tag:blogger.com,1999:blog-14629797305099143332024-03-13T22:35:08.467+00:00Art Conservation ResearchOnline resources that you didn't know about!Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.comBlogger343125tag:blogger.com,1999:blog-1462979730509914333.post-70066579249991555612012-04-20T10:37:00.003+01:002012-04-20T10:53:57.408+01:00Art Packing Video Tutorial (2012)<a href="http://www.youtube.com/watch?v=6-cT4Easj9U"><span style="font-size:85%;"></span></a><span style="font-size:85%;"><a style="font-family: verdana;"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 178px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP_lirPHQjrGxbXvSiQXX3SlPmApctfPYHGJylrZpGwFcE5Zk2tfHC5VCy2rklQ2LEYL_TnmLu1vldM_FoLN35VUQ2TATMyQsbGIJf6BNYeoYiTehxvwalXu4NALU-uHLRLHYYn12yYIw/s320/packing.jpg" alt="" id="BLOGGER_PHOTO_ID_5733418230974364210" border="0" /></a></span><span style="font-size:85%;"><br /><br style="font-family: verdana;"><span style="font-family: verdana;"><span style="font-weight: bold;">Title</span>: Art Packing Video Tutorial</span><br style="font-family: verdana;"><span style="font-family: verdana;"><span style="font-weight: bold;">Uploaded by</span>: ArtInstituteChicago<br /><span style="font-weight: bold;">Date</span>: 3 April 2012<br /><span style="font-weight: bold;">Link</span>: <a href="http://www.youtube.com/watch?v=6-cT4Easj9U">http://www.youtube.com/... </a><br style="font-family: verdana;"></span><br style="font-family: verdana;"></span>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com15tag:blogger.com,1999:blog-1462979730509914333.post-25450316730571829862012-04-19T13:38:00.004+01:002012-04-19T13:53:05.636+01:00e-conservaton magazine 23 (2012)<span style="font-size:85%;"><a style="font-family: verdana;" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg76BTIkzxYsr7ua6YtNkeuNb5gXBn3ozfZygBwohVwDZz_AaiZIF2LlXWsSc5UO7AiUuyVk4hy-SH9-H5-Avxxv0AlrxsZiGXq1sEx4g9bl1lbEVOF0m3KzyhuSZDSHOEsjxWpAvkjv4A/s1600/cover23.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 198px; height: 280px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg76BTIkzxYsr7ua6YtNkeuNb5gXBn3ozfZygBwohVwDZz_AaiZIF2LlXWsSc5UO7AiUuyVk4hy-SH9-H5-Avxxv0AlrxsZiGXq1sEx4g9bl1lbEVOF0m3KzyhuSZDSHOEsjxWpAvkjv4A/s320/cover23.jpg" alt="" id="BLOGGER_PHOTO_ID_5733091184422636914" border="0" /></a></span><span style="font-size:85%;"><br style="font-family: verdana;"><br style="font-family: verdana;"></span><span style="font-family: verdana;font-size:85%;" ><span class="Apple-style-span"><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Title</b>: e-conservation</span></div><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Issue</b>: 23</span></div></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><b>Pages</b>: 92 </span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Year</b>: 2012</span></div></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><b>Link</b>: <a href="http://e-conservationline.com/content/view/37/53/"><span class="Apple-style-span"><span class="Apple-style-span">http://www.e-conservationline.com/...</span></span></a></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Download</b>: <a href="http://www.e-conservationline.com/component/option,com_docman/task,cat_view/gid,118/Itemid,242/"><span class="Apple-style-span"><span class="Apple-style-span">http://www.e-conservationline.com/...</span></span></a> (pdf, 9.5 Mb)</span></div></span></span></span><span style="font-size:85%;"><br style="font-family: verdana;"></span><span style="font-family: verdana;font-size:85%;" > <span style="font-weight: bold;">Table of Contents</span>:<br /><br /><span style="font-weight: bold;">Editorial</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1046">On Disinvestment of Cultural Heritage</a><br /><span style="font-style: italic;">By Rui Bordalo</span><br /><br /><br /><span style="font-weight: bold;">News & Views</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1047">A Decade of Disorder: Conservation and the Digital Revolution</a><br /><span style="font-style: italic;">By Daniel Cull</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1048">Pragmatism and Compromise in Conservation</a><br /><span style="font-style: italic;">By Peter D. Verheyen</span><br /><br /><a href="http://www.e-conservationline.com/blog/?p=262">News on e-conservation magazine</a><br /><span style="font-style: italic;">By Rui Bordalo</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1049">Urban Conservation in High Asia. The work of André Alexander and Tibet Heritage Fund</a><br /><span style="font-style: italic;">By Pimpim de Azevedo and Yutaka Hirako</span><br /><br /><br /><span style="font-weight: bold;">Reviews</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1050">Faces of Memory: the Newest Technology of Preservation and Restoration of Hand-Written and Printed Heritage</a><br /><span style="font-style: italic;">Review by Tatyana Krupa</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1051">Back to the Roots - Workshop on Textile Dyeing with Natural Dyes</a><br /><span style="font-style: italic;">Review by Anna Karatzani</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1052">XTACH 2011<br />International Conference on the Use of X-ray (and related) Techniques in Arts and Cultural Heritage</a><br /><span style="font-style: italic;">Review by Mark Beech</span><br /><br /><br /><span style="font-weight: bold;">Articles</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1054">Boxes for the Housing and Protection of Books: Observations on their History and Development</a><br /><span style="font-style: italic;">By Gianlorenzo Pignatti</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1055">Lining, Relining and the Concept of Univocity</a><br /><span style="font-style: italic;">By Cecil Krarup Andersen</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1056">Salt Damage on the Wall Reliefs of Dendera Temple, Egypt</a><br /><span style="font-style: italic;">By Hesham Abbas Kamally</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1057">Security of Cultural Property: U.S. Engagement and Potential for Improvement</a><br /><span style="font-style: italic;">By Erik Nemeth</span><br /><br /><br /><span style="font-weight: bold;">Case Study</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1058">First Aid of Rare Ptolemaic Textile in Tuna el-Gebel Excavation, Egypt</a><br /><span style="font-style: italic;">By Harby E. Ahmed</span><br /></span><span style="font-family: verdana;font-size:85%;" ><br /></span>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-72958061666457106452012-01-25T22:45:00.004+00:002012-01-25T22:54:57.867+00:00"Don't cut funding for research on Cultural Heritage in HORIZON 2020" petition signature<br style="font-family:verdana;"><div style="text-align: center;"><br style="font-family:verdana;"><br style="font-family:verdana;"><span style="font-size:85%;"><iframe src="http://www.ipetitions.com/widget/view/391452" marginheight="0" marginwidth="0" style="border-style: solid solid none; border-color: rgb(205, 206, 208) rgb(205, 206, 208) -moz-use-text-color; border-width: 1px 1px medium; width: 200px; height: 145px; background-color: rgb(233, 234, 235); font-family: verdana;" scrolling="no"></iframe></span><br style="font-family:verdana;"></div><br /><div style="text-align: left;"></div><span style="font-size:85%;"><br /><span style="font-weight: bold; font-family:verdana;" >The Petition</span><br /><br /></span><div style="text-align: justify;"><span style="font-size:85%;"><span style="font-family:verdana;"> We the undersigned, who include scientists and professionals, institutions and stakeholders acting in the field of cultural heritage support this petition initiated by European Confederation of Conservator-Restorers Organisations E.C.C.O., to have the European Council and the European Parliament reconsider the terms of reference in HORIZON 2020, the 8th European Framework Programme for Research in respect of cultural heritage. </span></span><br style="font-family:verdana;"><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;">In the proposed 8th European Framework Programme for Research there is no specific research programme connected to the field of cultural heritage. This is not only detrimental to all who work in this sector but undermines the major role cultural heritage plays in the overall economy of the EU. </span></span><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;"> </span></span><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;">Within the European Framework Programmes, cultural heritage has been addressed in numerous programmes (EESD, IST, CRAFT, Policies, INCO-MED, etc.), and most recently in FP5 and FP6. Within the FP7 (2007-2013), cultural heritage has also been given priority status by the EU Commission in themes such as “Environment”, “Nanomaterials”, “Processes and ICT”, “Information and Communication Technologies” or “Socio-Economic Sciences and the Humanities”. </span></span><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;"> </span></span><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;">Cultural heritage research and preservation is carried out at national, European and international level and includes many disciplines and methodologies. It ranges from the analysis of the role and influence of cultural heritage in our lives; the socio-economic and policy aspects of cultural heritage to technical developments and interventions in movable, immovable heritage and archaeology and even to the management of digital aspects of cultural heritage knowledge.</span></span><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;"> </span></span><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;">Crucially, the Framework Programmes for Research have provided unique opportunities for coordinating and linking professional knowledge in different countries with the search for solutions to urgent common questions. They have enabled Europeans to shed light on the economic importance of their European heritage informed by new research results. This has also directly arisen from the commitment to the training of professionals in the conservation and restoration of this cultural heritage which has successfully been copied across nations.</span></span><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;"> </span></span><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;">This year we look back on 26 years successful research in the field of conservation and restoration of cultural heritage. So far, European programmes have contributed an overall investment of40 Million Euro to 41 international projects which have had far reaching consequences for the continued viability of the cultural context in which we live. Among them were large-scale research and application projects which research partners have developed – and still are in the process of developing – joint strategies for the long-term conservation of historic sites; presenting specific solutions for museums such as risk factors associated with display and exhibition in museums, mass deacidification of paper and other principal problems of conservation.</span></span><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;"> </span></span><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;">All this must not end with the termination of the 7th framework programme (2007 – 2013). Even now the loss of cultural resources amounts to 14 Billion Euro every year with climate change becoming a major factor in the threat to cultural heritage. On- going and accelerating deterioration must be met by responsive and informed conservation strategies for the future. </span></span><br /><br style="font-family:verdana;"><span style="font-size:85%;"><span style="font-family:verdana;"> The imperative to manage, protect and research this often finite resource speaks to social and economic values that make Europe what it is and contributes to its unique identity. </span></span><br /><br face="verdana"><span style="font-size:85%;"><span style="font-family:verdana;">This imperative needs to be supported with clear policies at European level, up to date technologies and dedicated research which can only be done successfully if cultural heritage is clearly prioritised in the allocation of funds. Therefore we urgently need the field of cultural heritage to be recognized as a requisite of sustainable economic growth and development in Europe through funding mechanisms clearly stipulated in the 8th framework program of research HORIZON 2020 running from 2014 until 2020. </span></span><br /><br style="font-family: verdana;"></div><script type="text/javascript"> var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-307455-4']); _gaq.push(['_setDomainName', 'ipetitions.com']); _gaq.push(['_setAllowHash', 'false']); _gaq.push(['_setAllowLinker', true]); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);})();</script>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-85619618229607979392011-11-29T13:38:00.004+00:002011-11-29T13:57:43.129+00:00e-conservaton magazine 22 (2011)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdct7khhs0XUyGWqqvXKQgiDeUAvB5CCNHz6tlN0-PZdB_hIZysRIdMeCok2aFX8vHKyVQ7KSvafaGkU_AS8y2oo6j21aE45aoVLArCwDQOc3hKcD6r9BzmF-0h2JH5GNqRcF33xv4tac/s1600/cover22.