Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. RE: Guidelines on Sustainable Storage Conditions for Photographic Heritage 2. RE: Practical question for Paper Conservators - Cleaning with bamboo ash in water 3. 2 Green Tea Episodes concerning the overlap of Ecological and Cultural Heritage Conservation 4. Hands-On Lithography Workshop in Philadelphia, Nov 5-7, 2025 5. Volunteer with the Washington Conservation Guild (WCG) 6. Job Opening: Works on Paper and Photographs Conservator, National Portrait Gallery, London 7. RE: MA Dissertation Survey: Preventing Dye Migration in Leather ------------------------------------------------------------------------------------------------------------ 1.From: Chris Woods Posted: Monday July 28, 2025 7:59 AM Subject: RE: Guidelines on Sustainable Storage Conditions for Photographic Heritage Message: Dear Alexandre When we were drafting BS 4971:2917 Conservation & Care of Archive & Library Collections, a review of literature and research indicated some apparent misconceptions commom across the sector, along with a failure to distingush between RH needs and temperature needs We have been promolgating commonly the notion that all photo media need 'special' conditions, consistently at a lower RH (typically around 35-40%) and lower temperatures than other archival materials (interpreted widely, from c. 8C to 15C). In the UK, standards and guidance promoted this without clear distinctions and archives and libraries built or created special stores for such media. Sadly they all failed to maintain these conditions that ally low RH with low temp and with fresh air ventilation - forms of HVAC used simply couldn't maintain them and consistently failed, often causing hazardous high RH environments or high temps or both periodically, accelarating decay instead of inhibiting it. A thoughtful review indicated a few clear messages. The first is that b/w paper, glass and metal based photos do not need a lower temp and drier conditions to survive. All archives benefit from lower temps and RH but we have collectively understood that, given their scale, we can't deliver this successfully or sustainably with HVAC control. An achieved annual average temp that is below 18C, with a maximum of c.23C at the warmest time of the year and cooling off in the winter months in our European climate (or continuously cool conditions storing underground anywhere in the world) is beneficial and can be achieved passively and without continuous fresh air. RH in this scenario is very stable indeed and if the archive holdings' moisture content is equilibrated to around 40-45% RH equivalent, all collections will have lower rates of deterioration - hydrolytic, thermodynamic and biological - than the common 55-60% conditions beloved for so long. Some may wish to maintain metal photos for example at a consistantly lower RH, so sealed microclimate packaging for these (and other formats if desired) is the low tech, simple and sustainable solution, as it is for magnetic media and some museum artefacts. Not continuous dry HVAC control. Recalling that the great majority of glass plate negatives (and most lantern slide positives) are b/w gelatine dry plates and that this b/w & gelatine combination has been shown to be safely stored within a wide environmental range (see e.g. Mark MacCormack- Goodhart's research published in the mid 1990s), and that, as above, a narrow stable range of RH can be achieved passively, and also that b/w collodion emulsions on all bases including glass is not a strongly hygroscopically sensitive medium, we can logically conclude there is no benefit achieved for these by close control cooler and drier conditions, especially as we universally aimed to sleeve and box glass materials anyway (which improves stability further). The same principles apply for all b/w paper-based photographs. That leaves acetate and nitrate plastics and colour media. Acetate in particular can be seen to be volatile, with a short'lifespan' compared with other media. In spite of some projections suggesting otherwise, these will not survive in real-world, above zero archive/library settings unless frozen. Reviewing options and research, BS 4971 delibrations led us to opt for sealed microclimate packaging in freezers at c. -20C. Nitrates show greater long term stability but may be more safely stored in similar freezing conditions, with added provision if held in bulk, to reduce their flammability risks. Polyester b/w negatives and positives have to date demonstrated stability, being a combination of silver gelatine emulsions on a stable polyester base. As such there is zero value in providing mechanically controlled conditions for these - good packaging and safe passive climate archive storage along with other materials is sufficient. Colour negatives on acetate need to be frozen because of their acetate base. Colour on paper and on polyester may also be an option for freezing, not because of the bases but because the colour processes may continue to change/degrade (in most collections this will already have happened anyway). As with all negatives also, our aim 'to keep in order to access' is convincingly achieved with digitisation, so with colour this allows not only neg to