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# Title Working Group Year/Venue Paper/poster
1 Cloth of metal (Indian Shamiana): Scientific Characterisation of Metal threads Corrosion.
Fatmaa El Zahraa Sadat *, Wafaa Mohamed, Mai Rifai
Metals 2019 Neuchâtel Paper
2 Equipment Identification and the Development of Dry-Ice Blasting Parameters for Cleaning Archaeological Wrought Iron, Copper-Alloys, and Gray Cast Iron
William Hoffman*, Laurie King
Metals 2019 Neuchâtel Paper
3 "Interactive" Didactic Material in Conservation
B. de Tapol*
Preventive conservation 1996 Edinburgh Paper
4 "The granulated donkey?" Shagreen: Some aspects of conservation
Jutta Gopfrich*
Leather and related materials 1999 Lyon Paper
5 "A study in Scarlet" – unveiling the mystery of the Portuguese medieval illumination palette
Catarina Miguel*
Art Technological Source Research 2011 Lisbon Paper
6 "History is my material" - Anselm Kiefer
Christina Young*, Amy Griffin, Tom Hale
Paintings 2014 Melbourne Paper
7 "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 2011 Lisbon Poster
8 'A drop or two': Late medieval recipes on the use of resins and varnishes in paints
Indra Kneepkens*
Art Technological Source Research 2017 Copenhagen Poster
9 'Like with like’: A comparison of natural and synthetic stitching threads used in textile conservation
Sarah Benson*, Frances Lennard, Margaret J. Smith
Textiles 2014 Melbourne Paper
10 'Of only modest artistic quality': Reconsidering the significance of firm ecclesiastical wall painting in England, 1845–1920
Elizabeth Woolley*
Murals, Stone, and Rock Art 2017 Copenhagen Paper
11 "More than a pure technical sensation": Twentieth-century metallic paints, their formulations, and use in paintings
Maria Kokkori*, Ken Sutherland, Johanna Salvant, Francesca Casadio, Julie Barten, Carol Stringari
Art Technological Source Research 2017 Copenhagen Paper
12 (Rogers 2).7H2O
Andrew Thorn*
Mural paintings/Rock art 1996 Edinburgh Paper
13 (S)watch it! Identifying, replicating, and restoring the original color of di Suvero’s K-piece
Nikki van Basten*, Susanne Kensche, Lydia Beerkens
Modern Materials and Contemporary Art 2017 Copenhagen Paper
14 (YCP) EVALUATION OF DIFFERENT GAP FILLING MATERIALS FOR METAL ARTEFACTS EXPOSED TO HIGH TEMPERATURE AND HIGH RELATIVE HUMIDITY
Abdelaziz Elmarazky*, Abdelaziz Elmarazky-, The Grand Egyptian Museum- Conservation Centre (GEM-CC), Alice Boccia Paterakis, Japanese Institute of Anatolian Archaeology, Kaman, Kirsehir, Turkey.
Metals 2019 Neuchâtel Paper
15 [Un:]Reasonable – broadening acceptable climate parameters for furniture on open display
Boris Pretzel*
Preventive Conservation 2014 Melbourne Paper
16 ´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 2008 New Delhi Paper
17 ‘A perfect ground is the very soul of the art’ (Kingston 1835): ground recipes for oil painting, 1600–1900
Maartje Witlox*, Leslie Carlyle
Paintings 2005 The Hague Paper
18 ‘All that glitters is not pseudogold’: a study in pseudopseudogilding
Gerhard Eggert*, Hartmut Kutzke
Metals 2002 Rio de Janeiro Paper
19 ‘Anti-scrape’ in the Rijksmuseum, Amsterdam: the reconstruction of the colours of Cuypers
Anne van Grevenstein*
Sculpture and Polychromy 2005 The Hague Paper
20 ‘Common platform’ courses promote conservation
Elizabeth E Peacock*
Education and Training in Conservation 2014 Melbourne Poster
21 ‘EthCon’ – Teaching Ethics in Ethnographic Objects Conservation
Cord Brune*
Education and Training in Conservation 2011 Lisbon Paper
22 ‘Less slick and not so clever’ The matt aesthetic and the art of E. Phillips Fox (1865-1915)
Catherine Nunn*
Paintings 2014 Melbourne Paper
23 ‘Pack Mentality: The development of Tissue Gel Composite Cleaning at SRAL’
Gwendoline R. Fife*
Paintings 2011 Lisbon Paper
24 ‘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 2005 The Hague Paper
25 ‘Purpura’ and proto-changeant: the earliest representations of shot-silk fabrics
mark clarke*
Art Technological Source Research 2011 Lisbon Paper
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