Contributors

Jessica Arista was an assistant objects conservator at the Museum of Fine Arts, Boston, from 2013 to 2018. She graduated from the Winterthur / University of Delaware Program in Art Conservation in 2010 with an MS in objects conservation, and she is a professional associate member of the American Institute for Conservation (AIC).

Judith Barr is a curatorial assistant in the antiquities department of the J. Paul Getty Museum, Los Angeles, where she has been part of the Antiquities Provenance Project since 2015. She holds an MSt in classical archaeology from the University of Oxford. Her research focuses on the history of the Getty’s collection and documenting the twentieth-century art market for antiquities. Her latest publication, “The Pitfalls and Possibilities of Provenance Research: Historic Collections and the Art Market in the 20th Century” (Collecting and Collectors from Antiquity to Modernity, SPAAA, vol. 4), is forthcoming.

Elena Basso is a research associate in the Department of Scientific Research at the Metropolitan Museum of Art and a scientist for the Network Initiative for Conservation Science (NICS). She received her PhD in earth sciences from the University of Pavia, Italy, in 2004. She has held positions at the University of Pavia and served as a scientific consultant at the Institute for the Study of the Ancient World, New York University.

Georgina E. Borromeo is the curator of ancient art at the RISD Museum and oversees the Egyptian, Greek, Etruscan, and Roman collections. She earned her MA and PhD in art history from Brown University. Although her work has focused primarily on the ancient contexts of Roman sculpture, Borromeo also studies the materials and techniques employed by artists in antiquity. She has excavated in various sites in Greece, Israel, Italy, and Turkey. She serves on the Museums and Exhibitions Committee of the Archaeological Institute of America as well as the boards of Brown University’s Haffenreffer Museum of Anthropology and Joukowsky Institute for Archaeology and the Ancient World.

Lauren Bradley is the associate conservator of paintings at the Brooklyn Museum, where she oversees the care and preservation of paintings dating from ancient Egypt through the present day. She earned an MS from the Winterthur / University of Delaware Program in Art Conservation and has held positions at the Kimbell Art Museum and the J. Paul Getty Museum in addition to completing training internships at the Barnes Foundation, the Walters Art Museum, and the Mauritshuis.

Lisa R. Brody is the associate curator of ancient art at the Yale University Art Gallery. She received her BA from Yale and her PhD from the Institute of Fine Arts, New York University. In 2011 she cocurated Dura-Europos: Crossroads of Antiquity, on view at the McMullen Museum at Boston College and the Institute for the Study of the Ancient World at New York University; she also coedited the accompanying catalogue.

Lisa Bruno is Carol Lee Shen Chief Conservator at the Brooklyn Museum. She earned her MS in art conservation, with a specialty in objects conservation, from the Winterthur / University of Delaware Program in Art Conservation. She worked at the Art Institute of Chicago before joining the Brooklyn Museum as an assistant conservator.

Caroline R. Cartwright is the wood anatomist and a senior scientist in the Department of Scientific Research at the British Museum. Her primary areas of scientific expertise cover the identification and interpretation of organic materials, including wood, charcoal, fibers, and macro-plant remains from all areas and time periods, mainly using scanning electron microscopy. Cartwright has led many teams of environmental scientists on archaeological projects in various parts of the world including the Middle East, Africa, the Caribbean, and Europe; reconstructing past environments, charting vegetation and climate changes, and investigating bioarchaeological evidence from sites and data also form important aspects of her research. Before joining the British Museum, she was a lecturer in archaeological sciences at the Institute of Archaeology, University College London. Cartwright is the author or coauthor of more than 270 publications.

Scott Collins has served as technical lead of computed tomography and 3D technology services at Rhode Island Hospital since 2007. He is particularly interested in advanced visualization for 3D medical image rendering, which has led to expertise in modeling, surface representations, and augmented and virtual reality display technologies. He has participated in dozens of translational research projects and has been recognized as coauthor for visualization work in several abstracts and publications.

