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# Title Authors Working Group Venue/Year Presented Paper/poster
1 "A study in Scarlet" – unveiling the mystery of the Portuguese medieval illumination palette Catarina Miguel* Art Technological Source Research Lisbon 2011 Paper
2 "History is my material" - Anselm Kiefer Christina Young*, Amy Griffin, Tom Hale Paintings Melbourne 2014 Paper
3 "Weeping sculptures": Research into the degradation and conservation of artworks from the series “Stage evidence” by Loris Cecchini. Marta Palmeira* Modern Materials and Contemporary Art Lisbon 2011 Poster
4 'A drop or two': Late medieval recipes on the use of resins and varnishes in paints Indra Kneepkens* Art Technological Source Research Copenhagen 2017 Poster
5 'Like with like’: A comparison of natural and synthetic stitching threads used in textile conservation Sarah Benson*, Frances Lennard, Margaret J. Smith Textiles Melbourne 2014 Paper
6 'Of only modest artistic quality': Reconsidering the significance of firm ecclesiastical wall painting in England, 1845–1920 Elizabeth Woolley* Murals, Stone, and Rock Art Copenhagen 2017 Paper
7 "More than a pure technical sensation": Twentieth-century metallic paints, their formulations, and use in paintings Maria Kokkori*, Ken Sutherland - ksutherland@artic.edu; Johanna Salvant - jsalvant@northwestern.edu; Francesca Casadio - fcasadio@artic.edu; Julie Barten - jbarten@guggenheim.org; Carol Stringari - cstringari@guggenheim.org Art Technological Source Research Copenhagen 2017 Paper
8 (S)watch it! Identifying, replicating, and restoring the original color of di Suvero’s K-piece Nikki van Basten*, Susanne Kensche - susannekensche@krollermuller.com; Lydia Beerkens - lydia.beerkens@planet.nl Modern Materials and Contemporary Art Copenhagen 2017 Paper
9 [Un:]Reasonable – broadening acceptable climate parameters for furniture on open display Boris Pretzel* Preventive Conservation Melbourne 2014 Paper
10 ´Ajami - rooms – polychrome wooden interior decorations from Syria of the 17th to the 19th centuries: a view into art technology and conservation problems Anke Scharrahs* Sculpture, Polychromy, and Architectural Decoration New Delhi 2008 Paper
11 ‘A perfect ground is the very soul of the art’ (Kingston 1835): ground recipes for oil painting, 1600–1900 Maartje Witlox*, Leslie Carlyle Paintings The Hague 2005 Paper
12 ‘Anti-scrape’ in the Rijksmuseum, Amsterdam: the reconstruction of the colours of Cuypers Anne van Grevenstein* Sculpture and Polychromy The Hague 2005 Paper
13 ‘Common platform’ courses promote conservation Elizabeth E Peacock* Education and Training in Conservation Melbourne 2014 Poster
14 ‘EthCon’ – Teaching Ethics in Ethnographic Objects Conservation Cord Brune* Education and Training in Conservation Lisbon 2011 Paper
15 ‘Less slick and not so clever’ The matt aesthetic and the art of E. Phillips Fox (1865-1915) Catherine Nunn* Paintings Melbourne 2014 Paper
16 ‘Pack Mentality: The development of Tissue Gel Composite Cleaning at SRAL’ Gwendoline R. Fife* Paintings Lisbon 2011 Paper
17 ‘Pesce, polyurethane and what happens today’. Results from the AXA Art Conservation Project in cooperation with the Vitra Design Museum Kathrin Kessler*, Thea B van Oosten Modern Materials and Contemporary Art The Hague 2005 Paper
18 ‘Purpura’ and proto-changeant: the earliest representations of shot-silk fabrics mark clarke* Art Technological Source Research Lisbon 2011 Paper
19 ‘Reducing risks to cultural heritage’: Analysis of a course metamorphosis. catherine antomarchi* Education and Training in Conservation Melbourne 2014 Paper
20 “El proceso de recuperación de un conjunto de tablas policromadas del s. XV halladas en un contexto arqueológico en Alcózar (Soria). Nuevos retos metodológicos para la conservación” Cristina Gómez González* Wet Organic Archaeological Materials Lisbon 2011 Paper
21 “Evaluation of nanotechnology for conservation of historical buildings: application of TiO2 nano-particle as a self-cleaning and antimicrobial coating material to surface of calcareous stone” sayed mansour*, Amani abd el Hafez., Yasunori Matsuda Murals, Stone, and Rock Art Melbourne 2014 Poster
22 “I try to keep surfaces as anonymous as possible”. Conservation issues in Richard Serra's monumental paintstick drawings on canvas. Meta Chavannes*, Hannie Diependaal, henk van keulen, Louise Wijnberg, Marc Bongaarts, Margje Leeuwestein, Suzan Catucci-de Groot Modern Materials and Contemporary Art Melbourne 2014 Paper
23 “It felt a little like being let into a secret– “ A community-influenced museum exhibition on Technical Art History Jorgen Wadum*, A.H. Christensen, B.A. Larsen, F. Knap, H. Tempest Education and Training in Conservation Melbourne 2014 Poster
24 “Shipwreck Conservation Centre and Studio Warehouse in Tczew – construction of a cultural infrastructure branch of The Polish Maritime Museum in Gdańsk.” Katarzyna Schaefer*, Irena Jagielska, Irena Rodzik, Malgorzata Kowalska Education and Training in Conservation Melbourne 2014 Poster
25 “The nocturnal conspiracy of Claudius Civilis in the Schakerbosh”(1659 and 1662) by Govert Flinck and Jurriaen Ovens: An analysis of its remarkable genesis, painting technique, function and appearance. Froment* Paintings Lisbon 2011 Paper
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