Students' Final Year Projects
These projects are printed and bound by the Institute. They may be consulted by appointment with the Hamilton Kerr Institute.
2019
Anna Don: Morality, Policy and Aesthetics: an Investigation into the Royal Academy's Technical Forms of Procedure in the Late Nineteenth Century
Anna Don: Craft and Devotion: A Technical Study and Reconstruction of Giovanni di Paolo's 'St Bartholomew'
Elisabeth Petrina: The Environment in Cambridge Museums: Risk, Priority and Compromise
Elisabeth Petrina: Reconstruction of a Seventeenth Century Depiction of Dives and Lazarus from the Collection of the Fitzwilliam Museum
2017
Amiel Clarke: An Investigation into the Materials and Technique of Walther Sickert (1860-1942)
Amiel Clarke: Treatment, Technical Analysis and Reconstruction of Henry Stone's Unknown Man
Michaela Straub: Brotherhoods - in and around London during the Nineteenth Century
Michaela Straub: The Study and Reconstruction of an Early English Painting Depicting Seven Saints from Battel Hall
2015
Pia Dowse: Conservation and the Values of Paintings
Pia Dowse: Technical Analysis and Reconstruction of Anthony Van Dyck’s Portrait of a Man
Shan Kuang: Re-Examining Prior Findings and Assumptions: Technical Study of A Magus at a Table by Jan Lievens from Upton House (National Trust)
Shan Kuang: Investigation and Reconstruction of a Tondo: Sebastiano del Piombo’s Madonna and Child (c. 1513) from the Fitzwilliam Museum
2013
Aalia Kamal: The Materials and Techniques of Vanessa Bell
Aalia Kamal: The Examination, Reconstruction and Treatment of Interior Court of the Doges Palace by Giovanni Antonio Canal, ‘Canaletto’
Adele Wright: The Professions of St Luke: What Conservation Can Learn from its Historical and Contemporary Links with Medicine
Adele Wright: Treatment, Technical Analysis and Reconstruction of Eugène Delacroix’s The Lion and the Snake
2011
Eleanor von Aderkas: X-Ray Flourescence Spectrometry of easel painting layers; a multivariate statistical approach
Eleanor von Aderkas: ‘Behold one work of mine that ne'er shall fade’: Technical examination, reproduction and treatment of A Vase of Flowers by Simon Pietersz Verelst
Victoria Sutcliffe: Communication with Artists: the opportunity for evidence from living sources analysed
Victoria Sutcliffe: Copy of a painting attributed to Degas
2009
Emma Boyce: ‘Historic Structural Alterations and Auxiliary Supports on Paintings in the Royal Collection’
Emma Boyce: ‘The Conservation, Reconstruction and Reattribution of a 17c Dutch Seascape’
Daniela Leonard: ‘The Fading of Traditional Paints’
Daniela Leonard: ‘Dirck van Delen Fecit 1628: The Construction of a 17th Century Dutch Church Interior’
2007
Jessica David: ‘Examination and treatment of six reverse paintings on glass from William Nicholson’s Loggia with Figures and Architectural Fragments’
Jessica David: ‘Investigation and reconstruction of a seventeenth century Pronk still-life: The Yarmouth Collection’
Alison Stock: ‘Medieval gilding techniques: A practical investigation into the methods and materials for water gilding according to treatises’
Alison Stock: ‘A reconstruction of a late sixteenth century painting on a copper support: Hendrick van Balen’s Adoration of the Shepherds from the Fitzwilliam Museum’
2005
Clare Heard: ‘Painting, Potatoes and Potash: An examination of the Traditional Recommendations for the Cleaning of Paintings, before 1850’
Clare Heard: ‘The Technical Reconstruction of a 13th Century Medieval English Altarpiece: The Westminster Abbey Retable’
Tabitha Teuma: ‘Practical application of fungistats and fungicides to paintings’
Tabitha Teuma: ‘Zuccaro: Calumny of Apelles (Royal Collection), Examination and Copy’