positive conversion but also retro- enhancement of colour on screen. The answer is not constant HVAC special conditions (even if that worked, above zero, but it does not do so indefinitely). These considerations overturned a long-standing assumption that different types needed distinct storage, instead promoting just two scenarios: passively achieved above zero archival storage and freezer storage. Freezer storage of course requires some energy and maintenance cost/emmissions but greatly less than above zero ventilated HVAC and with much less risk to the objects even when inadvertantly defrosted since the micro-climate packs protect against mechanical failure. BestChris WoodsChair, BSI IDT/2/9 DirectorNational Conservation Service21 Albemarle StreetMayfairLondon W1S 4BSwww.ncs.org.uk NCS membership is operated by Nationwide Conservation Service Ltd, a not-for-profit membership company limited by guarantee, registered in England & Wales no. 07077608, VAT reg. 202361951. NCS projects are provided by Conservation Ltd, a company registered in England & Wales no. 06659286 VAT reg. 981696269. Both companies are registered at 21 Albemarle St, Mayfair, London W1S 4BS ------------------------------------------- Original Message: Sent: 7/23/2025 7:50:00 AM From: Alexandra Lefebvre Subject: Guidelines on Sustainable Storage Conditions for Photographic Heritage Dear colleagues, I am reaching out to request your expert recommendations regarding sustainable storage conditions-specifically temperature and relative humidity-for the long-term preservation of photographic heritage. In particular, I am looking for guidance on storing the following materials: Nitrate-based films Acetate based-films Polyester-based films Color photographs Black-and-white photographs As part of our current review of storage strategies, we are especially interested in approaches that balance preservation needs with contemporary sustainability considerations (such as energy consumption and climate impact). If you have any documentation, standards, or recent research to share, we would be very grateful. Thank you in advance for your time and assistance. ------------------------------ Alexandra Lefebvre Conservator of metallic and technical heritage / Research Assistant Haute Ecole Arc Neuchâtel Switzerland ------------------------------ 2.From: Leslie Zacharie Posted: Monday July 28, 2025 2:34 PM Subject: RE: Practical question for Paper Conservators - Cleaning with bamboo ash in water Message: Hi Valeria! I remember vaguely reading about the use of bamboo ash for the cleaning of paper a few years ago from a newspaper article. I was also very intrigued by this idea but I could'nt find anything else on the subject and I did not try it myself. I will talk further with colleagues specialized in Japanese art conservation as it seems to come from their practices. I would love to receive an update from your own experimentations! Best wishes, Leslie Zacharie Paper Conservator The Metropolitan Museum of Art ------------------------------ Leslie Zacharie Paper Conservation Fellow Metropolitan Museum of Art, Paper Conservation Department New York United States ------------------------------ ------------------------------------------- Original Message: Sent: 07-22-2025 05:49 From: Valeria Duplat Subject: Practical question for Paper Conservators - Cleaning with bamboo ash in water Dear colleagues, this method, developed by Paper Conservator Minako Wada from the Prado Museum, utilises bamboo ash in water to clean works on paper damaged by oxidation marks, such as foxing.I discovered this fascinating method on a webinar organised by the Japan Foundation. Has someone experimented with this method before? I need to ascertain the amount of ash to water. The ash I got is of the finest quality, and in my tests, my water remains grey, even after decanting and filtering several times.Ta!Valeria Duplat Valeria Duplat Oporto Paper Conservationwww.valeriaduplat.com <http://www.valeriaduplat.com/> 3.From: Lindsey Williams Posted: Monday July 28, 2025 2:35 PM Subject: 2 Green Tea Episodes concerning the overlap of Ecological and Cultural Heritage Conservation Message: Two new episodes of the Green Tea podcast are available now on Spotify. Both concern the intersection of ecological and cultural heritage conservation, one from a collections perspective and the other from an academic perspective. We hope you enjoy! Ecological Cultural Heritage with Dr Jordan Teisher <https://open.spotify.com/show/3b5jkqeiZEVasHKHZNlMf1> - published 6/30 In our first of two back to back episodes concerning the overlap between ecological conservation and cultural heritage conservation, Lindsey speaks with Dr Jordan Teisher, director of the herbarium at the Missouri Botanic Gardens in St Louis Missouri. Herbariums and other natural history collections contain a wealth of human heritage even if socially we no longer associate them with 'art' or other 'cultural' objects of value. While some cultures have particular reverence or place significant value upon specific plants, animals or places, it seems that the people of most Western nations have largely ignored the value of our ecological heritage unless participating in the botanical community