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 198px; height: 275px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdct7khhs0XUyGWqqvXKQgiDeUAvB5CCNHz6tlN0-PZdB_hIZysRIdMeCok2aFX8vHKyVQ7KSvafaGkU_AS8y2oo6j21aE45aoVLArCwDQOc3hKcD6r9BzmF-0h2JH5GNqRcF33xv4tac/s320/cover22.jpg" alt="" id="BLOGGER_PHOTO_ID_5680414163702490738" border="0" /></a><br /><br /><br /><span style="font-size:85%;"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Title</b>: e-conservation</span></div><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Issue</b>: 22</span></div></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><b>Pages</b>: 86 </span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Year</b>: 2011</span></div></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><b>Link</b>: <a href="http://www.e-conservationline.com/content/view/1042"><span class="Apple-style-span"><span class="Apple-style-span">http://www.e-conservationline.com/...</span></span></a></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Download</b>: <a href="http://www.e-conservationline.com/component/option,com_docman/task,cat_view/gid,116/Itemid,242/"><span class="Apple-style-span"><span class="Apple-style-span">http://www.e-conservationline.com/...</span></span></a> (pdf, 7.5 Mb)</span></div></span></span></span><br /><span style="font-size:85%;"> <span style="font-family:verdana;"><span style="font-weight: bold;">Table of Contents</span>:<br /><br /></span><span style=" font-weight: bold;font-family:verdana;" >Editorial</span> <span style="font-family:verdana;"><br /><a href="http://www.e-conservationline.com/content/view/1029">The Nomad Conservator</a></span> <span style=" font-style: italic;font-family:verdana;" ><br />By Rui Bordalo</span> <span style=" font-weight: bold;font-family:verdana;" ><br /><br />News & Views</span> <span style="font-family:verdana;"><br /><a href="http://www.e-conservationline.com/content/view/1030">Intangible Cultural Heritage and Rise of the Meme</a></span> <span style=" font-style: italic;font-family:verdana;" ><br />By Daniel Cull</span> <span style="font-family:verdana;"><br /><br /><a href="http://www.e-conservationline.com/content/view/1031">On Some Problems of the Relationship Between Science and Conservation</a></span> <span style=" font-style: italic;font-family:verdana;" ><br />By António João Cruz</span> <span style="font-family:verdana;"><br /><br /><a href="http://www.e-conservationline.com/content/view/1032">Historic Conservation Project Begins at “Machu Picchu of the North”</a></span> <span style=" font-style: italic;font-family:verdana;" ><br />By Global Heritage Fund</span> <span style=" font-weight: bold;font-family:verdana;" ><br /><br />Reviews</span> <span style="font-family:verdana;"><br /><a href="http://www.e-conservationline.com/content/view/1033">Conservation Matters in Wales</a></span> <span style=" font-style: italic;font-family:verdana;" ><br />Review by Johanna Sandström<br /></span> <span style="font-family:verdana;"><br /><a href="http://www.e-conservationline.com/content/view/1034">Microscopy and Microanalysis Applications in Cultural Heritage Research</a></span> <span style=" font-style: italic;font-family:verdana;" ><br />Review by Ana Bidarra<br /></span> <span style="font-family:verdana;"><br /><a href="http://www.e-conservationline.com/content/view/1035">MATCONS 2011</a></span><br /><span style=" font-style: italic;font-family:verdana;" >Review by Teodora Poiata</span> <span style="font-family:verdana;"><br /><br /><a href="http://www.e-conservationline.com/content/view/1036">ICOM-CC 16th Triennial Conference</a></span> <span style=" font-style: italic;font-family:verdana;" ><br />Review by Rui Bordalo</span> <span style=" font-weight: bold;font-family:verdana;" ><br /><br />Articles</span> <span style="font-family:verdana;"><br /><a href="http://www.e-conservationline.com/content/view/1037">The External Ion Beam Facility in Portugal for Studying Cultural Heritage</a></span> <span style=" font-style: italic;font-family:verdana;" ><br />By Victoria Corregidor, Luís Cerqueira Alves, Paula Alexandra Rodrigues, Márcia Vilarigues, Rui C. Silva</span> <span style="font-family:verdana;"><br /><br /><a href="http://www.e-conservationline.com/content/view/1038">The Contribution of Transmitted Infrared Imaging to Non-Invasive Study of Canvas Paintings at the National Gallery – Alexandros Soutzos Museum, Greece</a></span> <span style=" font-style: italic;font-family:verdana;" ><br />By Anna Moutsatsou, Dimitra Skapoula, Michael Doulgeridis</span> <span style="font-family:verdana;"><br /><a href="http://www.e-conservationline.com/content/view/1039"><br />Chinese Islamic Scrolls: a Conservation Case Study</a></span> <span style=" font-style: italic;font-family:verdana;" ><br />By Aristoteles Sakellariou, Lalit Kumar Pathak, Siti Yuhainizar Mohd Ismail<br /></span> <span style="font-family:verdana;"><br /><a href="http://www.e-conservationline.com/content/view/1040">Conservation Intervention of Vernacular Architectures: Two Case Studies in Calabria, Italy</a></span> <span style=" font-style: italic;font-family:verdana;" ><br />By Alessia Bianco</span></span>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-70961979490281124782011-09-28T00:00:00.004+01:002011-09-28T00:09:52.001+01:00e-conservation 21 (2011)<span style="font-size:85%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="font-family: verdana;" href="http://www.e-conservationline.com/images/stories/cover21.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 198px; height: 275px;" src="http://www.e-conservationline.com/images/stories/cover21.jpg" alt="" border="0" /></a></span><span style="font-size:85%;"><br /><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Title</b>: e-conservation</span></div><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Issue</b>: 21</span></div></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><b>Pages</b>: 90 </span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Year</b>: 2011</span></div></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><b>Link</b>: <a href="http://e-conservationline.com/content/view/1023"><span class="Apple-style-span"><span class="Apple-style-span">http://www.e-conservationline.com/...</span></span></a></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Download</b>: <a href="http://www.e-conservationline.com/component/option,com_docman/task,cat_view/gid,114/Itemid,242/"><span class="Apple-style-span"><span class="Apple-style-span">http://www.e-conservationline.com/...</span></span></a> (pdf, 6.9 Mb)</span></div><div><span class="Apple-style-span"><br /><br /></span></div></span><b style="color: rgb(51, 51, 51); line-height: 18px; ">Index</b><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">:</span></span></span></span><span style="font-size:85%;"><br /><span style="font-size:85%;"><span style="font-family:verdana;"><br /><span style="font-weight: bold;">EDITORIAL</span></span><br /><a href="http://www.e-conservationline.com/content/view/1016"><span style="font-family:verdana;">On continual learning</span></a><br /><span style="font-family:verdana;">By Rui Bordalo</span><br /><br /><br /><span style=" font-weight: bold;font-family:verdana;" >NEWS & VIEWS</span><br /><a href="http://www.e-conservationline.com/content/view/1017"><span style="font-family:verdana;">Restoration, Reality, and Life Behind the ‘Velvet Rope’</span></a><br /><span style="font-family:verdana;">By Daniel Cull</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1018"><span style="font-family:verdana;">Business Management Education in the Conservation Community</span></a><br /><span style="font-family:verdana;">By Sarah Lowengard</span><br /><br /><br /><span style=" font-weight: bold;font-family:verdana;" >REVIEWS</span><br /><a href="http://www.e-conservationline.com/content/view/1019"><span style="font-family:verdana;">New Approaches on Book and Paper Conservation-Restoration</span></a><br /><span style="font-family:verdana;">Review by Penelope Banou</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1020"><span style="font-family:verdana;">NESAT XI - Conference of the Northern European Symposium of Ancient Textiles</span></a><br /><span style="font-family:verdana;">Review by Annette Paetz gen. Schieck and Sylvia Mitschke</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1022"><span style="font-family:verdana;">Outdoor Wall Paintings, Material and Techniques</span></a><br /><span style="font-family:verdana;">Review by Mirjam Jullien and Johanna Nessow</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1024"><span style="font-family:verdana;">Preservation of Archaeological Remains in Situ (PARIS 4)</span></a><br /><span style="font-family:verdana;">Review by Mike Corfield and Jim William</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1025"><span style="font-family:verdana;">University Training of Restoration within the European Educational Context</span></a><br /><span style="font-family:verdana;">Review by Luboš Machacko</span><br /><br /><br /><span style=" font-weight: bold;font-family:verdana;" >ARTICLES</span><br /><a href="http://www.e-conservationline.com/content/view/1021"><span style="font-family:verdana;">Characterization of Natural and Synthetic Dyes Employed in the Manufacture of Chinese Garment Pieces by C-DAD and LC-DAD-QTOF</span></a><br /><span style="font-family:verdana;">By Estrella Sanz Rodríguez, Angela Arteaga Rodríguez, María Antonia García and Rodríguez Carmen Cámara</span><br /><br /><a href="http://www.e-conservationline.com/content/view/1026"><span style="font-family:verdana;">An Innovative Stretcher for Canvas Paintings</span></a><br /><span style="font-family:verdana;">By Osama M. El-Feky</span><br /><br /><a href="http://e-conservationline.com/content/view/1028"><span style="font-family:verdana;">Deterioration and Rates of Weathering of the Monumental Rock Inscriptions</span><br /><span style="font-family:verdana;">at Wadi Hammamat, Egypt</span></a><br /><span style="font-family:verdana;">By Hesham Abbas Kmally</span><br /><span style="font-family:verdana;"> </span><br /><span style="font-family:verdana;"> </span><br /><span style=" font-weight: bold;font-family:verdana;" >EDUCATION</span><br /><a href="http://e-conservationline.com/content/view/1027"><span style="font-family:verdana;">Sustainability in the Preservation of Cultural Heritage through Education Training</span><br /><span style="font-family:verdana;">in Wood Conservation and Restoration in Malta</span></a><br /><span style="font-family:verdana;">By Ninette Sammut<br /></span></span><br /></span>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-50028557697557422412011-09-27T23:46:00.005+01:002011-09-28T00:00:13.526+01:00Thesis: Varnishes from historical musical instruments (2010)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-KxotNY25218X2QfmqESZr1AWmTgPqu4-0ksmdGM1wgyoM-Mikw0xczwQvy6wCRHsm182RD1wIIpCa1QmySROje9m1HLPAjOOzBEzggGHhyTC8RwZ2Fp35fCTCZLtLPRFMw2f9noLCWk/s1600/Caruso.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 276px; height: 287px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-KxotNY25218X2QfmqESZr1AWmTgPqu4-0ksmdGM1wgyoM-Mikw0xczwQvy6wCRHsm182RD1wIIpCa1QmySROje9m1HLPAjOOzBEzggGHhyTC8RwZ2Fp35fCTCZLtLPRFMw2f9noLCWk/s320/Caruso.JPG" alt="" id="BLOGGER_PHOTO_ID_5657174952697452098" border="0" /></a><span style="font-size:85%;"><span style=" ;font-family:verdana;font-size:85%;" ><span style="font-weight: bold;">Title</span>: Characterization of the varnishes from historical musical instruments<br /><span style="font-weight: bold;">Author</span>: Francesco Caruso<br /><span style="font-weight: bold;">University</span>: University of Palermo<br /><span style="font-weight: bold;">Type of document</span>: PhD<br /><span style="font-weight: bold;">Year</span>: 2010<br /><span style="font-weight: bold;">Link</span>: <a href="http://www.box.net/shared/1fz480ty00pobusomjkv">http://box.net/...</a> (pdf, 9.1 Mb)<br /><br /><span style="font-weight: bold;">Note</span>: download with permission of the author.