWray

Figure 2.22 Drawing by Liz Wray

Figure 2.23 Drawing by Liz Wray

Figure 2.24 Drawing by Liz Wray

Figure 2.25 Drawing by Liz Wray

Figure 2.26 Drawing by Liz Wray

Figure 2.27 Drawing by Liz Wray

Figure 2.28 Drawing by Liz Wray

Figure 2.29 Drawing by Liz Wray

Figure 2.30 Drawing by Liz Wray

Figure 3.1 Drawing by Liz Wray

Figure 3.2 Drawing by Liz Wray

Figure 3.3 Courtesy of the V&A Picture Library

Figure 3.4 Courtesy of the V&A Picture Library

Figure 3.5 Drawing by Sherry Doyal/Liz Wray

Figure 3.6 Courtesy of the Victoria and Albert Museum, London

Figure 3.7 Drawing by Kathryn Gill

Figure 3.8 Drawing by Kathryn Gill/Liz Wray

Figure 3.9 Courtesy of Kathryn Gill

Figure 4.1 Drawing by Liz Wray

Figure 4.2 Drawing by Liz Wray

Figure 4.3 Drawing by Liz Wray

Figure 4.4 Drawing by Liz Wray

Figure 4.6 Drawing by Liz Wray after Kumanotani, J, (1988) The Chemistry of Oriental Lacquer (Rhus Verniciflua) in Brommelle, N.S., and Smith, P., (eds) Urushi: Proceedings of the 1985 Urushi Study Group Getty Conservation Institute, Figure 7, p. 248

Figure 4.7 Drawing by Liz Wray

Figure 4.8 Drawing by Liz Wray

Figure 4.9 Drawing by Liz Wray

Figure 4.14 (a,c,d) Drawing by Liz Wray

Figure 5.1 Courtesy of the V&A Picture Library

Figure 5.2 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 5.3 Drawing by Liz Wray

Figure 5.4 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 5.5 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 5.6 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 5.7 From E.O. Espinoza and M. Mann (1992) Identification Guide for Ivory and Ivory Substitutes, 2nd edn, World Wildlife Fund, Baltimore, with permission

Figure 5.8 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 5.9 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 5.10 Courtesy of the V&A Picture Library

Figure 5.11 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 5.12 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 5.13 Courtesy of the V&A Picture Library

Figure 5.14 Courtesy of the V&A Picture Library

Figure 5.15 Courtesy of the V&A Picture Library

Figure 5.16 Courtesy of the V&A Picture Library

Figure 5.17 Courtesy of the V&A Picture Library

Figure 5.18 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 5.20 Drawing by Liz Wray

Figure 6.1 Drawing by Liz Wray

Figure 6.2 Drawing by Liz Wray

Figure 6.3 Drawing by Liz Wray

Figure 6.4 Drawing by Liz Wray

Figure 7.1 Drawing by Liz Wray

Figure 7.2 Drawing by Liz Wray

Figure 7.3 Photograph by Shayne Rivers

Figure 7.4 Reproduced from Hoadley, R.B. (1990) Identifying Wood: Accurate Results with Simple Tools, The Taunton Press, p. 73, with permission

Figure 7.5 Photograph by Nick Umney

Figure 7.6 Reproduced by generous permission of the Central Science Laboratory (CSL) of the Department for Environment, Food and Rural Affairs (DEFRA) © Crown Copyright

Figure 7.7 Reproduced by generous permission of the Central Science Laboratory (CSL) of the Department for Environment, Food and Rural Affairs (DEFRA) © Crown Copyright

Figure 7.8 Courtesy of David Pinniger

Figure 7.9 Courtesy of the Victoria and Albert Museum, London

Figure 7.10 Reproduced by generous permission of the Central Science Laboratory (CSL) of the Department for Environment, Food and Rural Affairs (DEFRA) © Crown Copyright

Figure 7.11 Courtesy of the Victoria and Albert Museum, London

Figure 7.12 Courtesy of the Victoria and Albert Museum, London

Figure 7.13 Courtesy of Mr and Mrs M.J. Luxton

Figure 7.14 Courtesy of the Victoria and Albert Museum, London

Figure 7.15 Drawing by Liz Wray, derived from Thomson (1986)

Figure 7.16 Data compiled by Nick Umney; tabulated by Liz Wray

Figure 7.17 Courtesy of the Victoria and Albert Museum, London

Figure 8.1 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY and the Victoria and Albert Museum, London