themselves. Many of the challenges faced by herbarium collections are familiar to museum and library conservators: from navigating overseas loans, developing robust integrated pest management plans, maintaining databases, and participating in digitization efforts. Jordan points out that even though an herbarium specimen isn't a man-made object like a book or a painting, it still is curated and because it was harvested, mounted, and described through the perspective of a person has historical and cultural significance beyond its ecological significance . Even conservation professionals may not see plants as having their own material culture value unless they are elements of an 'art object' made by a person, since then they better fall under our purview. The NatureCulture Lab: Learning from Each Other <https://open.spotify.com/show/3b5jkqeiZEVasHKHZNlMf1> - published 7/28 In our second episode concerning the intersection of the ecological and cultural heritage conservation fields, we learn about an academic think tank called the NatureCulture Lab that was held in January 2025. Hanna Holling, Sven Dupre, and Maartje Stols-Witlox, organizers of the Lab, speak with Lindsey about the beneficial relationship that both conservation fields could develop by engaging more directly with each other. The Lab aimed to break down silos between the two fields with perspectives from around the globe and centered upon themes from sociology, anthropology, and systems evolution. Presenters discussed how the two fields faced similar challenges even though the subjects differ and had similar histories in their development as disciplines. Stewardship has been defined in a variety of ways in both disciplines over time. The NatureCulture Lab cohort would often question what it would mean to redefine the concept of 'conservation' to be much more inclusive of both naturally-made and man-made entities. In small groups the participants were posed questions concerning how we engage with the nature of change, determine agency or authority to determine actions of conservation, and identify what those actions might be to create a holistically beneficial relationship with our environment now and into the future. -------- Thank you to our dedicated 280+ followers on Spotify! Please let reach out if you have recommendations, questions or ideas for future episodes: [email protected], subject header "Green Tea". ------------------------------ Lindsey Williams Conservation Technician ------------------------------ 4.From: Christina Taylor Posted: Monday July 28, 2025 2:36 PM Subject: Hands-On Lithography Workshop in Philadelphia, Nov 5-7, 2025 Message: Hands-On Lithography Workshop November 5-7, 2025 Instructors: Christopher Wallace and Christina Taylor This workshop introduces non-artists, such as conservators, print scholars, and a range of art professionals to various lithographic processes and techniques commonly utilized by artists and studios, historically and up to this day. Lithography is a complex, chemical printmaking process that requires firsthand experience to fully grasp the technique and potential artistic applications. Hands-on techniques covered in the workshop include stone lithography (additive and reductive), plate lithography, pronto plate (color lithography), transfer lithography, and photolithography. The curriculum consists primarily of hands-on printing activities at Second State Press but will also include lectures, close-looking at prints, and group discussions in the Philadelphia Museum of Art's Study Room and Paper Conservation Lab. The instructors of the workshop are a conservator (Christina Taylor) and artist/lithographer (Chris Wallace), and this combination offers a special opportunity to merge the perspectives of museum and art professionals. General Schedule: Day 1 (Second State Press, 9am-5pm): introduction/lectures and hands-on printing in print studio Day 2 (Second State Press, 9am-5pm): hands-on printing in print studio Day 3 (PMA, Study Room and Paper Lab, 9am-5pm): print exam/discussion Each day we will take breaks and have an hour allotted for lunch. Registration: Registration fee for participants: $375 Includes all materials and coffee breaks/snacks. Lunch not included. Participants are responsible for their own travel and lodging. The workshop is limited to 12 participants. If you are a student or not funded by an institution, please reach out. We have scholarship opportunities generously sponsored by Tru Vue, Inc. Please reach out to Christina Taylor ([email protected] <[email protected]>) to register or with any questions. ------------------------------ Christina Taylor Conservator of Works of Art on Paper The Philadelphia Museum of Art Philadelphia United States ------------------------------ 5.From: Rachel Greenberg Posted: Monday July 28, 2025 2:37 PM Subject: Volunteer with the Washington Conservation Guild (WCG) Message: The Washington Conservation Guild (WCG) <https://washingtonconservationguild.org/> is a nonprofit organization of conservation professionals in the Washington DC, Maryland, and Northern Virginia region dedicated to preserving art and historic materials. The Guild serves as a regional forum for its members and as a resource to the public for learning about the care of personal collections. WCG is looking for new Board Members to help share responsibilities in the running of the organization. Would you, or someone you know, like to volunteer with us? Below is a selection of open positions. *Emerging Professionals serving on the WCG Board receive free membership!