Forel?pig pensum [982,5 sider uten ekstralitteraturen]
Lerretsmaleri: *[209,5]*
von der Goltz, Michael og Francoise Hanssen-Bauer (red.), ¡®Maladies and treatment of the paint layer¡¯, Manual on the Conservation of Paintings, 1940, ny utgave: London (1997) s. 145-160. [11]
von der Goltz, Michael og Francoise Hanssen-Bauer (red.), ¡¯Changes due to the support and the ground¡¯, Manual on the Conservation of Paintings, 1940, ny utgave: London (1997) s. 160-168. [4]
von der Goltz, Michael og Francoise Hanssen-Bauer (red.), ¡®Maladies and treatment of the ground¡¯, Manual on the Conservation of Paintings, 1940, ny utgave: London (1997) s. 195-204. [5]
von der Goltz, Michael og Francoise Hanssen-Bauer (red.), ¡®Maladies and treatment of canvas¡¯, Manual on the Conservation of Paintings, 1940, ny utgave: London (1997) s. 205-232. [18]
Ruhemann, H, ¡¯The impregnation and lining of paintings on a hot table¡¯, Studies in Conservation 1 (1953) s. 73-76. [3]
Straub, R. E. og S. Rees Jones, ¡¯Marouflage, relining and the treatment of cupping with atmospheric pressure¡¯, Studies in Conservation 2 (1955) s. 55-63. [4,5]
UNESCO, ¡®The care of paintings: fabric paint supports¡¯, Museum XIII, 3, Lausanne (1960) s. 135-152. [11,5]
Percival-Prescott, Westby, ¡¯The lining cycle: causes of physical deterioration in oil paintings on canvas. Lining from the 17h century to the present day¡¯, Preprints to the Conference on Comparative Lining Techniques, National Maritime Museum, Greenwich 1974, ny utgave: London (2003) s. 1-15. [14,5]
Messen, Georges, ¡®Hand lining with wax-resin using an iron¡¯, Preprints to the Conference on Comparative Lining Techniques, National Maritime Museum, Greenwich 1974, ny utgave: London (2003) s. 70-76. [3]
Cummings, Alan og Gerry Hedley, ¡®Surface texture changes in vacuum lining: experiments with raw canvas¡¯, Preprints to the Conference on Comparative Lining Techniques, National Maritime Museum, Greenwich 1974, ny utgave: London (2003) s. 87-95. [6]
Rees Jones, S, Alan Cummings og Gerry Hedley, ¡®Appendix I: relining materials and techniques: summary of replies to a questionnaire¡¯, Preprints to the Conference on Comparative Lining Techniques, National Maritime Museum, Greenwich 1974, ny utgave: London (2003) s. 137-139. [2,5]
Hedley, Gerry, ¡®The effects of beeswax/resin impregnation on the tensile properties of canvas¡¯, ICOM Committee for Conservation, 4th Triennial Meeting, Venice 1975, ny utgave: Measured Opinions, London (1993) s. 17-20. [2]
Hedley, Gerry, ¡®Some empirical determinations of the strain distribution of stretched canvases¡¯, ICOM Committee for Conservation, 4th Triennial Meeting, Venice 1975, ny utgave: Measured Opinions, London (1993) s. 21-26. [4,5]
Hallstr?m. Bj?rn, ¡¯Diagnostic factors affecting the structural restoration of paintings on canvas¡¯, ICOM Committee for Conservation, 5th Triennial Meeting, Zagreb (1978) s. 78/2/2/1-3. [3]
Levinson, Rustin, ¡®A new method for strip lining easel paintings¡¯, ICOM Committee for Conservation, 5th Triennial Meeting, Zagreb (1978) s. 78/2/8/1-5. [4,5]
Hacke, Bent, ¡®A low-pressure apparatus for treatment of paintings¡¯, ICOM Committee for Conservation, 5th Triennial Meeting, Zagreb (1978) s. 78/2/12/1-17. [10]
*Villers, C., ¡®Artist¡¯ canvases: their history and future¡¯, International Symposium on the Conservation of Contemporary Paintings, National Gallery of Canada, Ottawa July 7-12, 1980, ny utgave: Measured Opinions, London (1993) s. 50-54. [4,5]
Bomford, David og Sarah Staniforth, ¡®Wax-resin lining and colour change: an evaluation¡¯, National Gallery Technical Bulletin 5 (1981) s. 58-65. [5]
Hackney, Stephen og Gerry Hedley, ¡®Measurements of the ageing of linen canvas¡¯, Studies in Conservation 26 (1981) s. 1-14. [9]