<br /><br /><span style="font-weight: bold;">Abstract</span></span><br /></span><div style="text-align: justify;"><span style="font-size:85%;"><span style="font-family:verdana;">The characterization of materials such as glues, paints, pigments, binders and varnishes used to create artworks, continues to provide art historians and conservators with precious information. Such a knowledge enables restoration and conservation processes to be carried out properly without causing</span></span> <span style="font-size:85%;"><span style="font-family:verdana;">any damage to the original artefacts and also helps to understand the techniques used by the artists. </span></span><span style="font-size:85%;"><span style="font-family:verdana;">The varnishing of musical instruments has been an interesting debating point since the end of the 19th century for lute-makers and industries focused onto the (re)production of high quality instruments. </span></span><span style="font-size:85%;"><span style="font-family:verdana;">To date, there is considerable scientific interest in recovering the original formulations (the secrets of the old masters) and transferring such knowledge to restorers, conservators, lute-makers and musicologists. </span></span><span style="font-size:85%;"><span style="font-family:verdana;">Ample scienti</span></span><span style="font-size:85%;"><span style="font-family:verdana;">fi</span></span><span style="font-size:85%;"><span style="font-family:verdana;">c efforts have been made to identify the organic and the inorganic portions of the surface layers of several historical stringed instruments, although the interest has mainly been focused on North-Italian ones.</span></span> <span style="font-size:85%;"><span style="font-family:verdana;">This doctoral dissertation is devoted to the use of a non standard multianalytical method for the characterization of the varnish of a selection of historical stringed musical instruments from the "Musical Instruments Museum" in Brussels and the "Vincenzo Bellini" Conservatory in Palermo. A series of non-destructive and micro-destructive instrumental techniques was applied for obtaining information about the composition of the varnishes of the instruments. </span></span><span style="font-size:85%;"><span style="font-family:verdana;">Particular attention was given to the implementation of a Curie Point Pyrolysis Gas Chromatography coupled with Mass Spectrometry methodology for the study of the organic portions of the micro-samples without any special pre-treatment.</span></span> <span style="font-size:85%;"><span style="font-family:verdana;">This is the </span></span><span style="font-size:85%;"><span style="font-family:verdana;">fi</span></span><span style="font-size:85%;"><span style="font-family:verdana;">rst systematic scienti</span></span><span style="font-size:85%;"><span style="font-family:verdana;">fi</span></span><span style="font-size:85%;"><span style="font-family:verdana;">c work on the art works of such collections and one of the few in the field of chemical sciences applied to the conservation of historical musical instruments.</span></span><br /><br /><br /><span style="font-size:85%;"><span style="font-family:verdana;"><span style="font-weight: bold;">Table of contents (short version)</span>:</span></span><br /><br /><span style="font-size:85%;"><span style=" font-weight: bold;font-family:verdana;" >1. Introduction</span></span><br /><div style="text-align: justify;"><span style="font-size:85%;"><span style="font-family:verdana;">1.1. History of the collection of the \Vincenzo Bellini" Conservatory in Palermo</span></span><br /><span style="font-size:85%;"><span style="font-family:verdana;">1.2. History of the \Musical Instruments Museum" in Brussels</span></span><br /><span style="font-size:85%;"><span style="font-family:verdana;">1.3. Scientific studies on the varnish of historical musical instruments </span></span><br /><span style="font-size:85%;"><span style="font-family:verdana;">1.4. The analysed instruments and their labels</span></span><br /><span style="font-size:85%;"><span style=" font-weight: bold;font-family:verdana;" >2. Experimental </span></span><br /><span style="font-size:85%;"><span style="font-family:verdana;">2.1. Non destructive techniques</span></span><br /><span style="font-size:85%;"><span style="font-family:verdana;">2.2. Micro-destructive techniques</span></span><br /><span style="font-size:85%;"><span style=" font-weight: bold;font-family:verdana;" >3. Results and discussion</span></span><br /></div></div><div style="text-align: justify;"><div style="text-align: justify;"><span style="font-size:85%;"><span style="font-family:verdana;">3.1. Non destructive techniques </span></span><br /><span style="font-size:85%;"><span style="font-family:verdana;">3.2. Micro-destructive techniques </span></span><br /><span style="font-size:85%;"><span style=" font-weight: bold;font-family:verdana;" >4. Conclusions </span></span><br /><span style="font-size:85%;"><span style="font-family:verdana;">References </span></span><br /><span style="font-size:85%;"><span style="font-family:verdana;">A. XRF results on the instruments from the "Musical Instruments Museum" in Brussels</span></span><br /><span style="font-size:85%;"><span style="font-family:verdana;">B. FTIR spectra and band assignments of reference materials</span></span><br /></div><span style="font-size:85%;"><span style="font-family:verdana;">C. Scientific activity </span></span><br /></div><span style="font-size:85%;"><br /></span>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com1tag:blogger.com,1999:blog-1462979730509914333.post-83292292156321453892011-07-27T12:37:00.002+01:002011-07-27T12:45:37.019+01:00Tracking Colour - Preliminary Report 2 (2010)<span class="Apple-style-span" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBdKpaY_pAjmZyq-MrKkxd19fpPhjph9PtqWQ8-cCFXeIqkaJwLmGOFwGPkHo4vQtzurFXJdEYoVViNV7llrpTm1GFd6XStsqX-VBvnbGm1mqCU5u4RcTzmY_2uuwlAhDXANLtu3W4T_k/s1600/colour2.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 226px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBdKpaY_pAjmZyq-MrKkxd19fpPhjph9PtqWQ8-cCFXeIqkaJwLmGOFwGPkHo4vQtzurFXJdEYoVViNV7llrpTm1GFd6XStsqX-VBvnbGm1mqCU5u4RcTzmY_2uuwlAhDXANLtu3W4T_k/s320/colour2.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5633994999134484658" /></a><br /></span><div><div><span class="Apple-style-span" ><b>Title</b>: Tracking Colour. The polychromy of Greek and Roman sculpture in the Ny Carlsberg Glyptotek. Preliminary Report 2 </span></div><div><span class="Apple-style-span" ><b>Editor</b>: Jan Stubbe Østergaard and the Copenhagen Polychromy Network</span></div><div><span class="Apple-style-span" ><b>Publisher</b>: Ny Carlsberg Glyptotek & the Copenhagen Polychromy Network</span></div><div><span class="Apple-style-span" ><b>Year</b>: 2010</span></div><div><span class="Apple-style-span" ><b>Pages</b>: 88</span></div><div><span class="Apple-style-span" ><b>ISSN</b>: 1904-1888</span></div><div><span class="Apple-style-span" ><b>Link</b>: <a href="http://www.glyptoteket.dk/tracking-colour2.pdf">http://www.glyptoteket.dk/...</a> (PDF , 3.79 Mb)</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>From the Preface:</b></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><i>This report is a preliminary account of the 2010 activities of the NCG/CPN ‘Tracking Colour’ project. It offers an overview of salient aspects of developments in 2010, ending on a very happy note: an application to the Carlsberg Foundation for funding of a two-year prolongation of the project, from June 1st, 2011, has met with success. [...]</i></span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>Table of Contents (short version)</b>:</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><i>‘Tracking Colour’ in 2010</i>, Jan Stubbe Østergaard </span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>NCG/CPN INVESTIGATIONS IN 2010</b></span></div><div><span class="Apple-style-span" ><br /><i>The Technical Investigation of Sculptural Polychromy at the Ny Carlsberg Glyptotek 2009–2010 – An Outline</i>, Maria Louise Sargent and Rikke Hoberg Therkildsen</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><i>Research on Ancient Sculptural Polychromy with Focus on a 2nd Century CE Marble Amazon</i>, Maria Louise Sargent and Rikke Hoberg Therkildsen </span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><i>The Sciarra Amazon Investigation: Some Archaeological Comments</i>, Jan Stubbe Østergaard </span></div><div><span class="Apple-style-span" > </span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>DIGITAL DATA ASSETS MANAGEMENT<br /><br /></b></span></div><div><span class="Apple-style-span" ><i>Tracking Colour Online: Managing and Sharing the Digital Assets of the NCG/CPN Project</i>, Amalie Skovmøller </span></div></div><div><br /></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-71050143316256530202011-07-27T12:21:00.004+01:002011-07-27T12:37:12.789+01:00Tracking Colour - Preliminary Report 1 (2009)<span class="Apple-style-span" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqnhI5OjZezbcbKuTiiT_jPREHqcRRtSewj3qBPD1XkxJg79U1X3sBklNNo7TlVPTwm1duQb-ObJvKW2_nlKajxrPcfNVtjJ6Q0qOmH5GWXCvM0vuAasp3PVAMZjkmNFZ68dphfF5wgZA/s1600/colour1.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="text-align: justify;display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; cursor: pointer; width: 228px; height: 320px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqnhI5OjZezbcbKuTiiT_jPREHqcRRtSewj3qBPD1XkxJg79U1X3sBklNNo7TlVPTwm1duQb-ObJvKW2_nlKajxrPcfNVtjJ6Q0qOmH5GWXCvM0vuAasp3PVAMZjkmNFZ68dphfF5wgZA/s320/colour1.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5633993866762714306" /></a><div style="text-align: justify;"><br /></div></span><div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Title</b>: Tracking Colour. The polychromy of Greek and Roman sculpture in the Ny Carlsberg Glyptotek. Preliminary Report 1 </span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Editor</b>: Jan Stubbe Østergaard and the Copenhagen Polychromy Network</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Publisher</b>: Ny Carlsberg Glyptotek & the Copenhagen Polychromy Network</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Year</b>: 2009</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Pages</b>: 98</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>ISSN</b>: 1904-1888</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Link</b>: <a href="http://www.glyptoteket.dk/trackingcolour.pdf">http://www.glyptoteket.dk/...</a> (PDF , 3.79 Mb)</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>From the Preface:</b></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><i>From 2004 to 2008, the Ny Carlsberg Glyptotek and the Copenhagen Polychromy Network (CPN) carried out a Pilot Project in the museum’s collection of Greek and Roman sculpture. In June 2008 we started the so-called Main Project which will run until 2011. The first phase of visual examination began in January 2009 and lasted until this summer. Some provisional results of these activities are published in this first Preliminary Report. The Report also contains an introduction to the CPN and outlines of both the Pilot Project and the Main Project. The protocol followed in visual examination and documentation is not the subject of a separate article, but is presented instead as applied in practise. [...]</i></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Table of Contents</b>:</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><i>Introducing the Copenhagen Polychromy Network</i>, Jan Stubbe Østergaard </span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>The Copenhagen Polychromy Network pilot project 2004–2008</b></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><i>The CPN Pilot Project: a brief introduction and evaluation</i>, Jan Stubbe Østergaard</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><i>Investigating the polychromy of a Classical Attic Greek marble female head NCG IN 2830</i>, Mikkel Scharff, Rebecca Hast, Nicoline Kalsbeek, Jan Stubbe Østergaard </span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><i>Preliminary results from geochemical analysis of pigments on ancient Greek & Roman marble sculptures</i>, Minik T. Rosing and Jan Stubbe Østergaard</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><i>Raman spectroscopy characterization of colored pigments in archaeological materials</i>, Rolf W. Berg </span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>The Copenhagen Polychromy Network main project 2008–2011</b></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><i>The CPN Main Project 2008–2011: an outline</i>, Jan Stubbe Østergaard</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><i>Documentation and investigation of traces of colour on the Archaic Sphinx NCG IN 1203</i>, Maria Louise Sargent, Lin Rosa Spaabek, Mikkel Scharff, Jan Stubbe Østergaard<br /><br /><br /></span></div></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-6817850095202482632011-07-27T08:01:00.005+01:002011-07-27T08:09:22.038+01:00Copyright and Cultural Institutions (2009)<span class="Apple-style-span" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEOQIMgoM6OSgybw-Zm4NZm7896ZkxgvLJmIgRZ4vqV5KibnAQwWU3UHdIIPu7zvyzhDqujflBZI05fjsMmuVZ4OkpXpmVC1qPJ_r0G4KOqMRrfIhhfao7H8yYnXb8gAuD2kaQyS9pnO8/s1600/copyright.