Carnazza Paola. Using high molecular weight polysaccharides to clean vinyl paintings: a case study on a mixed-media contemporary artwork and experimental tests
(1)
Caruso Francesco. Edvard Munch's monumental Aula paintings: a review of soilling and surface cleaning issues and the search for new soultions
(1)
Christensen Marie. Bulging in wax-resin impregnated canvas paintings
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Ciatti Marco (1955- ). An unusual case of integration and its solution
(1)
Cornwell Annie. The application of water-based cleaning systems in the treatment of George Stubbs' wax paintings
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Cove Sarah. Retouching with a PVA resin medium
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Cross Maureen. Retouching media for acrylic paintings
(1)
Cuellar Santiago. Non-Invasive Colour Restoration of Mark Rothko's Harvard Murals Using Light from a Digital Projector
(1)
Dunkerton Jill (1952- ). Retouching with Gamblin conservation colours
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Eikema Hommes Margriet van (1969- ). Vivid Colours in the Golden Room: An educated but tentative reconstruction of an ensemble by Pellegrini in the Mauritshuis
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Ellison Rebecca
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Evans Stig. Colour theory and the application of a portable spectrophotometer for retouching
(1)
Ferrer Jin Strand. Investigating surface phenomena in paints and paintings by Edvard Munch (1863a -1944) – in the context of the artist’s painting materials
(1)
Filtenborg Troels (1951- ). Colour Changes due to the Fading of Prussian Blue in Danish Golden Age Paintings
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Folkes Simon. Texturing fills using a silicone mould
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Francone Serena. Using high molecular weight polysaccharides to clean vinyl paintings: a case study on a mixed-media contemporary artwork and experimental tests
(1)
Froysaker Tine (1957- ). Edvard Munch's monumental Aula paintings: a review of soilling and surface cleaning issues and the search for new soultions
(1)
Gent Alexandra
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Gregers-Hoegh Cecilia. Bulging in wax-resin impregnated canvas paintings
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Gschwind Rudolf (1949- ). Non-Invasive Colour Restoration of Mark Rothko's Harvard Murals Using Light from a Digital Projector
(1)
Hanson Andrew. Colour theory and the application of a portable spectrophotometer for retouching
(1)
Harrison Lynne. The conservation of two water-sensitive 14th century Italian fresco fragments by Spinello Aretino previously treated and displayed as easel paintings in the 19th century
(1)
Haswell Raplh. Vivid Colours in the Golden Room: An educated but tentative reconstruction of an ensemble by Pellegrini in the Mauritshuis
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Hellen Rebecca (1972- ). 'It is a formal problem to represent water to describe water because it can be anything': watery subjects media materials and conservations solutions for paintings by David Hockney
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Hendriks Ella. Paintings fade like flowers: colour change in paintings by Vincent van Gogh
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Henriksen Karen-Marie. Bulging in wax-resin impregnated canvas paintings
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Higgs Sally. Paintings affected by mould at the Palace of Westminster
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Hoekstra Ivo. Vivid Colours in the Golden Room: An educated but tentative reconstruction of an ensemble by Pellegrini in the Mauritshuis
(1)
Hoffmeister Christine. Non-Invasive Colour Restoration of Mark Rothko's Harvard Murals Using Light from a Digital Projector
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Hollis David. Methodology for monitoring the impact of moisture on lined canvas paintings in historic houses
(1)
Howard Helen. The conservation of two water-sensitive 14th century Italian fresco fragments by Spinello Aretino previously treated and displayed as easel paintings in the 19th century
(1)
Hull Alyssa. Investigating surface phenomena in paints and paintings by Edvard Munch (1863a -1944) – in the context of the artist’s painting materials
(1)
Keith Larry. Colour change and restoration
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Kempski Mary. The art of tempera retouching
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Khandekar Narayan (1964- ). Non-Invasive Colour Restoration of Mark Rothko's Harvard Murals Using Light from a Digital Projector
(1)
Koneczny Peter. An introduction to B72 Retouching Gels
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Koneczny Peter. Properties of pigments retouching media and their use
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Krarup Andersen Cecil. Bulging in wax-resin impregnated canvas paintings
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Lee Judith. Colour change and modern paints; an overview
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Lowry Kate. Retouching with Paraloid B-72
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Mancusi-Ungaro Carol. Non-Invasive Colour Restoration of Mark Rothko's Harvard Murals Using Light from a Digital Projector
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Massing Ann. The history of egg tempera as a retouching medium
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Meloni Sabrina. Vivid Colours in the Golden Room: An educated but tentative reconstruction of an ensemble by Pellegrini in the Mauritshuis