Phenix, Alan og Gerry Hedley, ¡®Lining without heat or moisture¡¯, ICOM Committee for Conservation, 7th Triennial Meeting, Copenhagen 1984, ny utgave: Measured Opinions, London (1993) s. 42-48. [5]
Mitka, W, ¡®Portable mini low-pressure apparatus for the treatment of paintings¡¯,Studies in Conservation 30 (1985) s. 167-170. [1,5]
Headley, Gerry, ¡®Relative humidity and the stress/strain response of canvas paintings: uniaxial measurements of naturally aged samples¡¯, Studies in Conservation 33 (1988) s. 133-148. [10]
Headley, Gerry og Marianne Odlyha, ¡®The moisture softening of paint films and its implications for the treatment of fabric supported paintings¡¯, Traitement des Supports Travaux Interdisciplinaires, Conservation, Restauration des Biens Culturels, ARAAFU, Paris, 1989, ny utgave: Measured Opinions, London (1993) s. 99-102. [2,5]
Hedley, Gerry, ¡®The practicalities of the interaction of moisture with oil paintings on canvas¡¯, draft from 1989, Alan Phenix (red.), Measured Opinions, London (1993) s. 112-122. [9,5]
Hedley, Gerry, Caroline Villers, Robert Bruce-Gardner og Rhona Macbeth, ¡®A new method for treating water damaged flaking¡¯, ICOM Committee for Conservation, 9th Triennial Meeting, Dresden 1990, , ny utgave: Measured Opinions, London (1993) s. 123-126. [3,5]
Johansen, Niels Gerhard, ¡®Polypropylen ¨C p? sammenbruddets rand¡¯, Meddelelser om konservering 10 (1994) s. 442-450. [7]
Phenix, Alan, ¡¯Lining of paintings, traditions, principles and developments¡¯, Lining and Backing, UKIC Conference 7-8 November 1995, UKIC, Hampshire (1995) s. 21-33. [13]
Daniels, Vincent, ¡®The reversibility of starch paste¡¯, Lining and Backing, UKIC Conference 7-8 November 1995, UKIC, Hampshire (1995) s. 72-76. [3,5]
Reifsnyder, Joan Marie, ¡¯The Florentine paste technique: what makes it different from other glue paste linings for paintings¡¯, Lining and Backing, UKIC Conference 7-8 November 1995, UKIC, Hampshire (1995) s. 77-82. [5,5]
Ackroyd, Paul, ¡®Glue-paste lining of paintings: an evaluation of the bond performance and relative stiffness of some glue-paste linings¡¯, Lining and Backing, UKIC Conference 7-8 November 1995, UKIC, Hampshire (1995) s. 83-91. [7,5]
Beltinger, Karoline, ¡®Reversible supports for paintings as an alternative to lining¡¯, Lining and Backing, UKIC Conference 7-8 November 1995, UKIC, Hampshire (1995) s. 111-118. [5,5]
*Ackroyd, Paul, ¡¯The structural conservation of canvas paintings: changes in attitude and practice since the early 1970¡¯, Reviews in Conservation 3 (2002) s. 3-14. [12]
Panelmaleri: [215,5]
von der Goltz, Michael og Francoise Hanssen-Bauer (red.), ¡®Maladies and treatment of wooden supports¡¯, Manual on the Conservation of Paintings, 1940, ny utgave: London (1997) s. 233-249. [14]
Hermesdorf, P. F. J. M., ¡¯Joining loose members of panel paintings¡¯, Studies in Conservation 1 (1953) s. 87-91. [3]
Plahter, Leif Einar, Erling Skaug og Unn Plahter, Gothich altar frontals from the church of Tingelstad, Oslo, Bergen, Troms? (1974) s. 7,39, 59-61, 80. [3,5]
Brewer, Al, ¡®An auxiliary support case story¡¯, Hamilton Kerr Institute, Bulletin 2, Cambridge (1994) s. 61-68. [3,5]
Brewer, Al, ¡®A consolidation/filler system for insect-damaged wood¡¯, Hamilton Kerr Institute, Bulletin 2, Cambridge (1994) s. 69-73. [2,5]
Brewer, Al, ¡®Aluminium devices as temporary helpers for panel structural work¡¯, Hamilton Kerr Institute, Bulletin 2, Cambridge (1994) s. 74-75. [2]
Keith, Larry, ¡®The structural conservation of Maso da San Friano¡¯s Visitation altarpiece¡¯, Hamilton Kerr Institute, Bulletin 2, Cambridge (1994) s. 78-83. [3]
Hoadley, Bruce R., ¡¯Wood as a physical surface for paint application¡¯, Painted Wood: History and Conservation, Proceedings of the Williamsburg Symposium 11-14 November, 1994, The Getty Conservation Institute, Los Angeles (1998) s. 2-16. [12]