* Interested? Email [email protected] <[email protected]> Meeting Director: As a key member of the committee responsible for organizing and running the monthly member meetings, this individual collaborates closely with a team to ensure each meeting is engaging, informative, and well-executed. Responsibilities within the committee are shared, with each member contributing their unique skills to the planning and presentation of the event. Tasks may include identifying and selecting speakers, coordinating with invited speakers to confirm details, and crafting compelling meeting announcements to generate interest and attendance. During the meeting, they may take on the role of chairing the lecture or capturing the meeting through photography or video, editing the content for use on social media platforms to keep members informed and engaged after the event. Additionally, they assist with the reception by welcoming attendees, providing information, and fostering a friendly, inclusive atmosphere for all participants. Their combined efforts are integral to creating a memorable and successful meeting experience for the entire membership. Website Content Editor: We're looking for a detail-oriented volunteer to help keep our website fresh and engaging! You'll be instrumental in adding new content about job openings in the DMV area, ensuring our community stays informed and connected. You'll also help integrate event and meeting announcements created by other board members, making sure all content is presented clearly and aligns with our website's overall style. If you enjoy creating new posts and sharing important updates, this is a wonderful opportunity to use your skills to support a cause you care about. You'll get to work with a great team and help us connect better with our community online. Plus, this role can be virtual for those living outside of the immediate DC area! Member Events Coordinator: Organize conservation related workshops and events for WCG members. A self-motivated volunteer works closely with the President to find local artists, conservators, and other arts sector professionals willing to partner with us to create hands-on workshops. Organize other special events, such as group visits to cultural heritage sites. Secure the venues, write event announcements, handle the RSVP lists, and serve as the WCG representative at the events. Are you interested in learning a new artistic or conservation technique? Interested in seeing a new exhibit? This is your chance to organize a workshop or tour, so that you (and your colleagues) can! ------------------------------ Rachel Greenberg Past President, Washington Conservation Guild [email protected] ------------------------------ 6.From: Emmanuelle Largeteau Posted: Monday July 28, 2025 2:38 PM Subject: Job Opening: Works on Paper and Photographs Conservator, National Portrait Gallery, London Message: £21,794.76 based on FTE of £36,324.60 Part time / 24 hours and 3 days per week. Permanent Role Purpose: Works on paper and photographs represent the largest percentage of the National Portrait Gallery's Collection. Spread across the Primary collection (8,500), the reference collection (80,000) and the photographic collection (250,000), it includes significant and iconic works such as the cartoon of Henry VII and Henry VIII by Holbein, the only lifetime portrait of Jane Austen, and miniatures by Nicholas Hilliard. The photographic collection offers a range of processes from the 1840's to today and includes prints and negatives on various supports. Reporting to the Works on Paper Conservation Manager, the Works on Paper and Photographs Conservator is responsible for the conservation and preservation of works on paper and photographs in the care of the National Portrait Gallery, specifically in support of the Gallery's permanent display rotation program, collection care, and loans program. Key Accountabilities: Expertly assess and treat works on paper and photographs, provide advice and guidance on all aspects of care, treatment, and suitability for loan and display to key stakeholders. Undertake a wide range of works on paper and photographs treatments. Digitally document condition assessments and treatments. Help develop and maintain clear and consistent conservation policies and procedures. Excellent understanding of Health & Safety and COSHH guidelines applicable to works on paper and photographs conservation treatments and activities. Help develop research, technical examination, and treatment initiatives that improve academic understanding and presentation of the Gallery's Collection. Actively participate in professional networks for benefit of the Collection, and to contribute to wider sector knowledge and development. Act as an advocate for works on paper and photographs conservation, supporting talks and studio tours, and training of future conservators. Support development of low carbon