Sheep conservation: A hard slide

By Trude Ellingsen

Shining a light on low-pressure sodium lamps in DESTINY

By Janelle Borig

Woven air: Reviving a regency dress

By Ellen Doyle and Kate Douglas

Bringing to light Hans Heysen’s Sunshine and shadow

By Raymonda Rajkowski

The paper trail: a study of watermarks in the National Gallery of Victoria’s collection of Albrecht Dürer prints

By Louise Wilson

What is in a title? Dick Watkins’s Rain in West Pymble

By Raymonda Rajkowski

Fragile beauty: emu eggs in early Australian gold and silverware

By Marika Strohschnieder

Beneath the surface: X-rays reveal a different story

By Raye Collins and Carl Villis

A revelation: the X-ray of Herbert Badham’s Paint and morning tea (1937)

By Raye Collins

Verso: revealing the secret life of paintings

By Laurie Benson & Michael Varcoe-Cocks

Susanna Highmore by Joseph Highmore: a father’s perspective

By Carl Villis

Picture perfect: Pictorialism and its processes

By Pip Morrison

La Petite, Evening Dress

By Danielle Whitfield, Susan van Wyk and Bronwyn Cosgrove

A scrap album worthy of a fancy dress

By Kate Douglas

Illuminating: conservation of neon lights

By Trude Ellingsen

Brilliant vision: the making of Van Dyck’s dazzling portrait of Rachel de Ruvigny

By Carl Villis

Encompassing an empire

By Holly McGowan-Jackson

Technical insights to Elizabeth Thompson’s The 28th Regiment at Quatre Bras 1875

By Michael Varcoe-Cocks

Conservator Insight: Japanese Modernism display systems

By Ruth Shervington

‘Unfolding’ Japanese screens

By Ruth Shervington

To see a world in a grain of sand: a closer look at the ‘Melbourne Blakes’

By Louise Wilson

Eugene von Guérard: Nature Revealed

By Michael Varcoe-Cocks

The Poussin Project

By Carl Villis

Art Journal

‘Le nostre done cornute’: dress and ornament in the Melbourne profile portrait

By Elisabetta Gnignera

A fresh profile: a new examination of the National Gallery of Victoria’s Renaissance Profile portrait of a lady

By Carl Villis

Conservation live: the John Herbert Public Conservation Project

By Michael Varcoe-Cocks

Unrolled: John Rogers Herbert and the monumental Moses in the National Gallery of Victoria

By Nancy Langham Hooper

The National Gallery of Victoria’s Virgin and Child, by a follower of Jan van Eyck: a continuing reassessment

By Carl Villis

The lives of a man’s eighteenth-century coat

By Paola Di Trocchio

Two insights into Auguste Rodin’s The thinker

By François Blanchetière and David Thurrowgood

The art of Frederick McCubbin: a view of his materials and technique

By Bridget Whitelaw, John Payne & Gillian Leahy

The Aspremont Psalter-Hours: the making of a manuscript

By Margaret Manion, Lyndsay Knowles & John Payne

Exploring a fifteenth-century garden: a restoration uncovers the past

By John Payne

Rembrandt etchings on oriental papers: papers in the collection of the National Gallery of Victoria

By Jacobus van Breda

Horses bathing in the sea by Lucy Kemp-Welch (1869–1958): A close examination

By Linda Waters

The Resurrection of The descent from the Cross : an early-sixteenth-century Antwerp panel is brought out of storage

By John Payne

Finding light in the shadows: the cleaning and restoration of Tiepolo’s The banquet of Cleopatra

By John Payne & Carl Villis

Veronese and friends: a technical examination of Nobleman between active and contemplative life

By John Payne

Framing Nicholas Caire, Fairy scene at the Landslip, Black’s Spur c. 1878

By Isobel Crombie, Angeletta Leggio & Holly McGowan-Jackson

A Brush with Fidelity: Three works by Eugène von Guérard

By Michael Varcoe-Cocks

The Melbourne Finding of Moses: steps towards a new attribution

By Zoë Willis

Two New Attributions: a Tocqué and a Bellotto in Melbourne

By Carl Villis

Edgar Degas’s Portrait of a woman

By Ted Gott

Seeing into the past: an enquiry into the compositional development of Robert Dowling’s Tasmanian Aborigines

By Michael Varcoe-Cocks

NGV Magazine

Issue 26 Jan-Feb 2021

Fred Wilson’s To die upon a kiss 2011 by Sigourney Jacks and Trude Ellingsen (p.48)
Luminous: Caring for Light in Artworks By Suzi Shaw, Dianne Whittle and Trude Ellingsen (p.68)
When artist and conservator meet: Working with artist Jonathan Ben-Tovim by Dianne Whittle (p.92)