Mecklenburg, Marion F., Charles S. Tumosa og David Erhardt, ¡®Structural response of painted wood surfaces to change in ambient relative humidity¡¯, Painted Wood: History and Conservation, Proceedings of the Williamsburg Symposium 11-14 November, 1994, The Getty Conservation Institute, Los Angeles (1998) s. 464-483. [11,5]
Bomford, David, ¡®Introduction: Keynote Address¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. xiii-xxii. [9]
Hoadley, Bruce R., ¡®Chemical and physical properties of wood¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 2-20. [14,5]
Hoadley, Bruce R., ¡®Identification of wood in panel paintings¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 21-38. [12]
Blanchette, Robert A., ¡®A guide to wood deterioration caused by microorganisms and insects¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 55-68. [7,5]
Hanlon, Gordon og Vinod Daniel, ¡®Modified atmosphere treatments of insect infestations¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 69-78. [7]
Williams, Donald C, ¡®A survey of adhesives for wood conservation¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 79-86. [6,5]
Schniewind, Arne P., ¡®Consolidation of wooden panels¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 87-107. [16,5]
*Schiessl, Ulrik, ¡®History of structural panel painting conservation in Austria, Germany and Switzerland¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 200-236. [21]
*MacClure, Ian, ¡®History of structural conservation of panel paintings in Great Britain¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 237-251. [7]
Buck, Richard, ¡®The development and use of the balsa backing for panel paintings¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 289-303. [10,5]
Glatigny, Jean-Albert, ¡®Backings of painted panels. Reinforcement and constraint¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 364-370. [3,5]
*Reeve, Anthony M., ¡®Structural conservation of panel paintings at the National Gallery, London¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 403-417. [7,5]
Brewer, Al, ¡®Some rejoining methods for panel paintings¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 418-432. [12]
McClure, Ian, ¡®The framing of wooden panels¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 433-447. [7,5]
Campbell, Lorne, ¡®The conservation of Netherlandish paintings in the fifteenth and sixteenth centuries¡¯ Studies in the History of Painting Restoration, Proceedings of a Symposium held in London 23 February 1996, London (1998) s. 15-26. [7,5]
Lelekova, Olga, ¡®Expert examination of icons¡¯, ICOM Conservation Committee, 11th Triennial Meeting, Edinburgh 1-6 September, 1996, London (1996) s. 367-370. [4]
Brewer, Al, ¡®The effects of reinforcements on the preservation of paintings on wood panel: Introduction and results of research on unreinforced panels¡¯, Hamilton Kerr Institute, Bulletin 3 (2000) s. 41-59. [8,5]
Young, Christina, Paul Ackroyd, Roger Hibberd og Stephen Gritt, ¡®The mechanical behaviour of adhesives and gap fillers for re-joining panel paintings¡¯, National Gallery Technical Bulletin 23, London (2002) s. 83-96. [8,5]
Ekstra:
Wadum, J?rgen, ¡®Historical overview of panel-making techniques in the northern countries¡¯, The Structural Conservation of Panel Paintings, Proceedings of the Symposium at the J. Paul Getty Museum 24-28 April, 1995, The Getty Conservation Institute, Los Angeles (1998) s. 149-177. [14]
Polykrom skulptur [83,5]:
L?ken, Truls Magne,¡¯Kristusfigur nr. C. 21997 unders?kelse og konservering¡¯, Universitetets Oldsaksamling ?rbok, Oslo (1963-1964) s. 67, 72-76. [2]
Plahter, Unn og Leif Einar Plahter, ¡¯The virgin from Hovland stave church in Eggedal ¨C examination and conservation¡¯, Universitetets Oldsaksamling ?rbok, Oslo (1963-1964) s. 79, 92-96. [4]