Catherine Cooper is an adjunct lecturer in anthropology at the University of Arizona and a Native American Graves Protection and Repatriation Act (NAGPRA) conservation fellow at the Arizona State Museum. She earned her PhD in archaeological science at the University of British Columbia and worked as a postdoctoral research volunteer at the RISD Museum. She is fascinated by the application of chemistry to the understanding of objects and the people who made them.

Lorelei H. Corcoran is a professor of art history and the director of the Institute of Egyptian Art and Archaeology at the University of Memphis. She received her BA in classical studies from Tufts University and her PhD in Near Eastern languages and civilizations (Egyptology) from the University of Chicago. A specialist in Egyptian art and the study of the iconography of portrait mummies, Corcoran is the author of Portrait Mummies from Roman Egypt (I–IV Centuries AD) with a Catalogue of Portrait Mummies in Egyptian Museums (University of Chicago, 1995) and the coauthor, with Marie Svoboda, of Herakleides: A Portrait Mummy from Roman Egypt (Getty Publications, 2011).

Olivia Dill is a PhD student in art history at Northwestern University. She holds degrees in art history and physics from the University of California, Berkeley, and aims to use her interdisciplinary background to develop data-acquisition and image-processing techniques relevant to questions in art history and cultural heritage preservation. She is particularly interested in the role of image making in knowledge production and the history of science in the early modern period.

Joanne Dyer is a scientist in the Department of Scientific Research at the British Museum, where she specializes in the study of ancient polychromy, or the materials encountered on ancient painted objects. Her research uses a variety of analytical techniques and adapts and develops new imaging methods for the study of ancient painted surfaces. As part of her research interests, she investigates Greco-Roman funerary portraits from Egypt, helping to increase the understanding of their materials and manufacture.

Kata Endreffy is the deputy head of the Collection of Classical Antiquities at the Museum of Fine Arts, Budapest. She received her PhD in Egyptology from Eötvös Loránd University, Budapest, for her thesis on demotic and Greek letters to gods from Egypt. Her present research addresses the art and religion of Egypt in the Greco-Roman period. Endreffy has been an editor of the Campbell Bonner Magical Gems Database since 2011.

Jessica Ford is a paintings conservator at Amann + Estabrook Conservation Associates. She received an MS from the Winterthur / University of Delaware Program in Art Conservation, and she has held positions at the Brooklyn Museum, Smithsonian American Art Museum, Dallas Museum of Art, and Doris Duke Foundation for Islamic Art, Honolulu.

Glenn Alan Gates is a conservation scientist at the Walters Art Museum. Gates received his PhD in physical (polymer) chemistry from the University of South Florida and an MS in materials engineering from the University of Florida. He was head research scientist at the Detroit Institute of Arts and, before that, a postdoctoral fellow at the Harvard Art Museum’s Straus Center for Conservation. Gates has worked in the Scientific Research Department of the National Gallery of Art and at the Los Angeles County Museum of Art.

Molly Gleeson is Schwartz Project Conservator at the University of Pennsylvania Museum of Archaeology and Anthropology (Penn Museum). She completed her MA at the UCLA/Getty Program in the Conservation of Archaeological and Ethnographic Materials. Gleeson is a professional associate member of the American Institute for Conservation and has been the AIC board director for professional education since 2017.

Anne Gunnison is the associate conservator of objects at the Yale University Art Gallery. She received a BA in art history from Stanford University and an MA in principles of conservation and MS in conservation for archaeology and museums from the Institute of Archaeology, University College London. Prior to joining the staff at Yale, Gunnison worked as a postgraduate fellow at the Smithsonian’s National Museum of the American Indian.

Roberta Iannaccone has held a three-year fellowship at ICVBC–CNR (Institute for Conservation and Valorization of Cultural Heritage–National Research Council) in Florence, Italy, where she works on the characterization of polychromy on Roman and Etruscan statues and sarcophagi. Iannaccone holds a BS and PhD in science applied to conservation of cultural heritage from the University of Florence and specializes in studying ancient Greco-Roman polychromy using noninvasive techniques. She has collaborated with such institutions as the University of California, San Diego, and the Kunsthistorisches Museum, Vienna.

