Report for Analytical Chemists
Art," Boston Museum of Fine Arts, Boston, Mass., 1967, pp 172-83. (8) R. Kleber and F . Tricot-Marckx, "Identification d'une Vernis Moderne Recouvrant la Décente de Croix de Rubens," Bulletin, Institut Royal du Patrimoine Artistique, Brussels, Belgium, 6, 63 (1963). (9) R. Feller, N . Stolow, and E . Jones, "On Picture Varnishes and Their Solvents," rev. éd., Case Western Reserve University, Cleveland, Ohio, 1971. (10) F . Fleider, Stud. Conserv., 13, 49 (1968). (11) R. J. Gettens, "Freer Chinese Bronzes, Vol I I , Tech. Studies," Smithsonian Inst., Washington, D.C., 1969. (12) H. Barker, "Spectrographic and Xray Diffraction Methods in the Museum Laboratory," in "Application of Science in the Examination of Works of Art," Boston Museum of Fine Arts, Boston, Mass., 1967, pp 218-21. (13) T. Cairns, "Spark Source Mass Spec-
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Conservation," several articles on conservation, and at the moment has two definitive articles in press, "Technique of Indian Miniature Paintings," and "South Indian Bronzes."
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Ben B. J o h n s o n , Head of the Con servation Center, Los Angeles County Museum of Art, received his BA in mathematics at the Col lege of William and Mary and his MA in art history at the Institute of Fine Arts, NYU. He received the Certificate in Art Conservation from the Conservation Center of NYU. In Italy he studied at the Uffizzi with Lionetto Tintori and later received a Diploma in Art Conservation from Ghent Univer sity. In 1964 he became Conserva tor of European Paintings at the Freer Gallery of Art, Smithsonian Institution. In 1967 he established the Conservation Center of the Los Angeles County Museum of Art and was appointed Lecturer in Art Con servation in the Graduate Art His tory Department at UCLA. A Fel low of the Institute for the Conser vation of Antiquities and Works of Art and a Consultant Fellow of the Conservation Center, Institute of Fine Arts, ATYU, he has lectured widely in museums on the West Coast. He has published a small book entitled "Introduction to Art
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trometry," IIC-AG Technical Papers 1968-70, Conservation Center, NYU. New York, N.Y., 1970, pp 47-58. (14) W. Young, "The Laser Microprobe and its Application to the Analysis of Works of Art," in "Application of Science in the Examination of Works of Art, Boston Museum of Fine Arts, Boston, Mass., 1967, ρ 230. (15) For further reading, see "Studies in Conservation," Aberdeen University Press, Aberdeen, Scotland, published quarterly, 1955—present ; also, "Recent Advances in Conservation," G. Thomp son, Ed., Butterworths, London, En gland, 1963. (16) For various bleaches, see H. J. Plenderleith, "The Conservation of Antiqui ties and Works of Art," Oxford Univer sity Press, London, England, 1956. (17) W. J. Barrow, Spray Deacidification Permanence/Durability of the Book III, W. J. Barrow Research Laboratory, Richmond, Va., 1964.
ANALYTICAL CHEMISTRY, VOL. 4 4 , NO. 1 , JANUARY 1972
Thomas Cairns, Conservation Chemist for the Los Angeles County Museum of Art, received his PhD degree in chemical spec troscopy from the University of Glasgow, Scotland, in 1965. He joined Heyden and Son, Ltd., as publishing director in 1965 and served in this capacity until his ap pointment at the Museum in June 1968. Dr. Cairns was editor and author of the series, "Spectroscopy in Education," Heyden, 1967, and is the author of numerous papers dealing with hydrogen bonding in natural products. He was a sum mer session lecturer in chemistry at UCLA, 1968—71, and is a science advisor to the Food and Drug Ad ministration in Los Angeles. Cur rently, Dr. Cairns is engaged in the application of mass spectrometry in an attempt to establish the origin of art objects via their trace analysis.