Packard, Elizabeth C. G., ¡®The preservation of polychromed wood sculptural by the wax immersion and other methods¡¯, Museum News, American Association of Museums 46, no. 2 (1967) s. 47-52. [3,5]
Kollandsrud, Kaja, ¡¯Krusifiks fra Haug kirke¡¯, Varia 27 Universitetets Oldsaksamling, Oslo (1994) s. 17-19, 93-96, 109-111. [6,5]
Ytteral, Anne, ¡¯?rdalskrusifikset, et ungotisk krusifiks fra Ryfylke¡¯, AmS-Varia 29, Stavanger (1997) s. 41-53. [7]
Serck-Dewaide, Myriam, ¡¯Support and polychromy of altarpieces from Brussels, Mechlin, and Antwerp. Study, comparison and restoration¡¯, Painted Wood: History and Conservation, Proceedings of the Williamsburg Symposium 11-14 November, 1994, The Getty Conservation Institute, Los Angeles (1998) s. 82-99. [15]
Hansen, Eric F. og Mitchell Hearns Bishop, ¡®Factors affecting the re-treatment of previously consolidated matte painted wooden objects¡¯, Painted Wood: History and Conservation, Proceedings of the Williamsburg Symposium 11-14 November, 1994, The Getty Conservation Institute, Los Angeles (1998) s. 484-497. [12,5]
Michalski, Stefan, Carole Dignard, Lori van Handel og David Arnold, ¡®The ultrasonic mister. Applications in the consolidation of powdery paint on wooden artefacts¡¯, Painted Wood: History and Conservation, Proceedings of the Williamsburg Symposium 11-14 November, 1994, The Getty Conservation Institute, Los Angeles (1998) s. 498-513. [12,5]
Farnsworth, J., ¡®Sculpture in active service¡¯, Sculpture Conservation. Preservation or Interference? Aldershot (1997) s. 39-53. [7,5]
Podany, Jerry, Maya Elston, Lisbeth Thoresen og Susan Lansing Maish, ¡®The use of paper pulp based fill material for compensation of losses to sculpture¡¯, From Marble to Chocolate. The Conservation of Modern Sculpture, Tate Gallery Conference 18-20 September 1995, London (1995) s. 59-64. [3,5]
Sandtr?, Anja, ¡¯¡¯, Norske Konserves 2 (2002) s. 8-9. [1,5]
*Fr?ysaker, Tine, ¡¯Den bemalte og forgylte kalvariegruppen fra 1100-tallet i Urnes stavkirke¡¯, NIKU Rapport 3, Oslo (2003) s. 3, 36-40, 42-45. [8]
Muralmaleri: [97,5]
von der Goltz, Michael og Francoise Hanssen-Bauer (red.), ¡®Other supports¡¯, Manual on the Conservation of Paintings, 1940, ny utgave: London (1997) s. 252-254. [1,5]
Schwartzbaum, Paul, ¡®Basic principles in the conservation of wallpaintings¡¯, Conservation of Wallpaintings ¨C the International Scene, International Symposium on the Conservation of Wallpaintings, England 1979, London (1986) s. 13-16. [2]
Mora, Paolo, Laura Mora og Paul Philippot, ¡®Causes of alterations in wall paintings¡¯, Conservation of Wall paintings, London, Boston, Durban, Singapore, Sydney, Toronto, Wellington (1984) s. 165-215. [38,5]
Mora, Paolo, Laura Mora og Paul Philippot, ¡¯Fixation and consolidation¡¯, Conservation of Wall paintings, London, Boston, Durban, Singapore, Sydney, Toronto, Wellington (1984) s. 216-244. [27,5]
Carther, Sharon og Helen Howard, ¡®The use of wax and wax-resin preservatives on English medieval wall paintings: rationale and consequences¡¯, Case Studies in the Conservation of Stone and Wall Paintings, IIC Bologna Congress 21-26 September 1986, London (1986) s. 48-53. [3]
Mancinelli, Fabrizio, ¡®The frescoes of Michelangelo on the vault of the Sistine Chapel: conservation methodology, problems, and results¡¯, The Conservation of Wall Paintings, Proceedings of a Symposium organized by the Courtauld Institute of Art and the Getty Conservation Institute, London July 13-16 1987, Marina del Rey, CA (1991) s. 57-66. [5]
Colalucci, Gianluigi, ¡®The frescoes of Michelangelo on the vault of the Sistine Chapel: original technique and conservation¡¯, The Conservation of Wall Paintings, Proceedings of a Symposium organized by the Courtauld Institute of Art and the Getty Conservation Institute, London July 13-16 1987, Marina del Rey, CA (1991) s. 67-76. [6]
