Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. SPPC 2025: From Excavation to Exhibition 2. Job opening - Paintings Conservator Operation Night Watch Rijksmuseum - 1 year 3. Wood dried in PEG midway through treatment 4. please support our effort to save photographic legacy after a disaster - Valencia, Spain 5. RE: Wood dried in PEG midway through treatment 6. RE: Storage of EOD bomb technicial suit 7. Contemporary Practica (UK) REGISTRATION NOW OPEN 8. REMINDER: Webinar - Update on the Reformulating Beva 371 Project - Monday, February 24, 2025, at 1:00 p.m. EST ------------------------------------------------------------------------------------------------------------ 1.From: Lu Allington-Jones Posted: Tuesday February 18, 2025 9:43 AM Subject: SPPC 2025: From Excavation to Exhibition Message: Call for abstracts Please send abstracts of up to 250 words plus an image to [email protected] <[email protected]> by 10th April. Abstracts will be considered on any topic of earth science excavation, conservation, preparation mount-making and exhibition. Please state if the abstract is for a poster or platform presentation. The 30th Symposium on Palaeontological Preparation and Conservation will be held in the Netherlands this year on 26-27th June. The theme will be From Excavation to Exhibition and we hope to broaden our usual remit to include more aspects of the story of how geological collections end up on display in our museums, as well as their conservation and preparation. Examples of previous years' abstracts can be found online at https://www.geocurator.org/events/97-sppc <https://www.geocurator.org/events/97-sppc> Best wishes, Lu, Kieran and Nigel (SPPC Committee) L. Allington-Jones (she/her) Principal Conservator The Conservation Centre The Natural History Museum Cromwell Road London SW7 5BD 2.From: Nienke Woltman Posted: Tuesday February 18, 2025 9:43 AM Subject: Job opening - Paintings Conservator Operation Night Watch Rijksmuseum - 1 year Message: Paintings Conservator Operation Night Watch At the Rijksmuseum, we are working on Operation Night Watch, the most extensive research and conservation project ever undertaken on Rembrandt's masterpiece. In this project, where high-level technical research is combined with conservation practice, you will contribute as a conservator to the varnish removal of the Night Watch. Varnish Removal You will share your experience and expertise in varnish removal to support Operation Night Watch. This project started in 2019 and takes place in a specially designed glass chamber at the end of the Gallery of Honour, allowing the public to observe the process. Over the past five years, the project has primarily focused on in-depth research of the painting, alongside structural treatment. Currently, Operation Night Watch is in the varnish removal phase. Your main responsibilities in the project include: Varnish removal; Documenting the treatment; Contributing to scientific research. Working for the Rijksmuseum The Rijksmuseum is for and by everyone. You will be part of the Paintings & Frames team, which consists of thirteen conservators specializing in paintings and frames. A significant number of these conservators are involved in Operation Night Watch. The Paintings & Frames conservation studio is part of the internationally renowned Conservation & Science department of the Rijksmuseum. What will you contribute? We are curious to learn more about you and what unique talents you will add to our team. You have experience and/or affinity with working in a large international team on a major project. You are interested in the latest scientific research in the field of conservation and restoration, and you enjoy integrating newly acquired knowledge into object treatments. You work and document your processes meticulously. You are eager to learn, adaptable, and comfortable working in full view of the public. Additionally, you: Have a university degree in paintings conservation; Have at least three years of post-graduate experience in painting restoration (preferably 17th-century paintings), with a particular focus on varnish removal; Are available at least on Mondays and Fridays; Speak and write fluent English. If this describes you, we invite you to submit a motivation letter, CV, and a portfolio showcasing your restoration experience. This will help us gain a clear understanding of your expertise. What will you get in return? You will be given the chance to work in – and behind the scenes of – a leading, internationally oriented museum, together with dedicated specialists. In addition, we offer: A gross monthly salary ranging from €4.379, of €6.056,- (scale 12 of the collective agreement for museums) per month, based on a 36-hour working week. This position is for 24 hours per week. 8% holiday bonus and 3.4% year-end bonus; A contract for the duration of one year for 24 hours per week; The possibility to alternate between working from home and from the office, including a budget to furnish your home office appropriately; Full public transport allowance (up to €345) if commuting further than 5 km. Any expenses for secure bicycle storage at the station are also fully reimbursed; After your probation period, you will receive a Netherlands Museum Pass, offering unlimited access to more than 450 museums in the Netherlands. And you can