"Top 13 reasons why we don't use leather dressings at the ASM" by Carrlee (2012)

Carrlee, Ellen; "Top 13 reasons why we don't use leather dressings at the ASM", Alaska State Museums Bulletin 58 (2012) 1-15


"Marcel Duchamp's Boîtes-en-valise: collaboration and conservation" by Campbell at al (2012)

Campbell, Brenna; Lévèque, Élodie; Jue, Erin; “Marcel Duchamp's Boîtes-en-valise: collaboration and conservation”, Studies in Conservation 57, Supplement 1 (2012) 52-60
Between 1941 and 1968, Marcel Duchamp produced a series of roughly 300 boxes, or Boîtes, containing, in his words, ‘everything important that I have done’ (Sargeant, W. 1952. Dada's Daddy: A New Tribute is Paid to Duchamp, Pioneer of Nonsense and Nihilism. Life, 32(17): 102). Over the course of 30 years and seven editions, Duchamp and his assistants filled these ‘portable museums’ with miniature reproductions of his most significant works. The materials used included leather, paper, cloth, metal, glass, ceramic, cellulose acetate, gouache, varnish, and wood. The variety of the constituent materials, and the complex physical and conceptual ways in which they interact, make conservation treatment of the Boîtes unusually challenging. The conservator must consider both the condition of the specific Boîte being treated and its relationship to the dozens of other Boîtes still in existence. After an overview of the history and manufacture of Duchamp's miniature museum, the results of a pilot survey of the condition of 19 Boîtes will be presented, and treatment solutions to the most common condition problems proposed.

Marcel Duchamp’s world in a box: fixing a famous 'valise' at the Fine Arts Museums of San Francisco (2012)


The boot and shoe trades in London and Paris in the long eighteenth century by Riello (2002)

Riello, Giorgio; The boot and shoe trades in London and Paris in the long eighteenth century, Doctoral thesis, University of London (2002)

This thesis examines the evolution of pre-industrial shoemaking in London and Paris between the 1680s and the 1850s, treating this period as a whole. The relevance of these two cities is based on the international role they played in the clothing sector. Both cities not only dominated national manufacturing, but were able to influence the standard of production and European fashion. My research aims to construct a comparison of the two productive centres leading to a contrasting study of pre-conditions, strategies and influences in shoemaking. The starting point is a broad view of the 'regulative framework' of the sector: the importance of the raw material market (leather and textiles) and the role of guilds, their organisation and their control of the market. A chapter dedicated to consumption explores the relationship between the London shoe market and the influence of Parisian fashion. The interest in consumption is motivated also by the debate on what economic and social historians consider to be 'mass production' as the other face of 'mass consumption'. A chapter dedicated to retailing tries to link consumption to production. My research is then focused on a study of the organisation of production in the two cities. Different typologies of producers are related to different consumer choices showing how new consumer practices and retailing facilities re-shaped production. Finally the link between fashion changes and marketing techniques (for instance the use of sizes, brands or the distinction between right and left shoes) is a fruitful field of comparative research. The last two chapters of the thesis focus on the first half of the nineteenth century. Particular attention is dedicated to the importation into England of large quantities of women's shoes from France. The crisis that the London sector faced after 1815 explains a series of changes in the market and in the role played by the British metropolis in directing the sector. Very different appears to be the Parisian case, where provincial producers flourished only after the mechanisation of the sector. By the 1850s mechanisation meant the beginning of a new phase in the trade.


El gremio cordobés de guadamecileros y su producción durante los siglos XVI y XVII por Alors Bersabé (2012)

Alors Bersabé, Teresa Mª;  El gremio cordobés de guadamecileros y su producción durante los siglos XVI y XVII, Tesis doctoral en Patrimonio, Departamento de Historia del Arte, Arqueología y Música, Universidade de Córdoba (2012)


"On tanning and leather-dressing" by Aikin (1833-1834)

Aikin, A.; “On tanning and leather-dressing”, Transactions of the Society, Instituted at London, for the Encouragement of Arts, Manufactures, and Commerce  50, Part I (1833-1834) 192-214