Trampedach, Kirsten, ¡®Lime-based materials used in the conservation of wall paintings in Denmark¡¯, Western Medieval wall Paintings, Studies and Conservation Experience, Sighisoara, Romania, 31 August 3 September 1995, Rome (1997) s. 79-84. [3]
*Brajer, Isabelle og Nicoline Kalsbeek, ¡®Limewater impregnation of wall paintings¡¯, School of Conservation 25 years, the Jubilee Symposium 18-20 May 1998, K?benhavn (1998) s. 39-41. [2,5]
*Rodorico, Giorgi, Dei Luigi og Piero Baglioni, ¡®A new method for consolidating wall paintings based on dispersions of lime in alcohol¡¯, Studies in Conservation 45 (2000) s. 154-161. [5]
Hauglid, Lars og Grete Gundhus, ¡®The bird frieze, a fragment of a 16th century mural painting¡¯, Conservation of Mural Paintings, Stockholm (2001) s. 52-56. [3,5]
Ekstra:
Mora, Paolo, Laura Mora og Paul Philippot, ¡®Detachment¡¯, Conservation of Wall paintings, London, Boston, Durban, Singapore, Sydney, Toronto, Wellington (1984) s. 245-261. [12]
Mora, Paolo, Laura Mora og Paul Philippot, ¡¯Application to the new support¡¯, Conservation of Wall paintings, London, Boston, Durban, Singapore, Sydney, Toronto, Wellington (1984) s. 262-281. [16]
Brajer, Isabelle, The Transfer of Wall Paintings Based on Danish Experience, London (2002).
Maleri p? metall: [26,5]
von der Goltz, Michael og Francoise Hanssen-Bauer (red.), ¡®Other supports¡¯, Manual on the Conservation of Paintings, 1940, ny utgave: London (1997) s. 252. [0,5]
Madsen, Brinck H., ¡®Further remarks on the use of benzotriazole for stabilizing bronze objects¡¯, Studies in Conservation 16 (1971) s. 120-122. [2,5]
van de Graaf, J. A., ¡®Development of oil paint and the use of metal plates as support¡¯, Conservation and Restoration of Pictorial Art, London, Boston (1976) s. 43-53. [7,5]
*Horovitz, Isabel, ¡®Paintings on copper supports, techniques, deterioration and conservation¡¯, The Conservator 10 (1986) s. 44-48. [3,5]
Bjarnhof, Mette, ¡®Treatment of paintings on copper supports¡¯, ICOM Committee for Conservation, 8th Triennial Meeting, Sydney 6-11 September 1987, Los Angeles (1987) s. 951-955. [3,5]
Ed¨®cs, Judit, ¡®Restoration of two icons painted on iron plates in the Eastern Orthodox church in Gr¨¢b¨®c¡¯, ICOM Committee for Conservation, 9th Triennial Meeting, Dresden 26-31 August, Paris (1990) s. 641-647. [4]
Horovitz, Isabel, ¡¯The consolidation of paintings on copper supports¡¯, ICOM Committee for Conservation, 11th Triennial Meeting, Edinburgh 1-6 September 1996, London (1996) s. 276-281. [4,5]
Ford, Thierry-Olivier, Upublisert rapport om konservering av et maleri av Frants B?e p? Oscarshall slott (2004) s. 1-4. [1]
Ekstra:
Mottner, Peter, J?rg Freitag og Heidrun Br¨¹ckner, ¡¯Condition and conservation of nineteenth century outdoor zinc sculptures¡¯, From Marble to Chocolate, Tate Gallery Conference 18-20 September 1995, London (1995) s. 39-45. [4,5]
Maleri p? papir og pergament: [12,5]
von der Goltz, Michael og Francoise Hanssen-Bauer (red.), ¡®Other supports¡¯, Manual on the Conservation of Paintings, 1940, ny utgave: London (1997) s. 250-251. [1,5]
Bykova, G. Z., A. V. Ivanova og I. P. Mokretzova, ¡®Conservation methods for miniature paintings on parchment: treatment of the paint layer¡¯, Conservation and Restoration of Pictorial Art, London, Boston (1976) s. 207-209. [1]
Holben, Ellis, Margaret, The Care of Prints and Drawings, Nasville, Tennesee (1987) s. 7-20, 103-106. [10]
Etikk: [37,5]
De Witte, E., ¡®Resins in conservation: introduction to their properties and application¡¯, Resins in Conservation, Proceedings of the Symposium, Edinburgh 21st-22nd May 1982, Edinburgh (1983) s. 1/1-1/6. [5]
Blackshaw, Susan M., og Susan E. Ward, ¡®Simple tests for assessing materials for use in conservation¡¯, Resins in Conservation, Proceedings of the Symposium, Edinburgh 21st-22nd May 1982, Edinburgh (1983) s. 2/1-2/15. [9]