Figure 8.2 Drawing by Liz Wray

Figure 8.4 Courtesy of Winterthur Museum, Garden and Library

Figure 8.5 Drawing by Liz Wray

Figure 8.6 Courtesy of the Victoria and Albert Museum, London; photograph by Shayne Rivers

Figure 8.7 Courtesy of the Victoria and Albert Museum, London; photograph by Nigel Bamforth

Figure 8.8 Courtesy of Winterthur Museum, Garden and Library

Figure 8.9 Courtesy of Winterthur Museum, Garden and Library

Figure 8.11 Courtesy of the Victoria and Albert Museum; photograph by Roger Griffith

Figure 8.14 Courtesy of the Victoria and Albert Museum; photographs by Roger Griffith

Figure 8.15 (b) Courtesy of the Victoria and Albert Museum, London; photograph by Roger Griffith

Figure 9.1 Courtesy of the V&A Picture Library

Figure 9.2 Photograph by Shayne Rivers

Figure 9.3 Courtesy of Winterthur Museum, Garden and Library

Figure 9.4 Photograph by Shayne Rivers

Figure 9.5 Photographs by Shayne Rivers

Figure 9.6 Photographs by Shayne Rivers

Figure 9.7 Photograph by Shayne Rivers

Figure 9.8 Photograph by Shayne Rivers

Figure 9.9 Photograph by Shayne Rivers

Figure 9.10 Photograph by Shayne Rivers

Figure 9.11 Photograph by Shayne Rivers

Figure 10.1 Drawing by Liz Wray

Figure 10.2 Drawing by Liz Wray

Figure 10.3 Drawing by Liz Wray

Figure 10.4 Drawings by Liz Wray: (a) after Hayward, C.H. (1967) Furniture Repairs, Evans, ch.8, Fig. 5, with permission

Figure 10.5 Drawings by Liz Wray

Figure 10.6 (a,b) Courtesy of Leeds Museums and Galleries (Lotherton Hall); (c,d,e) Courtesy of the Victoria and Albert Museum, London

Figure 10.7 Drawing by Liz Wray

Figure 10.8 Drawing by Liz Wray

Figure 10.9 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 10.10 Drawing by Liz Wray

Figure 10.11 Drawings by Liz Wray

Figure 10.12 Drawing by Liz Wray

Figure 10.13 Courtesy of the Victoria and Albert Museum, London

Figure 10.14 Courtesy of the Victoria and Albert Museum, London

Figure 10.15 Drawing by Liz Wray

Figure 10.16 Drawings by Liz Wray: (a) after Rodd, J. (1976) Repairing and Restoring Antique Furniture, David & Charles, Fig. 38, with permission

Figure 10.17 Drawings by Liz Wray

Figure 10.18 Photograph by Shayne Rivers

Figure 10.19 Drawings by Liz Wray

Figure 10.20 Courtesy of the Victoria and Albert Museum, London, photograph by Shayne Rivers

Figure 10.21 Drawings by Liz Wray

Figure 10.22 Drawings by Liz Wray

Figure 10.23 (a,b,c) Courtesy of the Victoria and Albert Museum, London

Figure 10.24 Drawing by Neil Trinder/Liz Wray

Figure 10.25 Drawings by Liz Wray

Figure 11.1 Drawing by Liz Wray after Moncrieff, A. and Weaver, G. (1992) Science for Conservators, Vol. 2: Cleaning, Routledge, Fig. 1.1, with permission

Figure 11.2 (a,b) Drawings by Alan Cummings/ Liz Wray; (c) courtesy of the Victoria and Albert Museum, London

Figure 11.3 Courtesy of the Victoria and Albert Museum, London; photograph by Timothy Hayes

Figure 11.4 Photograph by Herb Crossan, the Winterthur, University of Delaware Art Conservation Programme (WUDPAC), with kind permission to reprint

Figure 11.5 Courtesy of the Victoria and Albert Museum, London

Figure 11.6 Drawings by Alan Cummings/Liz Wray

Figure 11.7 Courtesy of the Victoria and Albert Museum, London; photograph by Timothy Hayes

Figure 11.8 Courtesy of the Victoria and Albert Museum, London

Figure 11.9 Julie Arslanoglu based on a graph by Michalski, S, (1990) A Physical Model of the Cleaning of Oil Paint in Cleaning Retouching and Coatings Conference Preprints, IIC, Figure 4, p. 87

Figure 11.10 Based on data from Horie, V. (1992) Materials for Conservation, ButterworthHeinemann, with permission