2003
Lara Wilson: ‘The examination of the portraits in the library of Anglesey Abbey’
Lara Wilson: ‘The examination, reconstruction and treatment of Juan and Diego Sanchez: Road to Calvary (Fitzwilliam Museum)’
Hayley Woodhouse: ‘Investigation of a range of potential fungistats and fungicides for use on easel paintings - with particular reference to the environmental problems at Anglesey Abbey’
Hayley Woodhouse: ‘Examination and comparison of early and late Golden Age Dutch flowerpieces: Ambrosius Bosshaert Flowerpiece with Monkey (c.1635) and Jan van Huysum’s Vase of Flowers (c.1710-20) — Reconstruction of Jan van Huysum’s Vase of Flowers’
2002
Adelaide Izat: ‘The Aesthetics, Adulteration and Application of Asphalt in the Eighteenth and Nineteenth Centuries’
Adelaide Izat: ‘A copy of a seventeenth century roman School: St Dominic receiving the Rosary from the Virgin’
2001
Meta Chavannes: ‘One Hundred years of Blues: an Investigation into Possible Causes of Deterioration of the Virgin’s Robes in Italian Easel Paintings, c.1450-1550’
Meta Chavannes: ‘A Reconstruction of Dominico Ghirlandaio’ Nativity (Fitzwilliam Museum, Cambridge)’
1999
Rebecca Kench: ‘An Investigation into the performance of four different microclimate boxes’
Rebecca Kench: ‘A Copy of Alfred Stevens’ La Liseuse, examination, treatment and copy’
Lorraine Maule: ‘Stretchers: Canvas as a painting support. Historical review of the development of auxiliary supports and stretching methods’
Lorraine Maule: ‘The Gadarene Swine by Paul Bril, Technical examination and the making of a copy’
1997
Alison Smith: ‘The Aesthetics and handling properties of three low molecular weight varnishes, with and without the addition of plasticisers’
Alison Smith: ‘The Battle of the Spurs, a technical examination and construction of a copy’
1995
Jo Lynn: ‘Two 13th century panels from the Painted Chamber, Westminster Palace, a discussion of materials and techniques’
Jo Lynn: ‘The Judgement of Zaleucus, 1606 by Ambrosius Francken, Technical examination and the making of a copy’
Nicola Pause: ‘A study into the method of retouching with egg tempera’
Nicola Pause: ‘Technical examination and execution of a copy of The Grand Canal North of the Rialto Bridge by Michele Marieschi’
1995
Pippa Balch: ‘Bartolome Esteban Murillo’s Madonna and the Rosary; the artist’s technique and construction of a copy’
1994
Claire Chorley: ‘The Adoration of the Magi, Flemish School, c. 1500. An investigation and copy of a Flemish panel from the Fitzwilliam Museum
1993
Spike Bucklow: ‘The cleaning and copying of Still-Life with Fruit and Flowers by Jan van Os
Spike Bucklow: ‘An investigation into the effect of some surface characteristics upon the perception of pictorial space in easel paintings’
Annabel Robinson: ‘The monitory and analysis of the climate within the church of St Mary, Thornham Parva, Suffolk’
Annabel Robinson: ‘The construction of a copy of a 19th century canvas painting The Florentine Procession by Jane Eleanor Benham Hay’
1992
Hélène Dubois: ‘A copy and reconstruction of the technique of W.P. Frith’s Othello and Desdemona’
Hélène Dubois: ‘Aspects of Sir Joshua Reynolds’ painting technique. A study of the primary sources with reference to the examination of paintings’
Minako Ota: ‘Reconstruction of two panel paintings by Adrian Isenbrandt’
Minako Ota: ‘Regeneration of aged glue in glue lining’
1991
Michael Gallagher: ‘The Roberson Archive, inventory of written and printed material and case study on the accounts of Ford Maddox Brown’
Michael Gallagher: ‘The construction of a copy of The Emperor Charles V, a panel attributed to the Master of the Magdalen Legend’