Issue 25 Nov-Dec 2020

Collecting environments: Stories from NGV Conservators by MaryJo Lelyveld, Dianne Whittle, Ruth Shervington, Pip Morrison and Suzi Shaw (p.36)
NGV Collaborates with CSIRO to create a new varnish by Carl Villis and Jessica Lehmann (p.64)
Arthur Streeton’s The purple noon’s transparent might 1896 by Michael Varcoe-Cocks and Jessica Lehmann (p.72)
Collection Care in COVID times by Michael Varcoe-Cocks (p.102)
Rehousing the Andrée Harkness Gift by Enrique Tochez Anderson (p.103)

Issue 24 Sep-Oct 2020

Conservator Insight: Rembrandt’s Papers by Ruth Shervington (p.16)
On Collecting: The Von Bullingen album of watermarks from the early nineteenth century by Louise Wilson (p.25)
The articulate landscape of Thomas Clark by Caitlin Breare (p.85)
New NGV Conservation microsite by Jessica Lehmann (p.104)
Peter Dombrovski’s images of Tasmania by Pip Morrison (p.104)
Nicholas de Largilliere’s Portrait of a Lady 1705 by Caitlin Breare (p.105)
Art from the TIWI Islands: A Conservation perspective by Raymonda Rajkowski

Issue 23 Jul-Aug 2020

Revealing Constance Stokes’s woman in green by Raye Collins (p.80)
Another side of Grace Crowley by Raye Collins and Beckett Rozentals (p.86)
The science of art: inside the NGV conservation team by Jess Lehmann (p.96)
Collaboration during COVID-19 by MaryJo Lelyveld (p.109)

Issue 22 May–Jun 2020

The gilded frame by MaryJo Lelyveld (p.19)
Textiles: finding the perfect match by Skye Firth (p.21)
The artists’ palette: pigments by Raye Collins (p.22)
Conservator insight: Korean screens by Ruth Shervington (p.35)
In her likeness by Jessica Lehmann (p.78)
Revelations through X-radiography by Trude Ellingsen (p.103)
Jewellery materiality by Trude Ellingsen (p.104)
Behind the scenes: preparation for a Japanese fan by an unknown maker by Ben Raynor (p.104)
Reframing Hugh Ramsay’s (interior of artists studio) by Jason King (p.105)

Issue 21 Mar–Apr 2020

Solving a conservation puzzle by Marika Strohschnieder (p.98)
In the frame (reframing Pissarro) by Holly McGowan-Jackson (p.99)

Issue 20 Jan–Feb 2020

Australian Framing Royalty: Lillie Williamson by Jessica Lehmann and Holly McGowan-Jackson (p.60)
The paper boy 1888, Florence Fuller by Michael Varcoe-Cocks (p.82)

Issue 19 Nov–Dec 2019

William Blake’s Virgil Wood engravings by Louise Wilson (p.45)
Pieta by Marika Strohschnieder (p.60)
Framing the archer by Holly McGowan-Jackson (p.67)
Reframing Louis Buvelot’s Mount Martha from Dromana’s Hill by Jason King (p.97)
Contemporary Art Conservation Research by Jessica Lehmann (p.97)

Issue 18 Sep–Oct 2019

Zaha Hadid: Wave Sofa by Suzi Shaw (p.50)
Fashionably pink [habit a la francais 18th century] by Danielle Whitfield and Skye Firth (p.86)
Anthony van Dyck: Philip Herbert 4th Earl of Pembroke c.1634 by Carl Villis (p.98)
The crown jewel replicas c.1936 by Marika Strohschnieder (p.97)
NGV workshop for the Getty Conservation Institute’s Preserving Collections in the age of sustainability course by MaryJo Lelyveld (p.98)

Issue 17 Jul–Aug 2019

Unfinished business by Carl Villis (p.84)

Life & Times

Australian framing royalty: Lillie Williamson by Holly McGowan-Jackson & Jessica Lehmann (p.66)

Secret Life of Art

Hidden behind the candlelight by Carl Villis (p.17)
Framing the Archer by Holly McGowan-Jackson (p.27)

External reading

Why frames should be in the picture when you visit an art gallery

ABC News

Read now

Framing Perspectives: Frames Conservation and Reframing at the National Gallery of Victoria

AICCM Bulletin v.38, 2017, issue 2

Read now