Dawn Kriss is an associate conservator in the Sherman Fairchild Center for Objects Conservation at the Metropolitan Museum of Art. She received her MA in conservation from the UCLA/Getty Program in the Conservation of Archaeological and Ethnographic Materials. She has held positions at the American Museum of Natural History and the Brooklyn Museum.

Evelyn (Eve) Mayberger is Andrew W. Mellon Fellow for Advanced Training at the Museum of Fine Arts, Boston. She holds MA and MS degrees in art history and conservation from the Institute of Fine Arts, New York University, where she specialized in objects conservation. She completed her fourth-year internship at the Penn Museum.

Joy Mazurek is an assistant scientist at the Getty Conservation Institute, where she specializes in the identification of organic materials via gas chromatography/mass spectrometry. She obtained an MS in biology, with emphasis in microbiology, from California State University, Northridge, and a BS degree in biology from University of California, Davis.

Derek Merck is a computer scientist in the Department of Diagnostic Imaging at Rhode Island Hospital. He holds a PhD from University of North Carolina at Chapel Hill and is a graduate of the University of Chicago and Reed College in Portland, Oregon. His research programs are primarily concerned with image-guided procedure planning, image informatics, and medical visualization.

David Murray is director of the Environmental Chemistry Facility at Brown University, where he oversees an analytical facility that handles a wide range of sample types for elemental and compound analysis. He received from Oregon State University a PhD in geological oceanography with a focus on the chemical signatures in deep-sea sediments, which provide insights on past environmental changes.

Erin Mysak was an associate conservation scientist at the Institute for the Preservation of Cultural Heritage at Yale University and is now an independent conservation scientist. She earned her PhD in analytical chemistry from the University of North Carolina at Chapel Hill and was the 2009–2012 Andrew W. Mellon Postdoctoral Fellow in Conservation Science at the Straus Center for Conservation and Technical Studies, Harvard University.

Árpád M. Nagy is head of the Collection of Classical Antiquities at the Museum of Fine Arts, Budapest; he also teaches in the Department of Classical Philology at the University of Pécs. He studied archaeology and classical philology at Eötvös Loránd University, Budapest. His main research interest is ancient magic, and he is editor in chief of the Campbell Bonner Magical Gems Database. He has published on various topics in ancient iconography and sculpture.

Ingrid A. Neuman is the museum conservator in the Painting and Sculpture Department of the RISD Museum. She holds a BA in Mediterranean archaeology from the University of Massachusetts and an MA and a CAS from the Cooperstown Graduate Program in Art Conservation. Neuman has worked at the National Museum of Natural History and the National Museum of American History at the Smithsonian Institution, the Williamstown Art Conservation Center, and the Museum of Fine Arts, Boston. She currently serves as a member of the Ethics and Standards Committee of the AIC and is a fellow of both the AIC and the International Institute of Conservation (IIC).

Nicola (Nicky) Newman trained in conservation at University College London and at the London College of Furniture. She worked at the Historic Royal Palaces before moving to the British Museum in 1999. There she worked with organic materials, specializing in the treatment of decorative surfaces, primarily from ancient Egypt and the Far East. In 2017 she left to freelance and now enjoys working with a wide variety of clients and materials.

Richard Newman is the head of scientific research at the Museum of Fine Arts, Boston, where he has worked as a research scientist since 1986. He holds a BA in art history from Western Washington University and an MA in geology from Boston University, and he completed a three-year apprenticeship in conservation and conservation science at the Straus Center for Conservation and Technical Studies. He has carried out research on a wide range of cultural artifacts, from stone sculpture of the Indian subcontinent to the paintings of Diego Velázquez. A coauthor of the chapter on adhesives and binders in Ancient Egyptian Materials and Technology (Cambridge University Press, 2000), Newman has collaborated with conservators and curators on numerous projects involving ancient Egyptian and Nubian art.

Irma Passeri is the senior conservator of paintings at Yale University Art Gallery. She trained at the conservation school of the Opificio delle Pietre Dure, in Florence, Italy, where she received her degree in the conservation of easel paintings. She has published articles on materials and techniques of Italian paintings and on Italian approaches to the restoration treatment of loss compensation.