Marika Spring: ‘A copy of the painting Pan and Syrinx in a Classical Landscape by Anton Ryckaert, from the Fitzwilliam Museum’
Marika Spring: ‘A study of staining techniques for the identification of proteinaceous paint media’
1990
Katherine Ara: ‘An investigation of late 18th century and early 19th century thixotropic media: Megilps and gumptions - based on the investigation carried out by Leslie Carlyle from documentary sources’
Katherine Ara: ‘A copy of a later 15th century or early 16th century Flemish painting Adoration of the Magi from the Fitzwilliam Museum’
1989
Aella Diamantopoulos: ‘Attempts at the reconstruction of picture varnishes according to recipes from the 12th to the 18th century’
Aella Diamantopoulos: ‘The Entry of Christ into Jerusalem, copy of a Greek icon of the late 16th century
Rosanna Eadie: ‘Observations on the deterioration of blue and green paint layers in Dutch 17th century painting’
Rosanna Eadie: ‘A copy of Gerrit Dou’s Woman at a Window’
1988
Nicola Christie: ‘The Hunt in the Forest by Paolo Uccello, technical examination and copy’
Nicola Christie: ‘The grounds of paintings. A comparative survey of the theory and practice of priming supports from the 12th to the mid 18th century’
Kate Russell: ‘A study into the materials and equipment of artists’ studio using documentary evidence’
1987
Sarah Murray: ‘Examination and technique of early 17th century Dutch and Flemish flower paintings’
Sarah Murray: ‘Copy of A Basket of Flowers by Balthasar van der Ast’
Larry Keith: ‘Mazzolino’s Christ Before Pilate, examination, treatment and copy’
Larry Keith: ‘The Visitation of Maso da San Friano’
1986
Sally Thirkettle: ‘Luis Morales Madonna and Child (Ashmolean Museum, Oxford). A case study on the examination and treatment’
Sally Thirkettle: ‘The cleaning and examination of Henry Prince of Wales on Horseback and other works by Robert Peake’
1985
Karen Ashworth: ‘An examination of the frame of a Tabernacle Altarpiece by Paolo di Stefano’
Ella Hendricks: ‘Some considerations of the painting technique of Sir Peter Lely with regard to workshop practice’
1984
Rupert Featherstone: ‘An enquiry into the painting methods and materials of George Stubbs’
Anna Sanden: ‘Some aspects of blanching’
1983
Sara Lee: ‘An investigation into the contouring properties of some picture varnishes’
Caroline Quinn: ‘A copy of the Entombment of Christ by the Master of Saint Ursula from the Fitzwilliam Museum’
Caroline Quinn: ‘Drapery painting techniques used in Italy and the Netherlands during the 15th and 16th century’
1982
Daniel Fabian: ‘A study on panel paintings from the earliest beginnings to 1640’
Caroline Richards: ‘The theory and technique of landscape painting’
1980
Mary Allden: ‘A copy of the Adoration of the Magi by Studio of Joos van Cleve’
Mary Allden: ‘The theory and practice of flesh paintings from the 14th to the 19th century. A comparison of contemporary treatises with actual technique for easel painting’
Simon Folkes: ‘Examination and copy of the Virgin and Child attributed to the Studio of Perugino from the Fitzwilliam Museum’
Simon Folkes: ‘Italian painting techniques of the late 15th century and early 16th century. An examination of the methods revealed in three unfinished paintings’
1979
Amelia Jackson: ‘An account of the scientific examination of easel paintings’
Amelia Jackson: ‘Examination and copy of a Florentine School, 15th century Madonna and Child from the Fitzwilliam Museum’
1978
Keith Laing: ‘Claude Lorrain Apollo and Mercury (Wallace Collection); detection of overpaint’
Keith Laing: ‘Examination of Maerten van Heemskerk’s The Four Last Things (Royal Collection)’