Horie, C. V., ¡¯Reversibility of polymer treatment¡¯, Resins in Conservation, Proceedings of the Symposium, Edinburgh 21st-22nd May 1982, Edinburgh (1983) s. 3/1-3/6. [4]
Appelbaum, B., ¡®Criteria for treatment: reversibility¡¯, Journal of the American Institute for Conservation 26, nr. 2 (1987) s. 65-73. [7,5]
Fr?ysaker, Tine og Francoise Hanssen-Bauer, ¡®Impregnation and varnishing: ethical considerations and reasons for two forms of treatment and choice of materials¡¯, Surface Treatments: Cleaning, Stabilization and Coatings, Nordisk konservatorforbund XIII kongress K?benhavn 7-11-september 1994, Brede DK (1994) s. 157-172. [6,5]
Hanssen-Bauer, Francoise, ¡¯Stability as a technical and an ethical requirement in conservation¡¯, ICOM Conservation Committee, 11th Triennial Meeting, Edinburgh 1-6 September, 1996, London (1996) s. 166-171. [5,5]
Ekstra Etikk:
Jedrzejewska, H., ¡¯Ethics in conservation¡¯, Kungl. Konsth?gskolan, Institutet f?r materialkunskap, Stockholm 1976.
Forandringer, aldring, nedbrytning: [94]
Plesters, J., ¡®Pigments of the old masters: findings from paint analysis, cross-sections and chemical analysis of paint samples¡¯, Studies in Conservation 2 (1956) s. 125-127. [2]
Padfield, T og S. Landi, ¡®The light-fastness of natural dyes¡¯, Studies in Conservation 4 (1966) s. 181-191. [5]
Keck, Sheldon, ¡¯Mechanical alteration of paint film¡¯, Studies in Conservation 14 (1969) s. 9-30. [10,5]
Plesters, J., ¡¯A preliminary note on the incidence of discolouration of smalt in oil media¡¯, Studies in Conservation 14 (1969) s. 62-74. [9]
Groen, C. M., ¡®Towards identification of brown discolouration on green paint¡¯, ICOM Committee for Conservation, 4th Triennial Meeting, Venice 15-18 October 1975, Paris (1975) s. 75/21/3/1-8. [5]
Hedley, Gerry, ¡®Long lost relations and new found relativities: issues in the cleaning of paintings¡¯, Appearance, Opinion, Change: Evaluating the Look of Paintings, London (1990) s. 8-13. [5]
Hackney, Stephen, ¡®Texture and application: preserving the evidence in oil paintings¡¯, Appearance, Opinion, Change: Evaluating the Look of Paintings, London (1990) s. 22-25. [3]
Leback Sitwell, Christine, ¡®Gluck and the quality of artists¡¯ materials: the suede effect¡¯, Appearance, Opinion, Change: Evaluating the Look of Paintings, London (1990) s. 42-44. [2]
Jones, Rica, ¡®Drying crackle in early and mid eighteenth century British painting¡¯, Appearance, Opinion, Change: Evaluating the Look of Paintings, London (1990) s. 50-52. [1,5]
H. Townsend, Joyce, ¡®Turner¡¯s oil paintings: changes of appearance¡¯, Appearance, Opinion, Change: Evaluating the Look of Paintings, London (1990) s. 53-61. [5,5]
Saunders, David, ¡®Detecting and measuring colour changes in paintings at the National Gallery¡¯, Appearance, Opinion, Change: Evaluating the Look of Paintings, London (1990) s. 68-71. [3,5]
S. Rhyne, Charles, ¡®Changes in the appearance of paintings by John Constable¡¯, Appearance, Opinion, Change: Evaluating the Look of Paintings, London (1990) s. 72-84. [8]
Masschelein-Kleiner, Liliane, Ancient Binding Media, Varnishes and Adhesives, Roma (1995) s. vii, 1-63. [42]
Bucklow, Spike, ¡®Formal Connoisseurship and the study of paintings techniques¡¯, ICOM Conservation Committee, 11th Triennial Meeting, Edinburgh 1-6 September, 1996, London (1996) s. 341-347. [5,5]
Erhardt, David, Marion F. Mecklenburg, Charles S. Tumosa og Tone M. Olstad, ¡®New versus old wood: differences and similarities in physical, mechanical, and chemical properties¡¯, ICOM Conservation Committee, 11th Triennial Meeting, Edinburgh 1-6 September, 1996, London (1996) s. 903-910. [6,5]
Bucklow, Spike, ¡®The description of craquelure patterns¡¯, Studies in Conservation 42 (1997) s. 129-140. [7]?