Federica Pozzi is an associate research scientist at the Metropolitan Museum of Art. She leads the Network Initiative for Conservation Science (NICS), a pilot program designed to offer access to the Met’s state-of-the-art scientific research facilities to partner institutions in New York City. Pozzi earned her PhD in chemical sciences from the University of Milan, Italy, and has held positions at the City College of the City University of New York, Art Institute of Chicago, and Solomon R. Guggenheim Museum.

Caroline Roberts is a conservator at the Kelsey Museum of Archaeology and specializes in the conservation of archaeological materials. She has worked as a field conservator at many archaeological excavations, including El-Kurru, Sudan, and Abydos, Egypt. She takes special interest in the conservation of stone objects and architecture and the technical study of ancient paint surfaces. Two forthcoming articles are “Investigating Approaches to the Treatment and Preservation of a Collection of Egyptian Limestone Funerary Stelae” and “A Comprehensive Approach to Conservation of Ancient Graffiti at El Kurru, Sudan,” both in the Journal of the American Institute for Conservation.

Rachel C. Sabino is an objects conservator at the Art Institute of Chicago. She holds a postgraduate diploma in conservation and restoration from West Dean College and a certificate in conservation of marine archaeology from the Institute of Nautical Archaeology. Sabino held previous positions at the National Gallery, London; Museum of Fine Arts, Houston; and the Chicago Conservation Center. She held internships at the Metropolitan Museum of Art and the J. Paul Getty Museum and a sabbatical at the Corning Museum of Glass. She is a trustee of the International Institute for Conservation and a Fellow of the American Institute for Conservation.

Victoria Schussler is a project objects conservator at the Brooklyn Museum. She received a BA in biology from Yale University and an MS from the Winterthur / University of Delaware Program in Art Conservation. Schussler has held positions at the Yale University Art Gallery, the Central Park Conservancy, the Museum of Modern Art, and the Corning Museum of Glass.

Andrew Shortland is a professor of archaeological science, and the director of the Cranfield Forensic Institute, at Cranfield University. He holds an undergraduate degree in geology, a master’s degree in prehistoric archaeology, and a DPhil in Egyptology from the University of Oxford; his doctoral work concerned vitreous materials from the site of Amarna in Middle Egypt. After years as a research fellow and university research lecturer at the Research Laboratory for Archaeology in Oxford, Shortland moved to Cranfield University and established the Centre for Archaeological and Forensic Analysis. Shortland’s work concentrates on the identification and interpretation of material culture from the ancient and historical worlds, and he is interested in the fate of archaeological and historical sites, objects, and museums in conflict zones.

Lin Rosa Spaabæk is a private conservator in Denmark, where she has restored and studied the collection of mummy portraits at the Ny Carlsberg Glyptotek. Spaabæk obtained her bachelor’s degree in paintings conservation from the Royal Academy of Fine Arts, School of Conservation, Copenhagen; there she also completed her master’s thesis on the study of mummy portraits. Spaabæk has been a consultant on funerary portraits at the Egyptian Museum in Cairo.

Renée Stein is the chief conservator at the Michael C. Carlos Museum at Emory University, where she oversees the treatment, preventive care, and technical analysis of the museum’s diverse collections. She is also a lecturer in the art history department and teaches courses on conservation and technical study. Stein received a MS in objects conservation from the Winterthur / University of Delaware Program in Art Conservation. She is a professional associate of the American Institute for Conservation of Historic and Artistic Works and has been recognized with that organization’s Sheldon and Caroline Keck Award for outstanding mentoring.

Ken Sutherland is a conservation scientist at the Art Institute of Chicago; his research interests concern the characterization of organic materials in works of art to inform an understanding of their technique, condition, and appearance. He received a PhD in chemistry from the University of Amsterdam and a diploma in the conservation of easel paintings from the Courtauld Institute of Art, London. He has held previous positions as scientist in the Conservation Department of the Philadelphia Museum of Art and research fellow in the Scientific Research Department of the National Gallery of Art, Washington.