always bring one guest to the Rijksmuseum for free (during opening hours); Participation in various events and sports activities, such as the Rijksrun and our summer and winter parties. Enthusiastic? Then don't wait around and submit your application before the 3rd of March. This is how the application process will be managed: After receiving your resume, motivation letter and portfolio we will get to work for you. Do we see a potential match? Then we would like to arrange a first introductory interview on March 25th. We are curious to find out who you are, which experience you have and why this role appeals to you. Was this first interview a success? Then we will invite you for a second interview. Are we both enthusiastic? Then we will make you an offer. Do you have any questions? Cindy Doff will be happy to answer them via [email protected] <[email protected]> To apply see: https://www.rijksmuseum.nl/en/careers/vacancies/paintings-conservator-operation-night-watch--1138468 <https://www.rijksmuseum.nl/en/careers/vacancies/paintings-conservator-operation-night-watch--1138468> ------------------------------ Nienke Woltman Paintings Conservator Rijksmuseum Amsterdam Netherlands ------------------------------ 3.From: Thomas Wicks Posted: Tuesday February 18, 2025 9:43 AM Subject: Wood dried in PEG midway through treatment Message: Hi I'm looking for some advice for an object which has been brought in to my lab for me to look at (see attached photo). It's a piece of wood which was midway through conservation treatment using PEG, but unfortunately the conservator passed away and the PEG solution appears to have been allowed to dry out. I've not come across wood midway through treatment like this before and I'd like to get some opinions on the best way to treat it. My thoughts are that the wood has now been allowed to dry out, so the best option would be to leave it dry and remove the majority of the excess PEG mechanically, followed by using some limited warm water on the surface to remove the last of it. The other option would be to think about resubmerging it and aiming to complete the treatment by freeze-drying it, but this doesn't seem like a good option to me because a) I don't know the concentration or weights of PEG which have been used so far, b) subjecting the wood to multiple wetting and drying cycles seems like it would be more harmful. Any thoughts and opinions on the best way forward? Is the wood likely to remain stable in ambient conditions now it has already dried out? Best wishes and thanks in advance. ------------------------------ Thomas Wicks Conservator Salisbury United Kingdom ------------------------------ 4.From: Rosina Herrera Garrido Posted: Tuesday February 18, 2025 9:44 AM Subject: please support our effort to save photographic legacy after a disaster - Valencia, Spain Message: Dear Colleagues, As many of you know, on October 29, the Valencian Community in Spain was severely affected by an extreme weather event known as DANA (Isolated Depression at High Levels), which unleashed torrential rains, resulting in catastrophic flooding across the region. In eight hours, parts of Valencia received over a year's worth of rainfall. The human impact has been tragic, with at least 235 fatalities. A total of 200,000 people were affected, and around 60,000 people have lost their homes or businesses. As a response to this disaster, conservators in the region took action to help in any way possible. The initiative Salvem les fotos (Save the Photos) was established to salvage photographs of those affected by this catastrophe. This project is led by the University of Valencia, with the support of the five public universities of the Valencian Community, various institutions and museums, the Spanish Association of Conservators and Restorers (ACRE), and the Spanish Group of the International Center for Conservation (GE IIC). The scope of the initiative goes beyond salvaging family photographs; it seeks to contribute to the healing and resilience within the community by actively involving its members in the recovery tasks, offering them a sense of purpose, connection, and hope during this challenging time. The main goals of the project are to transmit hope and positivism; to foster social cohesion, to contribute to both individual and community well-being, to strengthen the social network within towns and communities and to fill a void with meaningful purpose and significance. In summary, by recovering these photographic memories and family treasures, the initiative aims to help restore the identity and sense of belonging for the affected families, providing meaningful purpose and support during the recovery process will assist in the recovery of their identity of the affected families. We are a multidisciplinary and dedicated team of heritage professionals and volunteers who are working across six labs in different locations, safeguarding the treasured memories of nearly 1,000 families. This is a long-term effort that could take years, and we cannot do it alone-we need your help. Right now, our priority is stabilizing the collections by drying or freezing them to prevent mold and further deterioration. Soon, we will begin the process of washing, drying, and treating the most delicate objects. To move forward, we urgently need materials for this next phase, as