18-19 November 2016
13th International Symposium on Wood and Furniture Conservation
Amsterdam, The Netherlands
Material imitation and imitation materials
in furniture and conservation
Repainting historical graining, marbling and other imitations
Conservation versus overpainting in the historical interior.
Bernice Crijns, Specialist Colour and Paintings, Cultural Heritage Agency, Amersfoort, the Netherlands
Marble, tortoiseshell, wood and other materials created in paint and lacquer during the Baroque period in Denmark
Examples, recipes and methods used for material imitations.
Berit Møller, Conservator of paintings and paint-layers, Royal Danish Collections, Copenhagen, Denmark
Dutch painted furniture: imitation of function, style construction and material
What to do when there is a sudden increase in demand for furniture? Dress up basic woodwork as high-end furniture: “How to faux a bureau”.
Hans Piena, Conservator Domestic Culture, Holland Open Air Museum, Arnhem, the Netherlands
Where high art and folk art meet – how rural pieces of furniture depict the differences
Techniques, tools and textures used in rural workshops to upgrade their furniture.
Karl-Heinz Wüstner, Historian and researcher on painted furniture, Rößler-Museum, Untermünkheim, Germany
From “real composition” to “higher matters of taste”
Exploring the value shift from materials to design in early British composition ornament.
Victoria Coibion, Frames Conservator, Brussels, Belgium
The use of non-traditional gesso and composition ornament in the conservation treatment of gilded artifacts
An investigation towards gesso formulas and their requirements.
Christopher Swan, Conservator at Colonial Williamsburg Foundation, Williamsburg, USA
How to imitate the Imitation? Aspects of the reconstruction of 18th-century japanned surfaces
A closer look at European lacquer techniques and the difficulties encountered during conservation.
Irmela Breidenstein, Dipl.-Rest. at Restaurierungsatelier Irmela Breidenstein, Berlin, Germany
Curiously engraven: the new art of japanning and an exploration of depictions of Asia in 18th-century London and Boston
Exploring the sources used to imitate the exotic.
Tara Cederholm, Curator and Vice-President Brookfield Arts Foundation, Salem, New Hampshire, USA
Study of a 17th-century European lacquered Dutch cabinet – material and technique analysis to gain insight into the deteriorated surface
Where to start when European lacquer shows craquelure, alligatoring and colour change? Extensive research towards the composition of the lacquer.
Elise Andersson, Conservator in Training University of Amsterdam, Amsterdam, the Netherlands
Imitating aventurine: an 18th-century technique of lacquer imitation
A sparkling study in the imitation of an imitation.
Tristram Bainbridge, Furniture Conservator, Victoria & Albert Museum, London, United Kingdom
The conservation of a lacquered dress sedan chair in the Marstallmuseum Schloss Nymphenburg in Munich
How the metal leaf and polychrome exterior mimics the pattern of the silk interior on an unusual Rococo piece.
Hella Huber, Dipl.-Rest. at Bayerische Schlösserverwaltung, Munich, Germany
Optical illusion: retouching an 18th-century commode with light
Colour-mapping marquetry – retouching without touching it.
Federica van Adrichem, Conservator in Training University of Amsterdam, Amsterdam, the Netherlands
Imitation materials in design and furniture – notes on identification of plastics
How do we deal with these modern materials that have proven not to be made for eternity? Can we slow down degradation?
Friederike Waentig, Cologne Institute of Conservation Sciences, Cologne, Germany
The conservation of a vinyl upholstered chair: PVC degradation and conservation
A 1950’s replacement for leather, half a century later.
Aura Colliander, Furniture Conservator, Helsinki, Finland
Filling losses in granite linoleum with BEVA
Julia Kun, Master Student at Cologne Institute of Conservation Sciences, Cologne, Germany
A trompe l’oeil table top and three-legged stand
A double play on the eye in scagliola. An extraordinary table and its conservation.
Lisya Bicaci, Ph.D researcher at Technical University Delft, Delft, the Netherlands
Jaap Boonstra, Conservator Amsterdam Museum, Amsterdam, the Netherlands
Birch + Paint = bamboo chinoiserie chairs from 1767
Faux bamboo: form over function, and its consequences.
Lois Warnow, Student Wood Conservation at Fachhochschule Potsdam, Potsdam, Germany
A window with different views – a Nepalese experience. The conservation of the ivory window of Sundari Cok at the Patan Royal Palace
A case study in the consolidation of ivory and an examination towards different possibilities to replace the missing pieces.
Regina Anna Friedl, Object Conservator, Vienna, Austria
Shagreen or not shagreen
A look into the decorative skin of rays, how to imitate it and some hands-on experience.
Catherine Silverman, Andrew W. Mellon Fellow, Department of Objects Conservation, The Metropolitan Museum of Art, New York, USA
The royal sparkle of tortoiseshell
Conservation of an experimental imitation material made of unexpected ingredients.
Thijs Janssen, Furniture Conservator, Amsterdam, the Netherlands
Special coloured inlays on furniture in the mid-19th century
Coloured paste as an imitation for lacquer, ivory or horn?
Carola Klinzmann, Dipl.-Rest. at Museumslandschaft Hessen Kassel, Kassel, Germany
Stefanie van Wüllen, Dipl.-Rest conservator, Legden-Asbeck, Germany
This programme is subject to change
On Friday evening there will be an (optional) informal dinner
to meet and catch up with colleagues from the field.
Registration and payment
The fee for the two-day symposium is €230. This includes coffee, tea and lunches. For students there is a reduced fee of €195. Please be prepared to show your student card at the door. Payment is processed directly via iDeal, PayPal and/or credit card, depending on your country of origin. A supplement of €40 is due for the optional dinner on Friday evening.
The closing date for registration is Friday October 21th.
We hope to see you at the symposium.
De Rode Hoed, Keizersgracht 102, 1015 CV Amsterdam
Stichting Ebenist is supported by the University of Amsterdam