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# Title Authors Working Group Venue/Year Presented Paper/poster
1 Çatalhöyük Digital Preservation Project: Pilot program in integrated digital monitoring strategies Ashley Lingle*, Nicola Lercari - nlercari@ucmerced.edu Documentation Copenhagen 2017 Paper
2 "A study in Scarlet" – unveiling the mystery of the Portuguese medieval illumination palette Catarina Miguel* Art Technological Source Research Lisbon 2011 Paper
3 "History is my material" - Anselm Kiefer Christina Young*, Amy Griffin, Tom Hale Paintings Melbourne 2014 Paper
4 "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
5 '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
6 '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
7 '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
8 "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
9 (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
10 [Un:]Reasonable – broadening acceptable climate parameters for furniture on open display Boris Pretzel* Preventive Conservation Melbourne 2014 Paper
11 ‘Common platform’ courses promote conservation Elizabeth E Peacock* Education and Training in Conservation Melbourne 2014 Poster
12 ‘EthCon’ – Teaching Ethics in Ethnographic Objects Conservation Cord Brune* Education and Training in Conservation Lisbon 2011 Paper
13 ‘Less slick and not so clever’ The matt aesthetic and the art of E. Phillips Fox (1865-1915) Catherine Nunn* Paintings Melbourne 2014 Paper
14 ‘Pack Mentality: The development of Tissue Gel Composite Cleaning at SRAL’ Gwendoline R. Fife* Paintings Lisbon 2011 Paper
15 ‘Purpura’ and proto-changeant: the earliest representations of shot-silk fabrics mark clarke* Art Technological Source Research Lisbon 2011 Paper
16 ‘Reducing risks to cultural heritage’: Analysis of a course metamorphosis. catherine antomarchi* Education and Training in Conservation Melbourne 2014 Paper
17 “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
18 “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
19 “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
20 “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
21 “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
22 “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
23 “The role of conservation in the preservation of the authenticity of furniture” Stéphanie Auffret* Wood, Furniture, and Lacquer Lisbon 2011 Paper
24 “Treatment of air dried archaeological wool textiles from waterlogged environment”. Annemette Bruselius Scharff* Wet Organic Archaeological Materials Melbourne 2014 Paper
25 “Vous êtes une Trinité”. The evolution of the 1950-51 multidisciplinary study and treatment of the Ghent Altarpiece under the gaze of an international commission. Helene Dubois* Theory and History of Conservation Lisbon 2011 Paper
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