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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
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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