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Meredith Clare. Twenty-five years after the Perth Museum and Art Gallery flood: reflection
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Miller Eric. The conservation of two water-sensitive 14th century Italian fresco fragments by Spinello Aretino previously treated and displayed as easel paintings in the 19th century
(1)
Mohan Ankit. Non-Invasive Colour Restoration of Mark Rothko's Harvard Murals Using Light from a Digital Projector
(1)
Mortensen Martin N. Bulging in wax-resin impregnated canvas paintings
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Ormsby Bronwyn. 'It is a formal problem to represent water to describe water because it can be anything': watery subjects media materials and conservations solutions for paintings by David Hockney
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Ormsby Bronwyn. Colour change and modern paints; an overview
(1)
Ormsby Bronwyn. Edvard Munch's monumental Aula paintings: a review of soilling and surface cleaning issues and the search for new soultions
(1)
Padfield Joseph. An Introduction to the Measurement and Comparison of Light Sources used Within Cultural Heritage
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Phenix Alan. The composition and chemistry of eggs and egg tempera
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Pottasch Carol (1958- ). Vivid Colours in the Golden Room: An educated but tentative reconstruction of an ensemble by Pellegrini in the Mauritshuis
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Rae Caroline. Lost Purples: Detection Composition and Reconstruction: Re-discovering the Appearance and Contemporary Resonance of Purple Paint in Tudor and Stuart Portraits
(1)
Raskar Ramesh (1970- ). Non-Invasive Colour Restoration of Mark Rothko's Harvard Murals Using Light from a Digital Projector
(1)
Reddington Sophie. Texturing fills using a silicone mould
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Richardson Emma. Methodology for monitoring the impact of moisture on lined canvas paintings in historic houses
(1)
Roma Paolo. An unusual case of integration and its solution
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Santacesaria Andrea. The conservation legacy of the flood of 1966: the experience of the Opificio delle Pietre Dure in Florence through the restoration of the The last supper by Giorgio Vasari
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Sartiani Oriana (1960- ). An unusual case of integration and its solution
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Schneider Enriquez Mary. Non-Invasive Colour Restoration of Mark Rothko's Harvard Murals Using Light from a Digital Projector
(1)
Scott Rachel. 'It is a formal problem to represent water to describe water because it can be anything': watery subjects media materials and conservations solutions for paintings by David Hockney
(1)
Seed Alison. Paintings affected by mould at the Palace of Westminster
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Severini Leonardo. An unusual case of integration and its solution
(1)
Sheldon Libby. Lost Purples: Detection Composition and Reconstruction: Re-discovering the Appearance and Contemporary Resonance of Purple Paint in Tudor and Stuart Portraits
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Sims Shelley. Retouching media for acrylic paintings
Smithen Patricia. Retouching media for acrylic paintings
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Sozzani Laurent. Pushing the borders of retouching and reconstruction: can enough ever be too much?
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Speleers Lidwien. Choosing colour ; the reconstruction of green textiles in The National Synod by Pouwel Weyts
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Spring Marika. Fading darkening browning blanching: a review of our current understanding of colour change and its consequences in old master paintings
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Stenger Jens (1970- ). Non-Invasive Colour Restoration of Mark Rothko's Harvard Murals Using Light from a Digital Projector
(1)
Stols-Witlox Maartje (1972- ). Edvard Munch's monumental Aula paintings: a review of soilling and surface cleaning issues and the search for new soultions
(1)
Stoveland Lena Porsmo. Edvard Munch's monumental Aula paintings: a review of soilling and surface cleaning issues and the search for new soultions
(1)
Sucević Miklin Maja. The challenges of reconstructing water-damaged paint layers on painted wooden panelling
(1)
Syversen Terje. Investigating surface phenomena in paints and paintings by Edvard Munch (1863a -1944) – in the context of the artist’s painting materials
(1)
Thickett David. Methodology for monitoring the impact of moisture on lined canvas paintings in historic houses
(1)
Townsend Joyce H. Microfading: a useful tool for paintings conservators?
(1)
Turnbull Rachel
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Verhave Johanneke. Choosing colour ; the reconstruction of green textiles in The National Synod by Pouwel Weyts
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Vila Anna. Colour Changes due to the Fading of Prussian Blue in Danish Golden Age Paintings
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Vilde Vladimir. Methodology for monitoring the impact of moisture on lined canvas paintings in historic houses
(1)
Wadum Jorgen. Colour Changes due to the Fading of Prussian Blue in Danish Golden Age Paintings
(1)
Wischniowski Tatjana. Oil-based paint under a layer of water: a rare miniature painting technique from the 18th century
Publikacja jest efektem trzech warsztatów zorganizowanch przez Paintings Group of the Institute of Conservation (Icon) oraz British Association of Painting Conservator-Restorers (BAPCR) w Courtauld Institute of Art, Londyn, 2007.