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 183px; height: 282px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEOQIMgoM6OSgybw-Zm4NZm7896ZkxgvLJmIgRZ4vqV5KibnAQwWU3UHdIIPu7zvyzhDqujflBZI05fjsMmuVZ4OkpXpmVC1qPJ_r0G4KOqMRrfIhhfao7H8yYnXb8gAuD2kaQyS9pnO8/s320/copyright.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5633923846177758146" /></a><br /><br /></span><div><div><span class="Apple-style-span" ><b>Title</b>: Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums</span></div><div><span class="Apple-style-span" ><b>Editor</b>: Peter B. Hirtle, Emily Hudson, and Andrew T. Kenyon </span></div><div><span class="Apple-style-span" ><b>Publisher</b>: Cornell University Library Press</span></div><div><span class="Apple-style-span" ><b>Year</b>: 2009</span></div><div><span class="Apple-style-span" ><b>Pages</b>: 275</span></div><div><span class="Apple-style-span" ><b>Link</b>: <a href="http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1495365">http://ssrn.com/...</a> </span><span class="Apple-style-span" style="font-family: verdana; font-size: small; ">(</span><span class="Apple-style-span" style="font-family: verdana; font-size: small; ">PDF , </span><span class="Apple-style-span" style="font-family: verdana; font-size: small; ">2.04 Mb)</span></div><div><span class="Apple-style-span" ><br /><br /></span></div><div><span class="Apple-style-span" ><b>Abstract</b>: </span></div><div style="text-align: justify;"><span class="Apple-style-span" >Digital communications technologies have led to fundamental changes in the ways that cultural institutions fulfil their public missions of access, preservation, research, and education. Institutions are developing publicly-accessible websites in which users can visit online exhibitions, search collection databases, access images of collection items, and in some cases create their own digital content. Digitization, however, also raises the possibility of copyright infringement. “Copyright and Digitization” aims to assist understanding and compliance with copyright law across libraries, archives, and museums. It discusses the exclusive rights of the copyright owner, the major exemptions used by cultural heritage institutions, and stresses the importance of “risk assessment” when conducting any digitization project. It also includes two cases studies, examining digitizing oral histories and student work. As well as free availability here, print copies are available for purchase via createspace.</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>Table of Contents (short version)</b>:</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" >1. Introduction</span></div><div><span class="Apple-style-span" >2. Copyright Fundamentals</span></div><div><span class="Apple-style-span" >3. Duration and Ownership of Copyright</span></div><div><span class="Apple-style-span" >4. Exclusive Rights and Infringement</span></div><div><span class="Apple-style-span" >5. Fair Use and Other Exemptions</span></div><div><span class="Apple-style-span" >6. The Libraries and Archives Exemptions</span></div><div><span class="Apple-style-span" >7. Copyright Permissions and Licenses</span></div><div><span class="Apple-style-span" >8. Locating Copyright Owners</span></div><div><span class="Apple-style-span" >9. Other Types of Intellectual Property, Contracts, and Jurisdictional Issues</span></div><div><span class="Apple-style-span" >10. Risk Management: How to Digitize Safely</span></div><div><span class="Apple-style-span" >11. Case Study 1: Interviews and Oral Histories</span></div><div><span class="Apple-style-span" >12. Case Study 2: Dissertations, Theses, and Student Papers</span></div></div><div><br /></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-23242587750225346782011-07-26T12:37:00.004+01:002011-07-27T08:01:09.688+01:00reSOLUTION Newsletter on Art Restoration (2009)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmxXmf5DmxRNn-_wo11TAbTrq8cc8XEmLJaFi01WYIlFxLHeFzwzNg1FO_YAE3dcSA0Ni3_sjXyp4syYhWbOusF_8dnFmJJU8q_33sWynADqbnyr9znSPTv1gWgw9ateQHLVOXGWZWg4w/s1600/reSOLUTION.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><span class="Apple-style-span"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 215px; height: 307px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmxXmf5DmxRNn-_wo11TAbTrq8cc8XEmLJaFi01WYIlFxLHeFzwzNg1FO_YAE3dcSA0Ni3_sjXyp4syYhWbOusF_8dnFmJJU8q_33sWynADqbnyr9znSPTv1gWgw9ateQHLVOXGWZWg4w/s320/reSOLUTION.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5633636675542422274" /></span></a><div><span class="Apple-style-span"><b><br /></b></span></div><div><span class="Apple-style-span"><b><br /></b></span></div><div><span class="Apple-style-span"><b>Title</b>: reSOLUTION</span></div><div><span class="Apple-style-span"><b>Issue</b>: 4</span></div><div><span class="Apple-style-span"><b>Pages</b>: 28</span></div><div><span class="Apple-style-span"><b>Year</b>: 2009</span></div><div><span class="Apple-style-span"><b>Download</b>: <a href="http://www.leica-microsystems.com/fileadmin/downloads/Leica%20F12%20I/Newsletters/reSOLUTION_Art_Restoration.pdf">http://www.leica-microsystems.com/...</a> [english version, pdf, 3.67 Mb]</span></div><div><span class="Apple-style-span"> <a href="http://www.leica-microsystems.com/fileadmin/downloads/Leica%20F12%20I/Newsletters/reSOLUTION_Kunstrestaurierung.pdf">http://www.leica-microsystems.com/...</a> [german version, pdf, 2.84 Mb]</span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><b>Table of contents</b>: </span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><i>The Princely Collections of Liechtenstein</i></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><i>Revealing the Secrets of a 17th Century Masterpiece</i></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><i>Danish Scientists Research Colour in Antique Sculptures</i></span></div><div><span class="Apple-style-span"> </span></div><div><span class="Apple-style-span"><i>A Look Inside the Restoration of Historic Photos</i></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><i>Stereomicroscope Reveals Destructive Work of Marine Sponge</i></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><i>Inclusions in Gemstones</i></span></div><div><span class="Apple-style-span"><i><br /></i></span></div><div><span class="Apple-style-span"><i><br /></i></span></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com4tag:blogger.com,1999:blog-1462979730509914333.post-48833410683827167272011-07-17T14:01:00.001+01:002011-07-17T14:03:15.634+01:00Access all Cambridge Journals for 6 weeks<span class="Apple-style-span" ><br />The Cambridge University Press has made <b>all articles published</b> in Cambridge Journals <b>in 2009 and 2010</b> free to access for 6 weeks, from 15th July until 30th August 2011.<br /><br />To access simply visit <a href="http://cup.msgfocus.com/c/14O5jRLHAieLJyqkrY">http://cup.msgfocus.com/c/<wbr>14O5jRLHAieLJyqkrY</a></span><div><br /></div><div><span class="Apple-style-span" style="font-family: verdana; font-size: small; ">* All Cambridge Journals are free to access for 6 weeks</span><span class="Apple-style-span" style="font-family: verdana; font-size: small; "><br /></span><span class="Apple-style-span" style="font-family: verdana; font-size: small; ">* No need to register</span></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-40068803934134855542011-07-16T17:47:00.005+01:002011-07-16T18:24:37.181+01:00e-conservation 20 (2011)<span class="Apple-style-span"><a href="http://www.e-conservationline.com/component/option,com_docman/task,cat_view/gid,112/Itemid,242/"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 199px; height: 275px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcb1lxAFzXK_ScT0kzj99gvCXibBsckI2PkqbctkbPn4M31Zu0jJLLmygTJ8tjlrZr41O8oNLbz6BMryRS2BDIKYifb6eQfaOLl_xAgpEVRhmMRJ68WvWeAbankCzIzlgvTVIONGe_naE/s320/cover20.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5629999233973752754" /></a></span><div style="text-align: center;"><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Title</b>: e-conservation</span></div><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Issue</b>: 20</span></div></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><b>Pages</b>: 94 </span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Year</b>: 2011</span></div></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><b>Link</b>: <span class="Apple-style-span"><span class="Apple-style-span"><a href="http://www.e-conservationline.com/content/view/1014">http://www.e-conservationline.com/...</a></span></span></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "><div style="color: rgb(51, 51, 51); line-height: 18px; "><span class="Apple-style-span"><b>Download</b>: <span class="Apple-style-span"><span class="Apple-style-span"><a href="http://www.e-conservationline.com/component/option,com_docman/task,cat_view/gid,112/Itemid,242/">http://www.e-conservationline.com/...</a></span></span> (pdf, 7.8 Mb)</span></div><div><span class="Apple-style-span"><br /><br /></span></div></span><b style="color: rgb(51, 51, 51); line-height: 18px; ">Index</b><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">:</span></span><br /><br /></span><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><b>EDITORIAL</b></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1003">The Worthiness of Association</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">By Rui Bordalo</span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><b>NEWS & VIEWS</b></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1004">Telling Stories</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">By Daniel Cull</span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1005">Cleaning the Dirt off Money in Conservation: Ethics and Economics</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">By Christabel Blackman</span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1006">Preserving our Urban Heritage: The Heritage Conversion Model</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">By Barry Mayhew</span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"> </span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><b>REVIEWS</b></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1007">The Science and Art of Color International Edelstein Color Symposium</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">Review by Mary Virginia Orna</span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1008">Increasing Europe’s Competitiveness Through Cultural Heritage Research</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">Review by Jaap van der Burg<br /><br /></span></span></div><div><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px; "> </span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1009">TECHNART 2011</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1009">Non-destructive and Microanalytical Techniques in Art and Cultural Heritage</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">Review by Ana Bidarra and Ana Guilherme</span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><b>ARTICLES</b></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1010">Reversibility and Minimal Intervention in the Gap-filling Process of Archaeological Glass</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">By Betlem Martínez, Trinidad Pasíes and Maria Amparo Peiró</span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1011">The Methods of Analysis used in Ceramics as an Effective Procedure in the Conservation of Terracotta Sculptures</a> </span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">By Carmen Bermúdez Sánchez, Giuseppe Cultrone, and Lucía Rueda Quero</span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1012">Destruction: The Impact of Catastrophic Events on Architecture.</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1012">Safeguarding the Memory of Ruins by Photography</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">By Maria Bostenaru</span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://www.e-conservationline.com/content/view/1013">Documentation of Contemporary Art: A Case Study of a Private Collection</a></span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">By Sofia Gomes</span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span></div><span class="Apple-style-span"><br /></span><br /></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-12727041881965489972011-07-16T17:38:00.006+01:002011-07-16T17:45:02.403+01:00Removal of Damaging Conservation Treatments on Mural Paintings (2007)<span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqk6fB4JRx8MUEbNCcNeZALpCAmGBE4pOEUTSERHWgJjHKrngrhrYdJesccKnl8rpkSXMfhfBiXS7LfpOOuKva6BI6paw5kOc9OP-BTvGSqMe6LvcQNn9UkRaXUubKbCUP-omrezuHHeY/s1600/wall.