Pensum/læringskrav (KONS4042 – Høst 2006)
KONS4042 konsolidering/stabilisering
Pensum [992 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]
Hallström. Björn, ’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]
Hedley, Gerry, Caroline Villers og V. R. Mehra, ‘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 – på 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, Tromsø (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, Jørgen, ‘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]:
Løken, Truls Magne, ’Kristusfigur nr. C. 21997 undersøkelse og konservering’, Universitetets Oldsaksamling Årbok, Oslo (1963-1964) s. 67, 72-76. [2]
Plahter, Unn og Leif Einar Plahter, ’The virgin from Hovland stave church in Eggedal – examination and conservation’, Universitetets Oldsaksamling Årbok, 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, ’Årdalskrusifikset, 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]
Sandtrø, Anja, ’Urnes kalvariegruppe – med voks som underlag for ny behandling’, Norske Konserves 2 (2002) s. 8-9. [1,5]
Frøysaker, 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 – 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, København (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 på 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]
Edócs, Judit, ‘Restoration of two icons painted on iron plates in the Eastern Orthodox church in Grábóc’, 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 Bøe på Oscarshall slott (2004) s. 1-4. [1]
Ekstra:
Mottner, Peter, Jörg Freitag og Heidrun Brückner, ’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 på papir og pergament: [17,5]
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, Nashville, Tennesee (1987) s. 7-20, 103-106. [10]
Norsted, Terje, Vevelstad kirke, Vevelstad commune. Et 1700-talls monumentalt oljemaleri på papir. Konservering og restaurering, NIKU oppdragsmelding 049, Oslo (1997), s. 7-13, 15-16. [5]
Ekstra: Fairbass, Sheila, Papers of the Paper Conference Manchester, The Institute of Paper Conservation (1992).
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]
Frøysaker, 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 København 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: Jedrzejewska, H., ’Ethics in conservation’, Kungl. Konsthögskolan, Institutet för 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, 1.4 Age cracks‘, 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 løs maling på tre og lerret: [206,5]
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 – 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]
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Plahter, Leif Einar, ’Konservering av takmaleriet fra Ål stavkirke i 1965. Et tilbakeblikk på Soluble Nylon som konserveringsmiddel’, Nordisk Konservatorforbund XIV kongress, Oslo 20-23 mars, 1997, NKF-N (1997) s. 115-123. [5,5]
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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]
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Ekstra:
Brænne, Jon, ’Torpo stavkirke – problemer omkring konserveringen av det dekorerte middelalderlektoriet med tilhørende baldakin’, Polykrom skulptur og maleri på træ, København (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
Lascaux om 4176-limet, erstatning for Acronal 300D: http://www.lascaux.ch(english/restauro/pdf/58351.02.pdf