conservation and collections care initiatives. The above list is indicative but not exhaustive. As such, in addition to the key accountabilities and responsibilities listed the post holder may be required to perform other duties commensurate with the scope and/or level of the role To read the full job description, please follow the link: Works on Paper Conservator - JD <https://recruiter.hr-manager.net/Export/Attachments/ViewFileManagerDocument.aspx?id=e1b436be-b9c4-4b13-b5f1-d4008367554f&cid=2833> Key Experience, Skills and Criteria: Educated to post-graduate degree level in the conservation of works on paper and/or photographs or at least 5 years of relevant experience working as a conservator. Accredited by Icon or on the accreditation pathway; or demonstrating continuous development and maintenance of professional standards. Proven experience undertaking high level conservation treatments, and managing a demanding schedule of projects. Proven experience working collaboratively with a team of conservators and stakeholders. Strong and effective communication and interpersonal skills. Excellent written skills, with the capacity to produce clear and accurate documentation. A proven ability to organise an ambitious and diverse workload, to meet agreed deadlines, and work well under pressure. Demonstrable analytical and problem solving skills. Good working knowledge of word processing and IT packages, including Microsoft Word, Excel and Outlook. Excellent working knowledge of Collections Management Systems, and management of digital photography. Excellent working knowledge and application of COSHH and Health & Safety guidelines. We offer a competitive benefits package, including: Generous pension scheme 27 days annual leave allowance, in addition to bank holidays Interest free season ticket and bicycle loans Rental deposit scheme Membership of the Civil Service Sports & Leisure club Access to independent, low cost healthcare schemes Employee assistance programme Free entry to many UK museums, galleries and exhibitions Staff discounts on purchases in online shop Professional & personal development opportunities Closing date for returned applications is 9:00am on the 18th of August. First round interviews will take place on the 8th of September via Microsoft Teams/ in person. Please indicate on the notes section of your application form, if you will be unable to make these dates. We are committed to the employment and development of disabled people. When assessing and shortlisting our candidate pool for interviews, we are committed to removing any bias through our process to ensure all individuals with a disability are included. To be invited to the interview stage, you must show through your application that you meet the minimum criteria and/or the desirable skills required for the role. If you tell us that you have a disability we can make reasonable adjustments at interview, and, if you join us, to your work arrangements. ------------------------------ Emmanuelle Largeteau Conservation Manager: Works on Paper National Portrait Gallery London United Kingdom ------------------------------ 7.From: En Whealing Posted: Monday July 28, 2025 9:20 PM Subject: RE: MA Dissertation Survey: Preventing Dye Migration in Leather Message: Hi everyone, Many thanks to those who have already participated in my MA survey about dying leather and preventing dye migration/movement. If anyone else would like to take part, the survey can be found here Preventing dye migration in leather <https://docs.google.com/forms/d/e/1FAIpQLSd2g09QXH9K3s0kfpf-MIJZECTJbZRMP9LXvKIKe1AYKMicXw/viewform?usp=send_form>. The survey is anonymous, and takes around 5-7 minutes to complete. Any further responses would be greatly appreciated! The survey will close on 31.07.2025. Kind regards, En Whealing ------------------------------ En Whealing Student West Dean College of Art and Conservation Chichester United Kingdom ------------------------------ ------------------------------------------- Original Message: Sent: 07-16-2025 09:17 From: En Whealing Subject: MA Dissertation Survey: Preventing Dye Migration in Leather Hello everyone, I'm an MA books and paper conservation student at West Dean College in the UK. My MA topic is on preventing dye migration when dying leather for conservation use, and I'm interested in discovering what others in the profession do. If you dye leather for conservation use, please consider filling in my short survey. It's 12 questions and takes about 5-7 minutes to complete. It's run through google forms, and it's entirely annonymous. You can find it here. Preventing dye migration in leather <https://docs.google.com/forms/d/e/1FAIpQLSd2g09QXH9K3s0kfpf-MIJZECTJbZRMP9LXvKIKe1AYKMicXw/viewform?usp=send_form> If you have any questions or concerns, please get in touch. Thank you very much! En Whealing ------------------------------ En Whealing Student West Dean College of Art and Conservation Chichester United Kingdom ------------------------------ You are subscribed to "Global Conservation Forum (ConsDistList)" as [email protected]. To change your subscriptions, go to http://community.culturalheritage.org/preferences?section=Subscriptions. 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