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 225px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqk6fB4JRx8MUEbNCcNeZALpCAmGBE4pOEUTSERHWgJjHKrngrhrYdJesccKnl8rpkSXMfhfBiXS7LfpOOuKva6BI6paw5kOc9OP-BTvGSqMe6LvcQNn9UkRaXUubKbCUP-omrezuHHeY/s320/wall.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5629990787782374914" /></a><br /></span><div><span class="Apple-style-span"><b>Title</b>: Removal of Damaging Conservation Treatments on Mural Paintings</span></div><div><span class="Apple-style-span"><b>Editor</b>: Hélène Svahn Garreau</span></div><div><span class="Apple-style-span"><b>Publisher</b>: Swedish National Heritage Board</span></div><div><span class="Apple-style-span"><b>Year</b>: 2010</span></div><div><span class="Apple-style-span"><b>Pages</b>: 72</span></div><div><span class="Apple-style-span"><b>Format</b>: PDF (3.87 Mb)</span></div><div><span class="Apple-style-span"><b>Link</b>: <a href="http://www.raa.se/cms/showdocument/documents/extern_webbplats/2010/april/9789172095540.pdf">http://www.raa.se/...</a></span></div><div><span class="Apple-style-span"><br /><br /></span></div><div><div><span class="Apple-style-span"><b>From the <i>Introduction</i>:</b></span></div><div><span class="Apple-style-span"><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span">The Swedish National Heritage Board held a two-day workshop named “Removal of Damaging Conservation Treatments on Mural Paintings” on November 2 and 3, 2007 at Österbybruk and Vendel. The workshop was sponsored by “FoU-medel” (R&D funds), distributed by the Swedish National Heritage Board and from “Syskonen Bothéns stiftelse” distributed by ”Nordiska konservatorförbundet Svenska sektionen” (NKF-S). This is the final report, which includes a summary of the presentations and discussions during the workshop.</span></div><div><span class="Apple-style-span"><br /><br /></span></div><div><span class="Apple-style-span"><b>Table of Contents (short version)</b>:</span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><i>Introduction</i>, Hélène Svahn Garreau</span></div><div><i><br />Biotechnological Approach for the Removal of Damaging Casein-Layer on Medieval Wall Paintings</i>, Sascha Beutel</div><div><i><br />German Experiments with Enzyme Reduction of Casein on Mural Paintings</i>, Kerstin Klein</div><div><i><br />Nanoscience for the Conservation of Cultural Heritage</i>, Piero Baglioni</div><div><i><br />The Conservation of the Mural Paintings in Vendel</i>, Ragnhild Claesson and Hélène Svahn Garreau</div><div><i><br />Problems with Casein Glue on Wall Paintings Transferred to Canvas</i>, Isabelle Brajer</div><div><i><br />Removal of Undesirable Compounds from Stone and Frescoes using Bacteria</i>, Francesca Cappitelli</div><div><i><br />Problems with Past Conservation Treatments on the Wall Church Paintings in Undløse</i>, Isabelle Brajer</div><div><span class="Apple-style-span"><br /><br /></span></div></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com1tag:blogger.com,1999:blog-1462979730509914333.post-67732901015748022152011-06-14T17:06:00.003+01:002011-06-14T17:21:31.918+01:00Biocolonization of Stone (2011)<span class="Apple-style-span" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ8-zHx5GL5K_gc8WJPo7__dxkatCo-halVFrDSuobpm5zy3WWIWx6IQKXwHscza7Ql8KTfDveU9vQI6ZAmnArx5B3aFnzV6r-ZAILwqdI3Cor8uP5g9jF8QwTl__SkPbdUQwZXriN3L4/s1600/Bio.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="text-align: justify;display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; cursor: pointer; width: 247px; height: 320px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ8-zHx5GL5K_gc8WJPo7__dxkatCo-halVFrDSuobpm5zy3WWIWx6IQKXwHscza7Ql8KTfDveU9vQI6ZAmnArx5B3aFnzV6r-ZAILwqdI3Cor8uP5g9jF8QwTl__SkPbdUQwZXriN3L4/s320/Bio.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5618107737797201122" /></a><div style="text-align: justify;"><br /><br /></div></span><div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Title</b>: Biocolonization of Stone: Control and Preventive Methods: Proceedings from the MCI Workshop Series</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Editors</b>: Asuncion Elena Charola, Christopher McNamara, and Robert J. Koestler</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Publisher</b>: Smithsonian Institution Scholarly Press</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Year</b>: 2011</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Pages</b>: 116</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Format</b>: PDF (14.95 Mb)</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Link</b>: <a href="http://hdl.handle.net/10088/16617">http://hdl.handle.net/...</a></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Abstract</b>:</span></div><div style="text-align: justify;"><span class="Apple-style-span" >The Smithsonian Museum Conservation Institute Workshop on Biocolonization of Stone was the second workshop in a series and was dedicated to research on removal and control of biocolonization in stone objects. Twelve presentations were made, and the workshop ended with a roundtable discussion open to the 71 attendees. The goal was to provide a discussion forum for biologists, material scientists, and conservators interested in stone biodeterioration. Seven papers were presented, ranging from microbiological laboratory studies to combination of on-site testing and laboratory evaluation for World Heritage Sites such as Angkor Wat, to a literature overview. Five case studies were also presented, covering control of biodeterioration at Veterans Affairs cemeteries, experience gathered from the installation of zinc strips at the Stanford Mausoleum in San Francisco, the red staining found on the marble of the Memorial Amphitheater at Arlington National Cemetery, problems posed by deer stones in Mongolia, and the site test installed at San Ignacio Miní Jesuit mission in Misiones, Argentina. The roundtable and discussions drew attention to the importance of exploring new methods to prevent microbial colonization of stone. Finally, in a closed session, suggestions were offered for developing criteria to evaluate microbial growth and determine when treatment is necessary. It was recommended that a database be prepared on stone biocolonization and its control.</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><b>Table of contents</b>:</span></div><div style="text-align: justify;"><span class="Apple-style-span" ><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><div style="text-align: justify;"><i>Microbiological Studies on Stone Deterioration and Development of Conservation Measures at Angkor Wat</i></div><div style="text-align: justify;">Thomas Warscheid and Hans Leisen </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Microbial Community Diversity and the Complexity of Preserving Cultural Heritage</i></div><div style="text-align: justify;">M. Carmen Portillo and Juan M. Gonzalez</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Characterization of Bacterial Colonization of Stone at global and Local Scales</i></div><div style="text-align: justify;">Christopher McNamara, Nick R. Konkol, Brandon P. Ross, and Ralph Mitchell</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Methods to Prevent Biocolonization and Recolonization: An Overview of Current Research for Architectural and Archaeological Heritage</i></div><div style="text-align: justify;">Ornella Salvadori and A. Elena Charola</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>New Environmentally Friendly Approaches against Biodeterioration of Outdoor Cultural Heritage </i></div><div style="text-align: justify;">Francesca Cappitelli, Federica Villa, and Claudia Sorlini</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Bioremediation of Algal Contamination on Stone</i></div><div style="text-align: justify;">Eric May, Dania Zamarreño, Sarah Hotchkiss, Julian Mitchell, and Robert Inkpen</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Recolonization of Marble Sculptures in a garden Environment</i></div><div style="text-align: justify;">José Delgado Rodrigues, Marta Vale Anjos, and A. Elena Charola </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Case Study: Red Staining on Marble</i></div><div style="text-align: justify;">Claire Gervais, Carol Grissom, Christopher McNamara, Nick R. Konkol, and Ralph Mitchell</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Case Study: Biocontrol Testing at the San Ignacio Miní Jesuit-guaraní Mission, Misiones, Argentina</i></div><div style="text-align: justify;">Marcelo L. Magadán, Gisela M. A. Korth, Marcela L. Cedrola, and José L. Pozzobon</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Case Study: Comparative Study of Commercially Available Cleaners for Use on Marble Veterans Affairs Headstones </i></div><div style="text-align: justify;">Jason Church, Mary Striegel, Christopher McNamara, Kristen Bearce Lee, and Ralph Mitchell</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Case Study: Deer Stones of Mongolia after Three Millennia </i></div><div style="text-align: justify;">Paula T. DePriest and Harriet F. Beaubien</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Case Study: Field Observations on the Effectiveness of Zinc Strips to Control Biocolonization of Stone </i></div><div style="text-align: justify;">David P. Wessel</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Discussions, Conclusions, and Recommendations </i></div><div style="text-align: justify;">A. Elena Charola, Christopher McNamara, and Robert J. Koestler</div></span></div></div><div style="text-align: justify;"><br /></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com1tag:blogger.com,1999:blog-1462979730509914333.post-7074073126910639942011-05-07T11:37:00.004+01:002011-05-07T11:45:32.297+01:00e-conservation 19 (2011)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTMEbo4MLhvKwHUS6OxmR0Lub3O_H9wPiIYjP0pqvxomRb6eriI69wnS9wIaHl-5WnmgjmAPmDmwg2NaMRIIX7xXd1ptq12Z18Y1b3j-zxp-OF1kBYYZX2vjo2w9udH8kK3rjGowAaAhE/s1600/cover19.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 199px; height: 275px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTMEbo4MLhvKwHUS6OxmR0Lub3O_H9wPiIYjP0pqvxomRb6eriI69wnS9wIaHl-5WnmgjmAPmDmwg2NaMRIIX7xXd1ptq12Z18Y1b3j-zxp-OF1kBYYZX2vjo2w9udH8kK3rjGowAaAhE/s320/cover19.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5603922085664517330" /></a><div><br /></div><div><span class="Apple-style-span"><div style="color: rgb(51, 51, 51); font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px; "><span class="Apple-style-span"><b>Title</b>: e-conservation</span></div><div style="color: rgb(51, 51, 51); font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px; "><span class="Apple-style-span"><b>Issue</b>: 19</span></div><div style="color: rgb(51, 51, 51); font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px; "><span class="Apple-style-span"><b>Year</b>: 2011</span></div><div style="color: rgb(51, 51, 51); font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px; "><span class="Apple-style-span"><b>Link</b>: <span class="Apple-style-span" ><a href="http://e-conservationline.com/content/view/1001">http://www.e-conservationline.com/...</a></span></span></div><div style="color: rgb(51, 51, 51); font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px; "><span class="Apple-style-span"><b>Download</b>: <span class="Apple-style-span" ><a href="http://www.e-conservationline.com/component/option,com_docman/task,cat_view/gid,110/Itemid,242/">http://www.e-conservationline.com/...</a></span> (pdf, 6.73 Mb)</span></div><div style="color: rgb(51, 51, 51); font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px; "><span class="Apple-style-span"><br /></span></div><div style="color: rgb(51, 51, 51); font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px; "><span class="Apple-style-span"><b>Index</b>:</span></div><div style="color: rgb(51, 51, 51); font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px; "><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span" style="line-height: 18px;"><div><b>EDITORIAL</b></div><div><a href="http://e-conservationline.com/content/view/989">Public awareness and the romantic view of restoration</a></div><div><i>By Rui Bordalo</i></div><div><br /></div><div><b>NEWS & VIEWS</b></div><div><br /></div><div><a href="http://e-conservationline.com/content/view/990">O, Ethnographic Conservation, be some other name!