well as support to compensate the volunteers and experts who have been tirelessly working since November. This project is entirely free of charge for those affected, but it relies on outside donations to continue. Your support will ensure that we can keep preserving these invaluable family treasures and help restore a sense of identity and hope to those who have lost so much. Debbie Hess Norris, chair of the Department of Art Conservation at the University of Delaware and Director of the Winterthur/University of Delaware Program in Art Conservation is raising funds to support our work in recovering photographs and memories of families affected by the #dana in Valencia. Please give now. All gifts at any level are welcome. How to help: https://gofund.me/8793f0f1 <https:/gofund.me/8793f0f1> More information about the project at: https://museuhortasud.com/en/save-the-photos/ <https://museuhortasud.com/en/save-the-photos/> Best Rosina 5.From: Valerie Tomlinson Posted: Tuesday February 18, 2025 5:31 PM Subject: RE: Wood dried in PEG midway through treatment Message: Hi Thomas There are more experienced wet wood people out there than me, but my experience says once something has dried out, there is no point in re-wetting it. Any shrinkage and deformation has already happened, and re-wetting just puts additional strain on the material. Since the artefact dried out IN PEG, it essentially already has completed it's treatment, as the PEG concentration would have increased as it dried out instead of by keeping the volume of liquid the same and adding more PEG. This has the benefit that you don't need to do any completing of treatment. it's already done. All you have to do now is remove the excess. This is a common need in PEG treatments anyhow, so you basically carry on from that point. There is rather a lot of excess PEG by the looks of your picture so you can probably mechanically remove the bigger lumps of PEG (scrape them off). Once you get close to the surface, you can clean the remaining excess PEG with warm water and/or ethanol. You can do this by brushing, or, since there is so much excess PEG to remove, you might immerse things briefly for the brushing process, but check with one of the more experienced wet wood people before going that far. I don't know if short immersion plus blotters is adequate or if you have to go the whole freeze dry route with that. I've never dealt with quite so much excess PEG before. The artifact will likely ooze more excess PEG over time and need the ocassional removal re-treatment, just because there is so much. Fluctuating humidity will make this more likely. That's my 2 cents, which may be of help in combination with feedback you get from others. Val ------------------------------ Valerie Tomlinson Conservator of Modern and Contemporary Art Art Gallery of Ontario Toronto Canada ------------------------------ ------------------------------------------- Original Message: Sent: 02-18-2025 08:11 From: Thomas Wicks Subject: Wood dried in PEG midway through treatment Hi I'm looking for some advice for an object which has been brought in to my lab for me to look at (see attached photo). It's a piece of wood which was midway through conservation treatment using PEG, but unfortunately the conservator passed away and the PEG solution appears to have been allowed to dry out. I've not come across wood midway through treatment like this before and I'd like to get some opinions on the best way to treat it. My thoughts are that the wood has now been allowed to dry out, so the best option would be to leave it dry and remove the majority of the excess PEG mechanically, followed by using some limited warm water on the surface to remove the last of it. The other option would be to think about resubmerging it and aiming to complete the treatment by freeze-drying it, but this doesn't seem like a good option to me because a) I don't know the concentration or weights of PEG which have been used so far, b) subjecting the wood to multiple wetting and drying cycles seems like it would be more harmful. Any thoughts and opinions on the best way forward? Is the wood likely to remain stable in ambient conditions now it has already dried out? Best wishes and thanks in advance. ------------------------------ Thomas Wicks Conservator Salisbury United Kingdom ------------------------------ 6.From: Valerie Tomlinson Posted: Tuesday February 18, 2025 5:31 PM Subject: RE: Storage of EOD bomb technicial suit Message: Hi Anna, How you store it depends in part on what materials it is made of. The more synthetic materials there are, or if there is leather, then the chances are you want to store it in the same physical shape that you want to display it in because things will likely harden and embrittle over time. Since the artefact likely occupies a lot of space even packed up, it's not such a big deal storing it in display form on a mannequin or internal support. This also has the advantage that it is easier to put on display any time you want to. Just make sure it has a dust cover in storage. If the materials are more natural fibers that retain more flexibility over time, then you just need to avoid any sharp creases. This increases the volume of the artefact when folded, so it likely wouldn't fit in it's kit bag anyway, and gives more reason to just storing it on it's display