C. Brøns, S. Hedegaard & M.-L. Sargent (2016) Painted Faces. Investigations of Polychromy of Etruscan Antefixes in the Ny Carlsberg Glyptotek, Etruscan Studies vol. 19.1, 2016.

A. Skovmøller (2014) Where Marble Meets Colour: surface texturing of hair, skin and dress on Roman marble portraits as support for painted polychromy, in M. Harlow and M.-L. Nosch (eds.), Interdisciplinary Studies in Textiles and Dress. An Interdisciplinary Anthology. Oxford, Oxbow Books, 279-297.

A. Skovmøller, C. Brøns & M.L. Sargent (2016) Egyptian blue: modern myths, ancient realities, Journal of Roman Archaeology vol. 29, 371-387.

A. Skovmøller & R. H. Therkildsen (2016) The polychromy of Roman polished marble portraits, in P. Pensabene and E. Gasparini (eds.), ASMOSIA X. Proceedings of the Tenth International Conference. Interdisciplinary Studies on Stone vol. II. Rome, L’Erma di Bretschneider, 891-900.

J.S. Østergaard & M.L. Sargent (2014), The Polychromy of a Female Late 2nd century CE Palmyrene Funerary Portrait, in Álvarez, J. M.; Nogales, T.; Rodà, I. (Eds.), XVIII CIAC: Centro y periferia en el mundo clásico / Centre and periphery in the ancient world (Mérida) 1231-1235.

J.S. Østergaard, (2013), Reflections on the Typology and Context of the Richmond Caligula, in: B. Frischer (ed.), Digital Sculpture project: Caligula (Richmond, Virginia). http://www.digitalsculpture.org/papers/ostergaard/ostergaard_paper.html

J.S. Østergaard (2010), The Polychromy of Antique Sculpture: A Challenge to Western Ideals? in V. Brinkmann, O. Primavesi , M. Hollein (eds.), Circumlitio. The Polychromy of Antique and Mediaeval Sculpture (Munich: Hirmer Verlag) 78-105.

J.S. Østergaard, M. L. Sargent & R. H. Therkildsen (2014), The polychromy of Roman ‘ideal’ marble sculpture of the 2nd century CE, in: P. Liverani – U. Santamaria (eds.), Diversamente bianco. La policromia della scultura romana (Roma: Quasar) 51 – 69.

J.S. Østergaard (2010), The Copenhagen Polychromy Network. A Research Project on Ancient Greek and Roman Sculptural Polychromy in the Ny Carlsberg Glyptotek, in V. Brinkmann, O. Primavesi , M. Hollein (eds.), Circumlitio. The Polychromy of Antique and Mediaeval Sculpture (Munich: Hirmer Verlag) 324 – 335.

J.S. Østergaard (2017), Farven vender tilbage: Et ’sandere billede’ af antik skulptur, Periskop 18 (forthcoming, September 2017).

J.S. Østergaard (2015), Identical Roman Copies? Diversification through Colour, in: S. Settis (ed.), Serial Classic / Portable Classic (Milano: Fondazione Prada) 113 – 117.

R.H. Therkildsen (2011), The Copenhagen Polychromy Network: introducing the survey protocol in documenting and investigating ancient sculptural polychromy. Medelhavsmuseet. Focus on the Mediterranean 6, 31-40.

J.S. Østergaard (2008), Emerging Colors: Roman Sculptural Polychromy Revived, in R. Panzanelli (ed.), The Color of Life. Polychromy in Sculpture from Antiquity to the Present. Exhib. Cat. (J. Paul Getty Museum, Los Angeles 2008), 40-61.

J.S. Østergaard (2017), Colour shifts. On methodologies in research on the polychromy of Greek and Roman sculpture, Proceedings of the Danish Institute in Athens 8, 149-176.

C. Brøns & A. Skovmøller (2017) Colour-coding the Roman toga. The materiality of textiles represented in ancient sculpture, Antike Kunst.