Marie Svoboda is a conservator in the antiquities conservation department at the J. Paul Getty Museum. She received an MA from the Art Conservation Department at the State University of New York, Buffalo, where she majored in artifacts and minored in paintings conservation. Svoboda worked as an assistant conservator of ancient materials at the Museum of Fine Arts, Boston, before joining the Getty. She is actively involved in the planning and installation of special exhibitions and loans, international collaborations, and various in-depth studies on conservation and technical research. A special interest in Romano-Egyptian material culminated in the publication of the book Herakleides: A Portrait Mummy from Roman Egypt (Getty Publications, 2011) and sparked the APPEAR project, the international collaboration on the study of ancient panel paintings that resulted in the research presented in this volume.

Gabrielle Thiboutot is a PhD candidate at Stanford University, where she is working on the dissertation “Panels and Pigments: The Role of Trade and Innovation in the Production of Romano-Egyptian Mummy Portraits.” She is also a Samuel H. Kress Institutional Fellow at the Institut national d’histoire de l’art in Paris. As a field archaeologist, Thiboutot has excavated and supervised trenches in Turkey, Tunisia, Greece, Italy, and Spain. Her current work is supported by a fellowship from the Social Sciences and Humanities Research Council of Canada as well as grants from the American Research Center in Egypt’s Northern California chapter and the Stanford Archaeology Center.

Jevon Thistlewood is a conservator of paintings at the Ashmolean Museum of Art and Archaeology, University of Oxford, and an accredited member of the Institute of Conservation (ICON). He graduated from the University of Leeds with a degree in chemistry and a master’s degree in sculpture studies; he also has a master’s degree in the conservation of fine art from the University of Northumbria. His research projects are mainly concerned with painted surfaces from antiquity to the present.

Katharina Uhlir teaches chemistry at the University of Vienna. She holds a PhD—with a focus on scientific investigations of ancient glasses of Ephesos using µ-XRF and SEM/EDS—from the Academy of Fine Arts Vienna, where she also was an assistant professor. She has been the scientific assistant in the Conservation Science Department of the Kunsthistorisches Museum, Vienna (KHM), responsible for the XRF investigations at the KHM since 2011.

Bettina Vak is a senior conservator for the Kunsthistorisches Museum, Vienna, collection of antiquities. She received her master’s degree in objects conservation from the University of Applied Arts Vienna. She was lead conservator of the research project CVA (Corpus Vasorum Antiquorum), Wien 5, 6. She is currently conducting the technical study and conservation of fifteen Romano-Egyptian mummy portraits in collaboration with the Museum of Fine Arts, Budapest.

Susan Walker was a museum curator in the British Museum from 1977 to 2004 and the Sackler Keeper of Antiquities in the Ashmolean Museum, Oxford, from 2004 until her retirement in 2014. In 1997 she cocurated with Morris Bierbrier Ancient Faces: Mummy Portraits from Roman Egypt, a British Museum exhibition that traveled to Rome and New York; she was sole guest curator for the Metropolitan Museum of Art’s presentation and associated publication. Walker is now an emerita fellow of Wolfson College, University of Oxford, and an honorary curator at the Ashmolean, where she is studying mummy portraits with Jevon Thistlewood. She recently published Saints and Salvation: The Wilshere Collection of Late Roman Gold-Glass, Sarcophagi and Inscriptions from Rome and Southern Italy (Ashmolean Museum, 2017).

Marc S. Walton codirects the Northwestern University / Art Institute of Chicago Center for Scientific Studies in the Arts (NU-ACCESS), and he is a research professor of materials science at Northwestern’s McCormick School of Engineering and (by courtesy) of art history at Northwestern University. At NU-ACCESS, he is leading several scientific research projects in collaboration with museums. His research interests are primarily focused on the trade and manufacture of objects and on the development of the use of imaging technologies in the field of conservation science. Before joining NU-ACCESS, he was an associate scientist conducting scientific research on antiquities at the J. Paul Getty Museum.

Jane L. Williams is the director of conservation at the Fine Arts Museums of San Francisco. She received an MA in art history and diploma in conservation from the Institute of Fine Arts at New York University. Williams has held positions and fellowships as an objects conservator at the Phoebe A. Hearst Museum of Anthropology, the Asian Art Museum of San Francisco, the Brooklyn Museum, the Virginia Museum of Fine Arts, and the Walters Art Museum.