</a></div><div><i>By Daniel Cull</i></div><div><br /></div><div><b>REVIEWS</b></div><div><br /></div><div><a href="http://e-conservationline.com/content/view/991">The 20th Anniversary Meeting of E.C.C.O.</a> </div><div><i>Review by Rui Bordalo</i></div><div> </div><div><a href="http://e-conservationline.com/content/view/992">Conservation and analysis techniques for the study and safeguard of metallic heritage</a></div><div><i>Review by Ana Bidarra</i></div><div><br /></div><div><a href="http://e-conservationline.com/content/view/993">“Back to the Roots” - Workshop on the Preparation of Historical Lake Pigments</a></div><div><i>Review by Martina Griesser</i></div><div><br /></div><div><a href="http://e-conservationline.com/content/view/994">Educational Workshop: Discovering Restoration, Treasuring the Original</a></div><div><i>Review by Anca Dina and Teodora Poiata</i></div><div><br /></div><div><a href="http://e-conservationline.com/content/view/995">The 15th Symposium on Mediterranean Archaeology</a></div><div><i>Review by Hakan Öniz and Çigdem Külekçioglu</i></div><div><br /></div><div><a href="http://e-conservationline.com/content/view/996">Conservation Matters in Wales</a></div><div><i>Review by Sarah Lawrence</i> </div><div><br /></div><div><b>EVENTS</b></div><div><br /></div><div>Upcoming Events: May - June 2011</div><div><br /></div><div> </div><div><b>ARTICLES</b></div><div><br /></div><div><a href="http://e-conservationline.com/content/view/997">Old Interventions & New Possibilities</a></div><div><a href="http://e-conservationline.com/content/view/997">Applications of digital technology in re-conservation</a></div><div><i>By Eleni Kotoula</i></div><div><br /></div><div><a href="http://e-conservationline.com/content/view/998">Museums of Technology: Bridges of cultural identity</a></div><div><i>By Johannis Tsoumas</i></div><div><br /></div><div><a href="http://e-conservationline.com/content/view/999">The street in the photography from the 19th and early 20th century as mean of art or of science</a></div><div><i>By Maria Bostenaru</i></div><div><br /></div><div><a href="http://e-conservationline.com/content/view/1000">Scientific Study and Conservation of a Painted Enamel Qajar Pendant</a></div><div><i>By Wafaa Anwar Mohamed</i></div></span></div><div style="color: rgb(51, 51, 51); font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px; "><br /></div></span></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-90808544000206916932011-04-25T13:01:00.004+01:002011-04-25T13:06:44.633+01:00Stone Conservation: An Overview of Current Research (2010)<span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4L33vE41UXcRYlhYEq3t7YS1GvNfaqn-4HvfSkshZrMJBIK3pbFESGOX0uqTOrhPibpJUWdklVEj1V8g3JE5h8SFkKn8ws-c4xTIZtCVsWAAI2x4xV1UoBH6ixcmYJfHWpfriIjhW2YI/s1600/stone.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 241px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4L33vE41UXcRYlhYEq3t7YS1GvNfaqn-4HvfSkshZrMJBIK3pbFESGOX0uqTOrhPibpJUWdklVEj1V8g3JE5h8SFkKn8ws-c4xTIZtCVsWAAI2x4xV1UoBH6ixcmYJfHWpfriIjhW2YI/s320/stone.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5599490355663397474" /></a><br /></span><div style="text-align: center;"><span class="Apple-style-span"><span class="Apple-style-span"><u><br /></u></span></span></div><span><br /></span><div><span class="Apple-style-span"><span style="font-weight: bold; ">Title</span>: Stone Conservation: An Overview of Current Research</span></div><div><span><span><span style="font-weight: bold; ">Editors</span>: Eric Doehne and C.A. Price</span><br /><span><span style="font-weight: bold; ">Publisher</span>: The Getty Conservation Institute</span><br /><span><span style="font-weight: bold; ">Year</span>: 2010 (2nd edition)</span></span></div><div><span><span><span style="font-weight: bold; ">Pages</span>: 175</span><br /><span><span style="font-weight: bold; ">Format</span>: PDF (1.65 Mb)</span><br /><span><span style="font-weight: bold; ">Link</span>: <a href="http://www.getty.edu/conservation/publications/pdf_publications/stoneconservation.pdf">http://www.getty.edu/...</a></span><br /><br /><span><span style="font-weight: bold; ">Table of contents</span>:<br /><br /></span><span><span style="font-weight: bold; ">Chapter 1</span>. Stone Decay</span><br /><span><span style="font-weight: bold; ">Chapter 2</span>. Putting It Right: Preventive and Remedial</span><br /><span><span style="font-weight: bold; ">Chapter 3</span>. Do They Work? Assessing the Effectiveness of Treatments</span><br /><span><span style="font-weight: bold; ">Chapter 4</span>. Putting It into Practice: Conservation Policy</span><br /><span><span style="font-weight: bold; ">Chapter 5</span>. Heritage in Stone: Rock Art, Quarries, and Replacement Stone</span></span></div><div><span><div><span style="font-weight: bold; ">Chapter 6</span>. Doing Better: Increasing the Effectiveness of Research</div><div><span style="font-weight: bold; ">Chapter 7</span>. What Has Changed? Some Thoughts on the Past Fifteen Years</div><div><b>Appendix</b>: Resources for Stone Conservation</div><div><br /></div></span></div><div><span style="font-size: 14px; "><span style="font-family: verdana; "><br /></span></span></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-14297237906012191582011-02-26T21:58:00.004+00:002011-02-26T22:10:21.223+00:00e-conservation 18 (2011)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhocu_CeUZogzqmcsddjxF1zLseDNqak-9lD4_4XYCoXLOST0rKF9VoXMtHx44gKbi3RXUFGW8YOUWbkHIZBF4R9P9Ike38rhz3e3l39adp_LpZzuQ5kbxB-fj0JznAx8CY_SciSHQJM_c/s1600/cover18.jpg"><span class="Apple-style-span" ><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 199px; height: 275px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhocu_CeUZogzqmcsddjxF1zLseDNqak-9lD4_4XYCoXLOST0rKF9VoXMtHx44gKbi3RXUFGW8YOUWbkHIZBF4R9P9Ike38rhz3e3l39adp_LpZzuQ5kbxB-fj0JznAx8CY_SciSHQJM_c/s320/cover18.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5578121682387075474" /></span></a><div><span class="Apple-style-span" ><b>Title</b>: e-conservation</span></div><div><span class="Apple-style-span" ><b>Issue</b>: 18</span></div><div><span class="Apple-style-span" ><b>Year</b>: 2011</span></div><div><span class="Apple-style-span" ><b>Link</b>: <a href="http://e-conservationline.com/content/view/986">http://www.e-conservationline.com/...</a></span></div><div><span class="Apple-style-span" ><b>Download</b>: <a href="http://www.e-conservationline.com/component/option,com_docman/task,cat_view/gid,107/Itemid,242/">http://www.e-conservationline.com/...</a> (pdf, 8.53 Mb)</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>Table of Contents:</b></span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>Editorial</b></span></div><div><span class="Apple-style-span" ><i><a href="http://e-conservationline.com/content/view/974">The job market…where is it going?</a></i></span></div><div><span class="Apple-style-span" >By Rui Bordalo</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>News & Views</b></span></div><div><span class="Apple-style-span" ><i><a href="http://e-conservationline.com/content/view/983">#culturematters</a></i></span></div><div><span class="Apple-style-span" >By Daniel Cull</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>Reviews</b></span></div><div><span class="Apple-style-span" ><i><a href="http://e-conservationline.com/content/view/975">Parchment and Leather – research, conservation-restoration, craft</a></i></span></div><div><span class="Apple-style-span" >Review by Tomasz Kozielec</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><i><a href="http://e-conservationline.com/content/view/977">Seven Years Dedicated to the Conservation of the Modern Movement Heritage</a></i></span></div><div><i><span class="Apple-style-span" ><span class="Apple-style-span">The Conference Series: “Das architektonische Erbe – zum aktuellen </span><span class="Apple-style-span">Umgang mit den Bauten der Moderne”</span></span></i></div><div><span class="Apple-style-span" >Review by Maria Bostenaru Dan</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>News</b></span></div><div><span class="Apple-style-span" ><i><b>Website</b>: <a href="http://www.e-conservationline.com/content/view/987/">Google Art Project</a></i></span></div><div><span class="Apple-style-span" ><i><b>Book Release</b>: <a href="http://www.e-conservationline.com/content/view/987/">The Orthodox Christian Sakkos</a></i></span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>Events</b></span></div><div><span class="Apple-style-span" >Upcoming Events: March - April 2011</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>Articles</b></span></div><div><span class="Apple-style-span" ><i><a href="http://e-conservationline.com/content/view/982">Infrared Reflectography Using 3D Laser Scanning</a></i></span></div><div><span class="Apple-style-span" >By Christian Dietz, Gianluca Catanzariti and Alfredo Jimeno Martínez</span></div><div><span class="Apple-style-span" ><br /></span></div><div><i><span class="Apple-style-span" ><a href="http://e-conservationline.com/content/view/978"><span class="Apple-style-span">A Reflection on the Preventive Conservation of Archaeological Wood and </span><span class="Apple-style-span">the Effects of Mass Tourism</span></a></span></i></div><div><span class="Apple-style-span" ><i><a href="http://e-conservationline.com/content/view/978">The Case Study of the Vasa Warship</a></i></span></div><div><span class="Apple-style-span" >By Cristina Cabello-Briones</span></div><div><span class="Apple-style-span" ><br /></span></div><div><i><span class="Apple-style-span" ><a href="http://e-conservationline.com/content/view/980"><span class="Apple-style-span">The Use of Ground Penetrating Radar for the Assessment of the </span><span class="Apple-style-span">Conservation State of an Historic Building</span></a></span></i></div><div><span class="Apple-style-span" >By Lucian Cristian Ratoiu</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><i><a href="http://www.e-conservationline.com/content/view/981/">Virtual Aesthetic Presentation of Polychrome Sculptures</a></i></span></div><div><i><span class="Apple-style-span" ><a href="http://www.e-conservationline.com/content/view/981/"><span class="Apple-style-span">Preserving the artistic authenticity of polychrome carved wood pieces </span><span class="Apple-style-span">in the conservation-restoration process</span></a></span></i></div><div><span class="Apple-style-span" >By Daniela Cristina Pintilie</span></div><div><span class="Apple-style-span" ><br /></span></div><div><br /></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-29916631641765880112011-02-26T21:10:00.003+00:002011-02-26T21:46:15.858+00:00Preservation of Wax Moulages (2009)<span class="Apple-style-span" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3geIxeuO8GT-Df4U6gTQ-qvG5_G1qZTvnxaVnCbEoEwSje0h8FNVV2qIUUPibbTKaE8nQ1nZoSXgFK_FBXwfqHXagGjewH1Ka4ZecpabKlU-JgxbrwYKPGcfzSOr7rPp372LDP9B2f7g/s1600/Wax.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px; height: 283px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3geIxeuO8GT-Df4U6gTQ-qvG5_G1qZTvnxaVnCbEoEwSje0h8FNVV2qIUUPibbTKaE8nQ1nZoSXgFK_FBXwfqHXagGjewH1Ka4ZecpabKlU-JgxbrwYKPGcfzSOr7rPp372LDP9B2f7g/s320/Wax.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5578115182008576194" /></a><br /></span><div><div><span class="Apple-style-span" ><b>Title</b>: Recommendations for the Preservation of Wax moulages at Universities and Hospitals and in Museums and other Collections</span></div><div><span class="Apple-style-span" ><b>Year</b>: 2009</span></div><div><span class="Apple-style-span" ><b>Pages</b>: 31</span></div><div><span class="Apple-style-span" ><b>Download</b>: <a href="http://www.dhmd.de/neu/index.php?id=1833">http://www.dhmd.de/...</a> (pdf, 641 Kb)</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><br /></span></div><div><i><span class="Apple-style-span" ><b>From the Introduction</b>:</span></i></div><div style="text-align: justify;"><i><span class="Apple-style-span" ><span class="Apple-style-span">These recommendations, drawn up within the framework of the project “Wax </span><span class="Apple-style-span">Moulages: A Valuable Handicraft Threatened with Extinction,” were formulated by an interdisciplinary group of experts from the fields of restoration and conservation, medicine and medical history, natural sciences, cultural studies, and curatorship.