form. Just make sure the display form is adequately supportive, and doesn't put excess stresses on particular spots, as this will lead to points of failure in storage. That's my 2 cents. Val ------------------------------ Valerie Tomlinson Conservator of Modern and Contemporary Art Art Gallery of Ontario Toronto Canada ------------------------------ ------------------------------------------- Original Message: Sent: 02-13-2025 08:04 From: Anna McCann Subject: Storage of EOD bomb technicial suit Hello everyone. Our museum recently acquired a complete Explosive Ordnance Disposal (EOD 8) bomb suit contained within its own kit bag which weighs approx 75lbs.. The suit is comprised of body armor in sections and a helmet. There is also a separate smaller bag that contains breathing equipment for the suit. Would anyone here be able to advise on how best to store these objects. Is it acceptable to keep the suit stored inside its original kit bag with- or should it be taken out and stored separately? It will be going on display later this year - but I need to store it in the meantime and not surprisingly space inside my store is limited for such a heavy/large object. I would appreciate any thoughts from museum professionals who may have experience in this area. Thank you in advance. ------------------------------ Anna McCann ------------------------------ 7.From: Laura Chaillie Posted: Tuesday February 18, 2025 5:32 PM Subject: Contemporary Practica (UK) REGISTRATION NOW OPEN Message: A one-day cross-specialism conference focussed on the day-to-day challenges of modern materials. Colleagues from University College London, private practice, Tate, the V&A, Cooper Hewitt Smithsonian and the University of Glasgow will present on topics ranging from autonomous wheelchairs and David Bowie props, to D. Rodney X-rays, painted Dibond, plastics and textiles. What unites this diverse set of speakers is an emphasis on practice, or bench-based research. All talks feature techniques, lessons, or materials that conservators have learned from, or can apply to, their day-to-day work. The formal presentations will be supported by a programme of lightning talks on current projects to provide a forum for collaborative problem solving. Please note: In order to encourage open and frank discussions of potentially sensitive topics, the conference will not be offered in a hybrid manner on the day. Although a selection of recordings may be circulated after the proceedings, delegates wishing to attend the full programme will need to attend in-person at UCL East, in Stratford, East London. Tickets: £10-35 The organising committee has attempted to keep ticket prices as afforable as possible, but please reach out if this is limiting. BOOK HERE <https://www.icon.org.uk/events/contemporary-practica-practical-talks-about-contemporary-challenges.html> ------------------------------ Laura Chaillie Objects Conservator London Museum London United Kingdom ------------------------------ 8.From: Fiona Rutka Posted: Tuesday February 18, 2025 5:32 PM Subject: REMINDER: Webinar - Update on the Reformulating Beva 371 Project - Monday, February 24, 2025, at 1:00 p.m. EST Message: This Virtual Panel will share results from the multi-year Reformulating Beva 371 Project, headed by Chris McGlinchey and supported by the Getty Foundation via their Conserving Canvas initiative. The Project is focused on working with Conservator's Products Company <https://www.conservators-products.com/> in the U.S. and Centro Trattamento Superfici <https://ctsconservation.com/en/> (aka CTS) in Europe to make the optimized formulation commercially available. The panel of scientists involved in the product's development will review the studies conducted on the traditional solvent-based version of the optimized formula, in comparison to the original and current blend. They will also introduce two solvent-free forms: pre-blended pellets and an open-weave non-woven fabric of (at least) two different densities. The fabric is an exciting development as there isn't a carrier for the material, and it has potential for application across many conservation disciplines, such as textiles and leather to paper and paintings. After presenting these developments, the panelists will answer audience questions. The conservators involved in testing the new material will be available, as well. Participants can submit questions to Chris ([email protected] <[email protected]>) in advance of the webinar. Note: The panelists are not receiving remuneration from the companies that commercialize Beva 371. The purpose of this virtual presentation is to provide information on the new formulation and answer related questions to aid conservators in their decisions-making. Link to register for the Webinar: AIC & FAIC Learning: Update on the Reformulating Beva 371 Project: A Virtual Discussion <https://learning.culturalheritage.org/products/update-on-the-reformulating-beva-371-project-a-virtual-discussion> Cost: FREE for PSG and ECPN members; $15 for all other AIC members; $20 for non-AIC members. ------------------------------ Fiona Rutka Paintings Conservator Canadian Conservation Institute Ottawa Canada ------------------------------ You are subscribed to "Global Conservation Forum (ConsDistList)" as [email protected]. 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