Figure 11.11 Based on data from Banik, G. and Krist, G. (eds) (1986) Lösungsmittel in der Restaurierung, Verlag der Apfel, p. 101 as reproduced in Timär-Baläzsy, A. and Eastop, D. (1998) Chemical Principles of Textile Conservation, Butterworth-Heinemann, with permission

Figure 11.12-11.14 Based on data from Horie, V. (1992) Materials for Conservation, ButterworthHeinemann, App. 3, p. 219

Figure 11.15 Drawing by Liz Wray

Figure 11.16 Drawing by Liz Wray

Figure 11.17 Drawing by Liz Wray

Figure 11.18 Drawing by Liz Wray

Figure 11.19 Drawing by Liz Wray

Figure 11.20 Based on Moncrieff, A. and Weaver, G. (1992) Science for Conservators, Vol. 2: Cleaning, Routledge, Fig. 5.7, p. 84, after De Jong (1966), with permission

Figure 11.22 Derived from tabulated data in Keys to Chelation: Versene Chelating Agents, Dow Chemical Company, 1985, with permission

Figure 11.23 Courtesy of the Victoria and Albert Museum, London, photograph by Nigel Bamforth

Figure 11.24 Courtesy of Richard Wolbers

Figure 11.25 Courtesy of Hercules

Figure 11.26 Manufacturer's information, Carbopol Resins Handbook, BFGoodrich 1991, Figs 4 and 5, with permission

Figure 12.1 Drawings by Liz Wray

Figure 12.2 Photographs by Shayne Rivers

Figure 12.3 Courtesy of Richard Wolbers

Figure 12.4 Courtesy of Victoria and Albert Museum, London, photographs by Shayne Rivers

Figure 12.5 Drawing by Liz Wray after Thomson, G. (1988) The Museum Environment, ButterworthHeinemann, Fig. 59, with permission

Figure 12.6 Julie Arslanoglu based on (1) Thomson, G. (1988) The Museum Environment, Butterworth-Heinemann, Fig. 59; (2) Mayer, R. (1991) The Artist's Handbook of Materials and Techniques, 5th edn, Faber and Faber, p. 70; (3) Staniforth, S. (1985) Retouching and colour matching: the restorer and metamerism, Studies in Conservation, 30, 101-11, Fig. 4a

Figure 12.7 Drawing by Liz Wray

Figure 12.8 Courtesy of Kate Duffy, Associate Scientist, Analytic Laboratory, Winterthur Museum

Figure 12.9 Courtesy of Degussa-Huls

Figure 12.10 Drawing by Liz Wray after Brill, T.B. (1980) Light: Its Interaction with Art and Antiquities, Plenum Press, p. 103, with permission

Figure 12.11 Courtesy of Degussa-Huls

Figure 12.12 Courtesy of Degussa-Huls

Figure 12.13 Drawing by Liz Wray

Figure 12.14 Drawing by Liz Wray

Figure 12.15 Drawing by Liz Wray

Figure 12.16 Drawing by Liz Wray

Figure 13.1 Courtesy of the Victoria and Albert Museum, London

Figure 13.2 Courtesy of Kate Duffy, Associate Scientist, Analytical Laboratory, Winterthur Museum

Figure 13.3 Photograph by Shayne Rivers

Figure 13.4 Photograph by Shayne Rivers

Figure 13.5 Timar-Balazsy, A. and Eastop, D. (1998) Chemical Principles of Textile Conservation, Butterworth- Heinemann, pp. 226, 232, with permission

Figure 13.6 Courtesy of Kate Duffy, Associate Scientist, Analytical Laboratory, Winterthur Museum

Figure 13.7 Photograph by Shayne Rivers

Figure 13.8 Photographs by Shayne Rivers

Figure 13.10 Courtesy of the Victoria and Albert Museum, London; photograph by Nanke Schellmann

Figure 13.11 Courtesy of Winterthur Museum, Garden and Library

Figures 13.12 Drawing by Liz Wray after Hayward, C. (1988) Staining and Polishing, Evans Bros, London/Unwin Hyman, Fig. 14, with permission

Figure 13.13 Drawing by Liz Wray after Hayward, C. (1988) Staining and Polishing, Evans Bros, London/Unwin Hyman, Fig. 16, with permission

Figure 13.14 Drawing by Liz Wray after Hayward, C. (1988) Staining and Polishing, Evans Bros, London/Unwin Hyman, Fig. 15, with permission

