| # |
Title |
Working Group |
Year/Venue |
Paper/poster |
| 1 |
A conservator as an art doctor: The role of medical metaphors in conservation
Yuka Okawa*
|
Theory, History, and Ethics of Conservation |
2023 Valencia |
Poster |
| 2 |
Cloth of metal (Indian Shamiana): Scientific Characterisation of Metal threads Corrosion.
Fatmaa El Zahraa Sadat *, Wafaa Mohamed, Mai Rifai
|
Metals |
2019 Neuchâtel |
Paper |
| 3 |
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 |
| 4 |
"Are you still cooking or already eating?" – The Reinstallation of a Frankfurt Kitchen (1926–1931) Provides a New Understanding of Built-In Furniture of the Period
Christian Dressen *
|
Wood, Furniture, Lacquer |
2016 Potsdam |
Paper |
| 5 |
"Interactive" Didactic Material in Conservation
B. de Tapol*
|
Preventive conservation |
1996 Edinburgh |
Paper |
| 6 |
"The granulated donkey?" Shagreen: Some aspects of conservation
Jutta Gopfrich*
|
Leather and related materials |
1999 Lyon |
Paper |
| 7 |
"A study in Scarlet" – unveiling the mystery of the Portuguese medieval illumination palette
Catarina Miguel*
|
Art Technological Source Research |
2011 Lisbon |
Paper |
| 8 |
"History is my material" - Anselm Kiefer
Christina Young*, Amy Griffin, Tom Hale
|
Paintings |
2014 Melbourne |
Paper |
| 9 |
"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 |
| 10 |
'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 |
| 11 |
'Facelifts & Makeovers': Educating a larger audience about the mysteries and challenges of conservation
Sabrina Meloni*, Quentin Buvelot
|
Education and Training in Conservation |
2023 Valencia |
Paper |
| 12 |
'Lai rod nam': Thai lacquer decoration at the wood court of King Sanphet VIII, Wat Sai
Radchada Buntem*
|
Wood, Furniture, and Lacquer |
2023 Valencia |
Paper |
| 13 |
'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 |
| 14 |
'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 |
| 15 |
"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 |
| 16 |
(Re)sinking history: developing a strategy for the wet storage of ship timbers
Nichole Doub *, Tatiana Niculescu
|
Wet Organic Archaeological Materials |
2023 Mainz |
Paper |
| 17 |
(Rogers 2).7H2O
Andrew Thorn*
|
Mural paintings/Rock art |
1996 Edinburgh |
Paper |
| 18 |
(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 |
| 19 |
(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 |
| 20 |
[Un:]Reasonable – broadening acceptable climate parameters for furniture on open display
Boris Pretzel*
|
Preventive Conservation |
2014 Melbourne |
Paper |
| 21 |
´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 |
| 22 |
‘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 |
| 23 |
‘All that glitters is not pseudogold’: a study in pseudopseudogilding
Gerhard Eggert*, Hartmut Kutzke
|
Metals |
2002 Rio de Janeiro |
Paper |
| 24 |
‘Anti-scrape’ in the Rijksmuseum, Amsterdam: the reconstruction of the colours of Cuypers
Anne van Grevenstein*
|
Sculpture and Polychromy |
2005 The Hague |
Paper |
| 25 |
‘Common platform’ courses promote conservation
Elizabeth E Peacock*
|
Education and Training in Conservation |
2014 Melbourne |
Poster |