Ammann, Jean-Christophe, ¡®On the ageing of works of art¡¯, Modern Art Who Cares?, Amsterdam (1999) s. 282-283. [1]
Bucklow, Spike, ¡®The description and classification of craquelure¡¯, Studies in Conservation 44 (1999) s. 233-244. [7,5]
Bucklow, Spike, ¡®Consensus in the classification of craquelure¡¯, Hamilton Kerr Institute, Bulletin 3 (2000) s. 61-73. [4]
Plahter, Unn, ¡¯1.3 X-radiographic evidence¡¯, Painted Altar Frontals of Norway 1250-1350, B. 2, London (2004) s. 37-39. [1,5]
Plahter, Unn, ¡¯3.2 Discoloration¡¯, Painted Altar Frontals of Norway 1250-1350, B. 2, London (2004) s. 87-90. [2,5]
Ford, Thierry-Olivier, ¡¯The treatment of three fire damaged paintings from Eidsvoll church, Norway¡¯, Meddelelser om konservering 2 (2004) s. 3-15. [6,5]
Ekstra:
Stout, G. L., The Care of Pictures, 1948, ny utgave: London (1975).
Konsolideringsmidler og metoder for l?s maling p? tre og lerret: [202]
Hendy, P., og A. S. Lucas, ¡®The ground in pictures¡¯, Museums XXI nr. 1, Lausanne (1968) s. 266-276. [10,5]
Watherston, Margaret, ¡®Treatment of cupped and cracked paint films using organic solvents and water¡¯, Conservation and Restoration of Pictorial Art, London, Boston (1976) s. 110-125. [9,5]
De Witte, E., M. Goessens-Landrie, E. J. Goethals og R. Simonds. ¡¯The structure of ¡±old¡± and ¡±new¡± Paraloid B72¡¯, ICOM Committee for Conservation, 5th Triennial Meeting, Zagreb (1978) s. 78/16/3/1-9. [4]
Feller, Robert, R. ¡®Standards in the evaluation of thermoplastic resins¡¯, ICOM Committee for Conservation, 5th Triennial Meeting, Zagreb (1978) s. 78/16/4/1-11. [8,5]
Welsh, Elizabeth, C. ¡®A consolidation treatment for powdery matte paint¡¯, The American Institute for Conservation of Historic and Artistic Works, San Francisco 22-25 May (1980) s. 141-150. [6,5]
Allen, K. W., ¡®Adhesion and adhesives ¨C some fundamentals¡¯, Contributions to the IIC Paris Congress, 2-8 September, London (1988) s. 5-12. [6,5]
The British Standards Institution BC 6138:1981, ¡®Relevant adhesive terminology¡¯, Contributions to the IIC Paris Congress, 2-8 September, London (1988) s. 213-219. [6,5]
Rickman, Catherine og Jane McAusland, ¡®Visit to the USSR¡¯, Conservation News 36 (1988) s. 19-21. [2]
Karpowicz, Adam, ¡¯In-plane deformations of films of size on paintings in the glass transition region¡¯, Studies in Conservation 34 (1989) s. 67-74. [5]
Haupt, Margaret, Deborah Dryer og Jim Hanlan, ¡®An investigation into three animal glues¡¯, The Conservator 14 (1990) s. 10-16. [3,5]
Petukhova, Tatyana og Stephen D. Bonadies, ¡¯Sturgeon glue for painting consolidation in Russia¡¯, Journal of the American Institute for Conservation 32 (1993) s. 23-31. [5]
Foskett, Sarah, ¡®An investigation into the properties of isinglass¡¯, SSCR Journal 5 (1994) s.11-14. [3]