Figure 13.15 Courtesy of the Victoria and Albert Museum, London

Figure 13.16 Courtesy of Degussa Hüls

Figure 13.17 Courtesy of Degussa Hüls

Figure 14.1 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.2 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.3 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 14.4 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.5 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.6 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.7 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.8 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.9 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.10 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.11 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 14.12 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.13 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.14 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.15 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.16 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.17 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.18 Courtesy of Arnold Wiggins and Sons Ltd

Figure 14.19 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 14.20 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 15.1 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 15.2 Courtesy of Jodie Lee Utter

Figure 15.3 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 15.4 Courtesy of the Victoria and Albert Museum, photograph by Shayne Rivers

Figure 15.5 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 15.6 Courtesy of the Victoria and Albert Museum, London, photograph by Simon Metcalf

Figure 15.7 Courtesy of the Victoria and Albert Museum, London

Figure 15.8 Courtesy of the Victoria and Albert Museum, London, photographs by Shayne Rivers

Figure 15.9 Courtesy of the Victoria and Albert Museum, London, photographs by Sophia Wills

Figure 15.10 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 15.11 Courtesy of the Victoria and Albert Museum, London

Figure 15.12 Courtesy of the Victoria and Albert Museum, London

Figure 15.13 Courtesy of the Victoria and Albert Museum, London, photograph by Shayne Rivers

Figure 15.14 Courtesy of the Victoria and Albert Museum, London

Figure 15.15 Courtesy of P.R. Jackson

Figure 15.16 Courtesy of the Victoria and Albert Museum, London, photographs by Shayne Rivers

Figure 15.17 Courtesy of P.R. Jackson

Figure 15.18 Courtesy of the Victoria and Albert Museum, London

Figure 16.1 Courtesy of the Victoria and Albert Museum, London

Figure 16.2 Courtesy of the Victoria and Albert Museum, London

Figure 16.3 Courtesy of the Victoria and Albert Museum, London, photograph by Roger Griffith

Figure 16.4 Courtesy of the Victoria and Albert Museum, London, photograph by Paul Robins

Figure 16.5 Drawings by Kathryn Gill/Liz Wray

Figure 16.6 Drawings by Kathryn Gill/Liz Wray

Figure 16.7 Courtesy of the Leather Conservation Centre, Northampton, UK

Figure 16.8 Drawing by Timothy Hayes/Liz Wray

Figure 16.9 Courtesy of the Leather Conservation Centre, Northampton, UK

Figure 16.10 Courtesy of the Victoria and Albert Museum, London, photographs by Shayne Rivers

Figure 16.11 Courtesy of the Victoria and Albert Museum, London

Figure 16.12 Courtesy of the Victoria and Albert Museum, London, photograph by Shayne Rivers

Figure 16.13 Courtesy of the Victoria and Albert Museum, London, photograph by Marion Kite

Figure 16.14 Courtesy of the Victoria and Albert Museum, London

Figure 16.15 Photograph by Herb Crossan, Winterthur Museum Library and Gardens, with kind permission to reprint

Figure 16.16 Drawing by Liz Wray after Feller, R.L., Stolow, N. and Jones, E.H. (1985) On Picture Varnishes and their Solvents, National Gallery of Art, Washington, DC, Fig. 4-2, with permission

Figure 16.17 Layout by Brenda Keneghan

Figure 16.18 Courtesy of Shayne Rivers

Figure 16.19 Courtesy of the Victoria and Albert Museum, London, photograph by Shayne Rivers

Figure 16.20 Courtesy of Günther Heckmann

Figure 16.21 Drawing by Liz Wray

Figure 16.22 Courtesy of Günther Heckmann

Figure 16.23 Courtesy of the Victoria and Albert Museum, London, photographs by Shayne Rivers

Figure 16.24 Courtesy of the Victoria and Albert Museum, London, photograph by Rowan Carter

Figure 16.25 (a) photograph by Hiroshi Kato (b) photograph by Shayne Rivers

Figure 16.26 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 16.27 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 16.28 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Figure 16.29 Courtesy of The Art Conservation Department, Buffalo State College, Buffalo, NY

Part 1

History

Wood Working for Amateur Craftsman

Wood Working for Amateur Craftsman

THIS book is one of the series of Handbooks on industrial subjects being published by the Popular Mechanics Company. Like Popular Mechanics Magazine, and like the other books in this series, it is written so you can understand it. The purpose of Popular Mechanics Handbooks is to supply a growing demand for high-class, up-to-date and accurate text-books, suitable for home study as well as for class use, on all mechanical subjects. The textand illustrations, in each instance, have been prepared expressly for this series by well known experts, and revised by the editor of Popular Mechanics.

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