This volume is the sixth in this biennial series which presents the recent research into the conservation, structure, materials, history etc. of paintings by past and present staff and students (including early career interns) of the Hamilton Kerr Institute.
For a look inside click here.
Preface
Thomas Gainsborough as a copyist - Kristina Mandy
The Gainsborough's House paint bladders: tin-based mordants and the attribution of artists' materials - Spike Bucklow and Kristina Mandy
Daniël Seghers, phoenix of flower-painters - Sven Van Dorst
Judgement and speculation: an appraisal of the Middle Temple's Judgement of Solomon – Christine Braybrook
A note on the use of the purple pigment fluorite on The Man in Red – Mary Kempski
All that is gold does not glitter: a technical, historical and iconographical study of the central panel of the Great Chamber fireplace, Charterhouse, London, and the figure of Rowland Buckett – Carlos González Juste
‘Titian’s Mistress’ at Apsley House and the painting beneath – Sarah Bayliss, Alice Tate-harte and Paul Joannides
A technical study of Sir John Reynolds’ Portrait of Anne Liddell, Duchess of Grafton 1757-59 – Pia Dowse
On the unorthodox origin and Byzantine journey of the Lavenham Madonna – Christine Slottved Kimbriel and Paul Joannides
Forty years of student projects as waymarks on the professional path – Sally Woodcock
Reviews
The articles are well researched, clearly organized, and fully illustrated...This volume is particularly well-suited for those with an interestd in technical art history, as conservation treatments are only briefly discussed where cleaning revealed addional information about the artist's intentions.
JAIC - Aug 2017