</span></span></i></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" ><b>Table of Contents</b>:</span></div><div><span class="Apple-style-span" ><br /></span></div><div><span class="Apple-style-span" >Introduction</span></div><div><span class="Apple-style-span" >Objective and Starting Point</span></div><div><span class="Apple-style-span" ><br /></span></div><div><b><span class="Apple-style-span" >I. Commentary</span></b></div><div><span class="Apple-style-span" >1. The survey</span></div><div><span class="Apple-style-span" >2. Preventive conservation</span></div><div><span class="Apple-style-span" >3. Active conservation</span></div><div><span class="Apple-style-span" >4. Restoration</span></div><div><span class="Apple-style-span" ><br /></span></div><div><b><span class="Apple-style-span" >II. Recommendations</span></b></div><div><span class="Apple-style-span" >Basic Requirements</span></div><div><span class="Apple-style-span" >1. The survey</span></div><div><span class="Apple-style-span" >2. Preventive conservation</span></div><div><span class="Apple-style-span" > 2.1. Climate</span></div><div><span class="Apple-style-span" > 2.2. Light</span></div><div><span class="Apple-style-span" > 2.3. Storage</span></div><div><span class="Apple-style-span" > 2.4. Use</span></div><div><span class="Apple-style-span" > 2.5. Transport, packing, lending and temporary exhibition</span></div><div><span class="Apple-style-span" >3. Active conservation</span></div><div><span class="Apple-style-span" > 3.1. Inclusion of all components of a moulage, various types of damage</span></div><div><span class="Apple-style-span" > 3.2. Assigning Work and calling for bids</span></div><div><span class="Apple-style-span" >4. Restoration</span></div><div><span class="Apple-style-span" > 4.1. PReservation of authenticity</span></div><div><span class="Apple-style-span" > 4.2. Assigning Work and calling for bids</span></div><div><span class="Apple-style-span" >Appendix 1 </span></div><div><span class="Apple-style-span" >Appendix 2</span></div></div><div><br /></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com3tag:blogger.com,1999:blog-1462979730509914333.post-19082955431549583592010-12-22T19:34:00.007+00:002010-12-22T20:01:59.650+00:00e-conservation 17 (2010)<span style="font-size:85%;"><span style="font-family:verdana;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqlvF2_oecP1EbpZmdgy198Kp85kblnl1eEp-BO_JCQJ_HTE0d7gzabdV4tnuOEeX-AUxprnyYDE1r16jzAJgCgDrvyJ-mbYH5Kmsg00g2YSXx0dAsJAPS4LHm0aVTg0H26ACsBLSNGJs/s1600/cover17.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 199px; height: 275px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqlvF2_oecP1EbpZmdgy198Kp85kblnl1eEp-BO_JCQJ_HTE0d7gzabdV4tnuOEeX-AUxprnyYDE1r16jzAJgCgDrvyJ-mbYH5Kmsg00g2YSXx0dAsJAPS4LHm0aVTg0H26ACsBLSNGJs/s320/cover17.jpg" alt="" id="BLOGGER_PHOTO_ID_5553594112530885586" border="0" /></a><br /><strong>Title</strong>: e-conservation<br /><strong>Issue</strong>: 17<br /><strong>Year</strong>: 2010<br /><span style="font-weight: bold;">Link</span>: <a href="http://www.e-conservationline.com/content/view/966">http://www.e-conservationline.com/...</a><br /><span style="font-weight: bold;">Download</span>: <a href="http://www.e-conservationline.com/component/option,com_docman/task,cat_view/gid,104/Itemid,242/">http://www.e-conservationline.com/...</a> (pdf, 7.93 Mb)<br /><br /><br /><span style="font-weight: bold;">Table of Contents:</span><br /><br /><span style="font-weight: bold;">Editorial</span><br /><span style="font-style: italic;">Multicultural Conservation</span><br />by Rui Bordalo<br /><br /><span style="font-weight: bold;">News & Views</span><br /><span style="font-style: italic;">The Social Media Challenge for Conservation Outreach</span><br />By Daniel Cull<br /><br /><span style="font-weight: bold;">Reviews</span><br /><em>Conservation and the Eastern Mediterranean<br />IIC Congress</em><br />Review by Sagita Mirjam Sunara<br /><br /><span style="font-style: italic;">Bigstuff 2010</span><br />Review by Alison Wain<br /><br /><span style="font-style: italic;">16th International Heritage Show</span><br />Review by Petruta Vlad<br /><br /><span style="font-style: italic;">Preparing Ikats for Colors of the Oasis: Central Asian Ikats</span><br />By Cyndi Bohlin<br /><br /><span style="font-weight: bold;">Book Releases</span><br />- <em>Books Will Speak Plain. A Handbook for Identifying and Describing Historical Bindings</em>, by Julia Miller<br />- <em>Studies on Information and Knowledge Processes. Studies on Heritage Management I</em>, by Ferenc Kiss, Lia Bassa (eds.)<br />- <span style="font-style: italic;">The Picture of Memory</span>, by Michela Rossi, Cecilia Tedeschi (eds.)<br /><br /><span style="font-weight: bold;">Articles</span><br /><span style="font-style: italic;">Science and Restoration at the Service of Interpretation</span><br />By Dimitrios Doumas<br /><br /><em>An Extensive Study of the Effect of the Enzyme a-Amylase Used in Textile Conservation on Silk Fibers Dyed with Safflower and Madder Dye</em><br />By Harby E. Ahmed<br /><br /><span style="font-weight: bold;">Case Study</span><br /><span style="font-style: italic;">Conservation and Restoration of a Rare Large Persian Carpet</span><br />By Omar Abdel-Kareem<br /><br /><span style="font-weight: bold;">Projects</span><br /><em>The Bactria Cultural Centre: A UNESCO-sponsored project in Mazar-e Sharif, war-struck northern Afghanistan – Success or Failure?<br /></em>By Alessandro Califano<br /><br /></span></span>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-82889890426566060552010-12-22T18:45:00.002+00:002010-12-22T19:34:10.034+00:00Article: tapestry conservation in Europe and the United States (2006)<div align="justify"><span style="font-size:85%;"><span style="font-family:verdana;"><strong><br /></strong></span></span></div><div align="justify"><span style="font-size:85%;"><span style="font-family:verdana;"><strong><br /></strong></span></span></div><div align="justify"><span style="font-size:85%;"><span style="font-family:verdana;"><strong>Title</strong>: Preserving image and structure: tapestry conservation in Europe and the United States<br /><strong>Author</strong>: Frances Lennard<br /><strong>Reference</strong>: Reviews in Conservation, 2006, pp. 43-53<br /><strong>Download</strong>: <a href="http://eprints.soton.ac.uk/38034/" target="_blank">http://eprints.soton.ac.uk/...</a> (.doc, 116 Kb)<br /><br /><strong>Abstracts</strong>:<br />Tapestry weaving has been used for millennia to create fabrics in which the design is integral to the structure, but the term ‘tapestry’ is also synonymous with woven pictorial hangings, the subject of this paper. Since the first tapestries were made, they have been cleaned and repaired. As the loss of warp and weft yarns affects both the image and the structure simultaneously, tapestry restoration and conservation techniques have sought to clarify the image as well as support the structure. This paper analyses the evolution of tapestry conservation techniques in western Europe and the United States from the universal use of reweaving to the range of treatments currently employed.</span></span><br /></div><div align="justify"><span style="font-size:85%;"><span style="font-family:verdana;"><br /></span></span></div><div align="justify"><span style="font-size:85%;"><span style="font-family:verdana;"><br /></span></span></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-63972115498480343642010-12-14T22:08:00.004+00:002010-12-14T22:14:37.421+00:00Forgers, Dealers, Experts (1960)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEion-XBzB1_PDJYXZzfM0FYGAw2ghE-LcadqIwbtAum3hdUDyCOl7Hy1PNmxy6PkQonuevMBoP6Sf523D-XYK8za-ZnWhVoRKGh95TQbwU8fWfA7X5VEzpQ-f9-Rl_1Byu-ZHNSfRDeVV4/s1600/forgers.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 202px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEion-XBzB1_PDJYXZzfM0FYGAw2ghE-LcadqIwbtAum3hdUDyCOl7Hy1PNmxy6PkQonuevMBoP6Sf523D-XYK8za-ZnWhVoRKGh95TQbwU8fWfA7X5VEzpQ-f9-Rl_1Byu-ZHNSfRDeVV4/s320/forgers.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5550663339031611394" /></a><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><b><br />Title</b>: Forgers, Dealers, Experts: Strange Chapters In The History Of Art</span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><b>Author</b>: Sepp Schüller</span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><b>Publisher</b>: G. P. Putnam's Sons</span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><b>Year</b>: 1960</span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><b>Pages</b>: 264 </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><b>Download</b>: <a href="http://www.archive.org/details/forgersdealersex027480mbp">http://www.archive.org/...</a> (pdf, 24.4 Mb)</span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><i>Note: Resource kindly indicated by Goran Budija</i></span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><i>Here is a comprehensive study of the most notorious art forgeries in history: the artists who employed their talents in imitating the talents of others, the dealers who wittingly or unwittingly sold their wares, and the experts who exposed, or were taken in by, their duplicity. Calling upon his substantial professional knowledge and his personal interest in the subject, Sepp Schüller has turned the investigation of art forgeries into a field of lively speculation having artistic, social, and psychological implications. </i></span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><b>Table of Contents</b>:</span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">Introduction </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">1. Egypt, the Forgers' Paradise </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">2. The Cardiff Giant </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">3. Fame comes to the village of Glozel </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">4. The Venus of the Turnip Field </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">5. Counterfeits of Durer's works </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">6. Works forged as by Griinewald, Holbein and Cranach </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">7. The much admired Bust by Bastianini </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">8. The Renowned Sarcophagus of Cerveteri </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">9. The Tiara of Saitaphernes </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">10. The Bust of Flora </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">11. Alceo Dossena </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">12. Wacker's Van Goghs' </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">13. Forgeries of French Paintings </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">14. Art Forgeries under the Third Reich </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">15. Han van Meegeren </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">16. The Liibeck art forgery scandal </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">17. Modern Masterpieces by a Museum Attendant </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">18. Art Forgers at Naples </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">19. The Vienna Madonna scandal </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">20. Antique Furniture is not always old </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">21. 'Real' and 'Imitation' Carpets </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">22. The Lure of Profit </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">23. In the Shadows </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">24. Fame versus X-Rays </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">25. 'Counterfeit Counterfeits' </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">26. The Campaign against Fraud </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">27. Forgery Detection as a Fashionable Complaint </span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;">28. 'Take up the Shield of Mistrust!'</span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span class="Apple-style-span" ><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-37492759930590485642010-12-13T15:19:00.003+00:002010-12-13T15:30:06.631+00:00Thesis: A Study of Ideological Division in the Field of Conservation-Restoration (2006)<span style="font-weight: bold;font-size:85%;" ><a style="font-family: verdana;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS1abmKj7NHoe63_PRYafj1Ru2PBuOc7Tru-xUJLUt_lQGxx4F1NNr1qSqKa1-wSjuHGrUuxoRn9V3LLY1_cq3Kp-FZ4CAEyZ5ld1v-hUO4ZtOzGPZ0vsVparIzotOY5xfERRawRqVhSc/s1600/hegemony.