Shelton, Cris, ¡®The use of Aquazol-based gilding preparations¡¯, Postprint of the Wooden Artifact Group, American Institute for Conservation of Historic and Artistic Works (1996) s. 39-45. [4,5]
Ashley-Smith, Johathan (red.), Adhesives and Coatings, Science for Conservators 3, 1983, revidert utgave: London og New York (1996) s. 13-21, 25-44, 49-56, 77-89, 93-107, 123-131. [49]
Horie, Velson, C., ¡®Conservation treatments: technology, perceptions and fashion¡¯, Nordisk Konservatorforbund XIV kongress, Oslo 20-23 mars, 1997, NKF-N (1997) s. 7, 10-17. [4,5]
Phenix, Alan, Pia Gottschaller og Aviva Burnstock, ¡¯Accelerated ageing of polymer dispersion consolidants ¡¯, Nordisk Konservatorforbund XIV kongress, Oslo 20-23 mars, 1997, NKF-N (1997) s. 99-113. [9,5]
Plahter, Leif Einar, ¡¯Konservering av takmaleriet fra ?l stavkirke i 1965. Et tilbakeblikk p? Soluble Nylon som konserveringsmiddel¡¯, Nordisk Konservatorforbund XIV kongress, Oslo 20-23 mars, 1997, NKF-N (1997) s. 115-123. [5,5]
Plahter, Unn, ¡¯Testing av soluble nylon i ?l-taket¡¯, Nordisk Konservatorforbund XIV kongress, Oslo 20-23 mars, 1997, NKF-N (1997) s. 125-131. [2]
Hedlund, Hans Peter, ¡®Acronal 300D? in theory and practice. An evaluation¡¯, Nordisk Konservatorforbund XIV kongress, Oslo 20-23 mars, 1997, NKF-N (1997) s. 137-143. [6]
Kollandsrud, Kaja, ¡¯ Acronal 300D?. A practical assessment¡¯, Nordisk Konservatorforbund XIV kongress, Oslo 20-23 mars, 1997, NKF-N (1997) s. 145-151. [5]
Wolbers, Richard C., Mary McGinn og Deborah Duerbeck, ¡®Poly (2-Oxazoline): A new conservation consolidant¡¯, Painted Wood: History and Conservation, Proceedings of the Williamsburg Symposium 11-14 November, 1994, The Getty Conservation Institute, Los Angeles (1998) s. 514-527. [11]
Solstad, J?rgen (red.) Final report, COMPOTEC, Norwegian Group, Vestre Slidre Church, Sturgeon Glue, GIS (2002) s. 2-7, 13-15, 21-22, 24-49. [24] (b?de publisert og upublisert)
Zumb¨¹l, Stefan, ¡®Proteinische Leime ¨C ein vertrauter Werkstoff? Aspekte zum Feuchtephysikalischen Verhalten von Gelatine¡¯, Zeitschrift f¨¹r Kunsttechnologie und Konservierung 17 (2003) s. 95-104. [6]
Arslanoglu, Julie og Carolyn Tallent, ¡¯Evaluation of the use of Aquazol as an adhesive in paintings conservation¡¯, WAAC Newsletter 25 nr. 2 May (2003) s. 12-18. [4,5]
Ekstra:
Br?nne, Jon, ¡¯Torpo stavkirke ¨C problemer omkring konserveringen av det dekorerte middelalderlektoriet med tilh?rende baldakin¡¯, Polykrom skulptur og maleri p? tr?, K?benhavn (1982) s. 195-199. [4,5]
Dataark om aquazol: http://www.polychemistry.com/Products/aquazol.html
WAAC-notat om aquazol: http://palimpsest.stanford.edu/waac/wn/wn18/wn18-2/wn18-205.html