Prof. Dr Jørgen Wadum is Director of Conservation at Statens Museum for Kunst (SMK), the National Gallery of Denmark, and Director of the Centre for Art Technological Studies and Conservation (CATS), a strategic research consortium between SMK, The National Museum of Denmark, and the School of Conservation, Copenhagen. He trained as a flower painter, an art historian and as a paintings conservator. Since the 1980s he has specialised in the painting techniques of 16th- and 17th-century Dutch and Flemish artists. From 1990 until 2004 he was Chief Conservator at the Mauritshuis, The Hague. He has published and lectured extensively and internationally on a multitude of subjects relating to technical art history and other issues of importance for the understanding and conservation of cultural heritage. Prof. Dr Wadum holds positions in several international organisations and committees, including that of co-chair of the advisors to the Getty Panel Paintings Initiative.

Dr Noëlle Streeton is Associate Professor for Conservation at the University of Oslo. She specialises in the history of painting technology, in particular paintings on panel and winged altarpieces from the late 14th to the 16th century. Between 2002 and 2007 she was Managing Editor of Reviews in Conservation, and has since published on a range of topics related to the Hanseatic trade in Baltic boards and the pigments used by late medieval painters. Her monograph Perspectives on the Painting Technique of Jan van Eyck: Beyond the Ghent Altarpiece was published by Archetype Publications in 2013. Currently she leads an interdisciplinary research project at the University of Oslo devoted to northern German and Netherlandish painting and polychrome sculpture imported to Norway (see www.hf.uio.no/iakh/english/research/projects/medieval-painting/index.html). Dr Streeton’s contributions draw on her ongoing research into late medieval wooden objects, as well as her experience of editing texts and publications aimed at the international conservation community.

Jean-Albert Glatigny, an independent art restorer and panel paintings conservator, Brussels, is a longstanding expert in the structural conservation of panel paintings. After studying cabinetmaking, he underwent four years’ training at KIK-IRPA, Brussels, in the polychrome sculpture and panel painting workshops. In addition to his restoration activities at KIK-IRPA and abroad, he teaches at several schools of conservation and participates in studies of works of art and conducts research on historical techniques of woodworking. In the framework of the Getty Panel Paintings Initiative he has lectured extensively at both the Krakow and Dresden Summer Institutes as well as taking on advanced trainees. He is also part of the team of experts carrying out the study and conservation/restoration of Jan and Hubert van Eyck’s Ghent Altarpiece, 1432, also known as the Adoration of the Mystic Lamb.

Dr Christina Currie, KIK-IRPA, Brussels, is a trained painting conservator and art historian specialised in the technical examination of panel paintings, primarily through non-destructive methods such as infrared reflectography and radiography. As head of scientific imagery at KIK-IRPA, she coordinates joint research projects with the laboratories. Her work mainly involves Flemish painting from the 14th to the 17th century, but she has acquired particular expertise in the technology of panel paintings produced by Pieter Bruegel the Elder and his elder son, Pieter Brueghel the Younger. This culminated in a 3-volume book and web annex, published by the KIK-IRPA in 2012, which includes detailed descriptions and technical imagery of the structure of the panels and the results of dendrochronology. She also has extensive experience in the editing of English language texts for international publications in the fields of conservation and art history.

Nicole Goetghebeur is an emeritus paintings conservator from KIK-IRPA, Brussels, where she was the primary research conservator until her retirement in 1998. She trained as a painting conservator and began her career at KIK-IRPA in 1957 (under the guidance of Albert Philippot, Chief Conservator) and the Musées Royaux des Beaux-Arts de Belgique/Koninklijke Musea voor Schone Kunsten van België (the Royal Museums of Fine Arts of Belgium). She then studied at the Istituto Centrale del Restauro in Rome where she developed an interest in the structure of Italian panel paintings and their treatment. Marette’s book gave her an awareness of the importance of the wooden support on the material qualities of old master paintings. She became head of the paintings studio of KIK-IRPA in 1963 and head of research in 1992. During this time, many panel paintings were treated under her guidance, while her research concentrated on Flemish painting on wooden supports from the 14th to the 17th century, in particular their original construction and past conservation treatment.

Mette Bech Kokkenborg holds an MSc in Conservation of Fine Arts and Frames from the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation, Copenhagen. She specialises in frames and gilded objects, including registration and digitisation of museum frame collections. She has worked for five years at Statens Museum for Kunst (SMK), the National Gallery of Denmark, in the Department of Conservation, where she has conserved and restored frames and paintings, made microclimate frames and undertaken courier trips and various coordination tasks, including organising a major international conference. She has international experience and knowledge of conservation and documentation of frames from residences in the Netherlands and the UK. Since 2013 she has held the position of Research Coordinator of CATS.