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 265px; height: 247px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS1abmKj7NHoe63_PRYafj1Ru2PBuOc7Tru-xUJLUt_lQGxx4F1NNr1qSqKa1-wSjuHGrUuxoRn9V3LLY1_cq3Kp-FZ4CAEyZ5ld1v-hUO4ZtOzGPZ0vsVparIzotOY5xfERRawRqVhSc/s320/hegemony.JPG" alt="" id="BLOGGER_PHOTO_ID_5550187020377963378" border="0" /></a></span><span style="font-size:85%;"><span style="font-family: verdana;"><span style="font-weight: bold;">Title</span>: Heritage, Hermeneutics and Hegemony - A Study of Ideological Division in the Field of Conservation-Restoration</span><br /><span style="font-family: verdana;"><span style="font-weight: bold;">Author</span>: Frank Hassard</span><br /><span style="font-family: verdana;"><span style="font-weight: bold;">University</span>: Brunel University</span><br /><span style="font-family: verdana;"><span style="font-weight: bold;">Type of document</span>: PhD</span><br /><span style="font-family: verdana;"><span style="font-weight: bold;">Year</span>: 2006</span><br /><span style="font-family: verdana;"><span style="font-weight: bold;">Link</span>: <a href="http://hdl.handle.net/10239/128">http://hdl.handle.net/...</a> (pdf)</span><br /><span style="font-family: verdana;"></span><br /><br /><span style="font-family: verdana; font-weight: bold;">Abstract</span><br /></span><div style="text-align: justify;"><span style="font-size:85%;"><span style="font-family: verdana;">In recent times, the concept of ‘intangible heritage’ has gained credence within the international heritage community, reflecting wider concerns relating to the cultural impact of global economic, technological and political forces. For many, intangible heritage represents a vital living mediation of the material past (i.e. tangible heritage) which deepens its significance and meaning-conferring qualities. This thesis explores how in recent times, the intangible heritage became ‘separated’ from the tangible heritage in such a way as to bring about ideological division within the field of heritage preservation and a sense of discontinuity with the past – particularly relating to the practice of restoration and its patrimony of expertise. The thesis argues that this has been attributable to an ‘institutionalised’ conception of heritage based essentially on a historiography of materials located in the ideological site of the museum – the repository where tangible heritage is housed, organised, interpreted, conserved, restored and displayed in such ways as to confer meaning upon the material world. By drawing extensively upon evidence from the literature and engaging the conservation-restoration field, the thesis develops discussion around the emergence (and subsequent institutionalisation) of a relatively recent scientific paradigm of practice – ‘scientific restoration’ – largely shaped by this ‘museological’ vision of heritage. It also considers how the work of Cesare Brandi came to be instrumental in the formulation of this vision but argues that such conceptions have been predicated upon a misappropriation of his ideas and a misreading of historical heritage preservation ideologies that has done much to contribute to tensions evident within the heritage community. To this end, the thesis aims to redress this historical impasse by reconsidering the function of restoration – especially in terms of what is added to the historical document – and reconciling the competing claims of the tangible and intangible by developing the concept of ‘authentic process’.</span></span><br /></div><span style="font-size:85%;"><br /><br /></span>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-88149044435584151902010-12-12T22:28:00.000+00:002010-12-12T22:30:28.916+00:00Safe Handling of Plastics in a Museum Environment (2010)<span style="font-size:85%;"><a style="font-family: verdana;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJy_2-SBA4zUOAWXnyUz95P3n8L0_9hHACvGaRbokuGcRfa2T3j5elAOKtok3anRcm28xj2NXJ90yzdc4GvvHjgyyplVZE6-C2VelMCevVj1f4fgWlTQ1zW9vrH5HXXR9YHWUc3DB13xY/s1600/plastics.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 236px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJy_2-SBA4zUOAWXnyUz95P3n8L0_9hHACvGaRbokuGcRfa2T3j5elAOKtok3anRcm28xj2NXJ90yzdc4GvvHjgyyplVZE6-C2VelMCevVj1f4fgWlTQ1zW9vrH5HXXR9YHWUc3DB13xY/s320/plastics.JPG" alt="" id="BLOGGER_PHOTO_ID_5549926341702343074" border="0" /></a></span><span style="font-size:85%;"><br /><span style="font-family: verdana;"><span style="font-weight: bold;">Title</span>: Safe Handling of Plastics in a Museum Environment</span><br /><span style="font-family: verdana;"><span style="font-weight: bold;">Author</span>: Jia-sun Tsang </span><br /><span style="font-family: verdana;"><span style="font-weight: bold;"></span></span><span style="font-family: verdana;"><span style="font-weight: bold;">Citation</span>: WAAC Newsletter 32(2), pp. 16-22</span><br /><span style="font-family: verdana;"><span style="font-weight: bold;"></span></span></span><span style="font-size:85%;"><span style="font-family: verdana;"><span style="font-weight: bold;">Year</span>: 2010<br /></span></span><span style="font-size:85%;"><span style="font-family: verdana;"><span style="font-weight: bold;">Link</span>: <a href="http://hdl.handle.net/10088/11186">http://hdl.handle.net/10088/11186</a> (pdf, 3.64 Mb)</span><br /><br /><br /><span style="font-family: verdana;"><span style="font-weight: bold;">Abstract</span>: </span><br /></span><div style="text-align: justify;"><span style="font-size:85%;"><span style="font-family: verdana;">Research on the theory and mechanics of plastics degradation and conservation has made steady progress over the years, yet regarding the safe handling of plastics, current knowledge and practices are long overdue for an update. The purpose of this paper is to translate the science of plastics degradation into practical guidelines for the safe handling and conservation of plastics in a museum environment. The safety practices outlined here are based on an analysis of naturally aged plastics in museum collections, and are relevant to the specific problems faced by conservators, curators, and museum specialists who must handle and evaluate many types of plastic materials. </span></span><br /><span style="font-size:85%;"><span style="font-family: verdana;"></span></span></div><span style="font-size:85%;"><span style="font-family: verdana;"><br /><br /></span></span>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-50441177037039022372010-12-12T22:18:00.001+00:002010-12-12T22:21:01.242+00:00Advances in Raman mapping of works of art (2010)<span style="font-size:85%;"><a style="font-family: verdana;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLAvEV33O8Q4NPmWJjeFBa4Zlh4Wq6lcJVSdUE4I41HrlOizD3mayRLRdgNgOZTcfijlKXDsuYqj1o8yxe8wsj9soOLTk4goj9IiCA2xgNwi3Q6BN-jJ2kmihNOcuWSo0DuBxvnlfPn1g/s1600/raman.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 204px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLAvEV33O8Q4NPmWJjeFBa4Zlh4Wq6lcJVSdUE4I41HrlOizD3mayRLRdgNgOZTcfijlKXDsuYqj1o8yxe8wsj9soOLTk4goj9IiCA2xgNwi3Q6BN-jJ2kmihNOcuWSo0DuBxvnlfPn1g/s320/raman.JPG" alt="" id="BLOGGER_PHOTO_ID_5549923906409093634" border="0" /></a></span><span style="font-size:85%;"><br /></span><div style="text-align: justify;"><span style="font-size:85%;"><span style="font-family: verdana;"><span style="font-weight: bold;">Title</span>: Advances in Raman mapping of works of art</span></span><br /><span style="font-size:85%;"><span style="font-family: verdana;"><span style="font-weight: bold;">Authors</span>: Polonca Ropret, Costanza Miliani, Silvia A. Centeno, Crtomir Tavzesab and Francesca Rosi</span></span><br /><span style="font-size:85%;"><span style="font-family: verdana;"><span style="font-weight: bold;">Citation</span>: Journal of Raman Spectroscopy (Special Issue: Raman spectroscopy in art and archaecology), Volume 41, Issue 11, pages 1172–1177, November 2010</span></span><br /></div><span style="font-size:85%;"><span style="font-family: verdana;"><span style="font-weight: bold;">Link</span>: <a href="http://hdl.handle.net/10088/11183">http://hdl.handle.net/...</a> (pdf, 553 Kb)</span><br /><br /><br /><span style="font-family: verdana; font-weight: bold;">Abstract</span></span><span style="font-size:85%;"><span style="font-family: verdana;"><br /></span></span><div style="text-align: justify;"><span style="font-size:85%;"><span style="font-family: verdana;">Raman mapping can provide molecular information to complement data derived from other analytical techniques in works of art and other objects of cultural significance. Raman mapping can be performed using a motorized microscope stage that moves a sample or an object point by point in two spatial directions. The method can be used both noninvasively in works of art that fit under a microscope objective and in microsamples when, for example, obtaining information on the samples' layering structure is necessary. This paper reports on the development of a Raman mapping approach based on a set of scanning mirrors that direct the laser beam in two spatial directions, vertically through the microscope head or through a horizontal exit on the Raman microspectrometer. The first configuration still has limitations in terms of the size of the work of art that can be analyzed, as it has to fit under the microscope objective, but considerably larger objects can be studied when using the scanning mirrors placed in the horizontal exit. In this paper, the advantages and limitations of these two Raman mapping approaches are compared and discussed on the basis of an example of a contemporary oil painting on canvas. </span></span><br /></div>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0tag:blogger.com,1999:blog-1462979730509914333.post-61736203759656110902010-12-12T20:54:00.001+00:002010-12-12T21:02:30.922+00:00Art in Transit: Handbook for Packing and Transporting Paintings (1991)<span style="font-size:85%;"><a style="font-family: verdana;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVyxLm-4z-cD9v0srVwPdm5NixvbCja8uuisnkDusgNd0tC6DWw-WNw9t7ZiCZeq7IQjrhj7_mGJT9vVDNNn1TYUKvFAxME0A-TnMZwMXEQ88zHx3b1Fdtht78yFJ6zMXas3S4fRT-xDo/s1600/Transit.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 313px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVyxLm-4z-cD9v0srVwPdm5NixvbCja8uuisnkDusgNd0tC6DWw-WNw9t7ZiCZeq7IQjrhj7_mGJT9vVDNNn1TYUKvFAxME0A-TnMZwMXEQ88zHx3b1Fdtht78yFJ6zMXas3S4fRT-xDo/s320/Transit.jpg" alt="" id="BLOGGER_PHOTO_ID_5549902909286845874" border="0" /></a></span><span style="font-size:85%;"><br /><br /></span><span style="font-family: verdana;font-size:85%;" ><span style="font-weight: bold;">Title</span>: Art in Transit: Handbook for Packing and Transporting Paintings<br /><span style="font-weight: bold;">Authors</span>: M. Richard, Marion F. Mecklenburg, and Ross Merrill<br /><span style="font-weight: bold;">Publisher</span>: National Gallery of Art<br /><span style="font-weight: bold;">Year</span>: 1991<br /><span style="font-weight: bold;">Pages</span>: 172<br /><span style="font-weight: bold;">Link</span>: <a href="http://hdl.handle.net/10088/8127">http://hdl.handle.net/...</a></span><span style="font-size:85%;"><br /><br /><br /><span style="font-family: verdana; font-weight: bold;">Table of contents:</span><br /><br /><span style="font-family: verdana;">1. Assessing Risks </span><br /><span style="font-family: verdana;">2. Transit Climate Conditions </span><br /><span style="font-family: verdana;"></span></span><span style="font-size:85%;"><span style="font-family: verdana;">3. </span></span><span style="font-size:85%;"><span style="font-family: verdana;">Temperature Protection </span><br /><span style="font-family: verdana;"></span></span><span style="font-size:85%;"><span style="font-family: verdana;">4. </span></span><span style="font-size:85%;"><span style="font-family: verdana;">Relative Humidity Protection </span><br /><span style="font-family: verdana;"></span></span><span style="font-size:85%;"><span style="font-family: verdana;">5. </span></span><span style="font-size:85%;"><span style="font-family: verdana;">Shock and Vibration Hazards </span><br /><span style="font-family: verdana;"></span></span><span style="font-size:85%;"><span style="font-family: verdana;">6. </span></span><span style="font-size:85%;"><span style="font-family: verdana;">Shock Protection </span><br /><span style="font-family: verdana;"></span></span><span style="font-size:85%;"><span style="font-family: verdana;">7. </span></span><span style="font-size:85%;"><span style="font-family: verdana;">Vibration Protection</span><br /><span style="font-family: verdana;"></span></span><span style="font-size:85%;"><span style="font-family: verdana;">8. </span></span><span style="font-size:85%;"><span style="font-family: verdana;">Packing Cases </span><br /><span style="font-family: verdana;"></span></span><span style="font-size:85%;"><span style="font-family: verdana;">9. </span></span><span style="font-size:85%;"><span style="font-family: verdana;">Role of the Courier </span><br /><span style="font-family: verdana;"></span></span><span style="font-size:85%;"><span style="font-family: verdana;">10. </span></span><span style="font-size:85%;"><span style="font-family: verdana;">Glossary<br /><br /><br /></span></span>Rui Bordalohttp://www.blogger.com/profile/02819688450512651236noreply@blogger.com0