Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. IAP Virtual seminar: Conserving Modern and Contemporary Paintings 2. New Green Tea episode live NOW: Climate Joy with the Climate Toolkit from the Phipps Conservatory 3. RE: Unknown blue substance on film 4. Book and Paper Conservator for Exhibitions at Folger Shakespeare Library, Washington DC 5. Magnesium nitrate as sustainable solution for constant RH (53%) and pollutant absorption in display cases 6. Paul Willard Obituary ------------------------------------------------------------------------------------------------------------ 1.From: James Black Posted: Monday October 27, 2025 6:08 AM Subject: IAP Virtual seminar: Conserving Modern and Contemporary Paintings Message: Conserving Modern and Contemporary Paintings Tutor: Rowan Frame Date: Thursday, 6th November Time: 3pm GMT Price: £25.00 Platform: Zoom There will be a 55 minute presentation followed by 15 minutes of discussion. Please register on Eventbrite. <https://www.eventbrite.co.uk/e/1639804372019?aff=oddtdtcreator> Modern and contemporary paintings are frequently large, comprise unusual materials, or have sensitive, unvarnished surfaces. Minor damage, such as small scuffs, can look highly obvious on paintings with flat fields of colour. These factors can mean that treatments are challenging and require different approaches than those taken for older paintings. This virtual seminar, aimed at conservators in private and museum practice and students, provides a general overview of approaches and learnings derived from the collective experience of a conservation studio that specialises in modern and contemporary paintings. In particular, conservators who have recently been faced with the care or treatment of modern paintings for the first time may find this a useful introduction. Topics will cover a broad range of issues and solutions, such as approaching matte surfaces in cleaning and retouching, structural repair of non-traditional painting supports, and preventive measures for sensitive paintings. These will be illustrated with case-study treatments from the Julia Nagle Conservation Ltd studio’s archives. Differentiating damage and artists’ intentions, planning treatments, using mock-up experiments, working with artists as stakeholders, and client confidentiality issues within private practice will also be covered. Topics well-covered in the literature and other seminars, such as aqueous cleaning chemistry and gels, will not be repeated. Instead, the seminar will focus on important, but less frequently covered, practicalities of planning and carrying out care for young patients. Rowan Frame has been a member of the Julia Nagle* Conservation Ltd team since 2021 and is an ICON Accredited Conservator. She completed her postgraduate training in easel paintings conservation at the Hamilton Kerr Institute, University of Cambridge. *Julia Nagle ACR FIIC: A Fellow of the International Institute for Conservation of Historic and Artistic works, Julia is an experienced conservator who has worked at Tate, English Heritage, UCL, and the Hamilton Kerr Institute at the University of Cambridge. She opened her own studio in 2009, one of the few in London recognised for its specialist expertise in modern and contemporary conservation. ------------------------------------------- ------------------------------ James Black Co-ordinator International Academic Projects London www.academicprojects.co.uk ------------------------------ 2.From: Lindsey Williams Posted: Monday October 27, 2025 2:29 PM Subject: New Green Tea episode live NOW: Climate Joy with the Climate Toolkit from the Phipps Conservatory Message: Green Tea Episode 24: Climate Joy with the Climate Toolkit from the Phipps Conservatory Check out the episode here on Spotify <https://open.spotify.com/show/3b5jkqeiZEVasHKHZNlMf1> The Climate Toolkit from the Phipps Conservatory aims to create and sustain momentum in climate action between cultural heritage institutions through free resources and building connections. Lindsey speaks with Andrew Lampl and Jennifer Torrance from the Phipps about their roles in developing the Toolkit's framework and resources and facilitating connections between institutions to create catalytic change. Using themes from the SDGs, each institution has free rein to build the goals and agenda's they want to work towards and join working groups built by the Phipps or internally to make sustainable changes. Jennifer highlights her joy in working with youth climate groups to empower the next generation as they navigate growing up in a world that they know needs active change. Andrew reminds us how pivotal it is for the cultural heritage sector to take the lead towards sustainable action. We can have such an impact on our future planet and communities when we work together. Jennifer and Andrew share how Climate Joy together can help us avoid the stagnation and inaction that comes from feeling alone in Climate Anxiety. Sidebar: There's still time to respond to our brief survey <https://docs.google.com/forms/d/e/1FAIpQLSfbBnvxneIExKz8q4W9C-2QaD9_4-SECUZXN_jLJnsx4hHWSw/viewform?usp=header> about future programming on the podcast. We're eager for your feedback and thank you to those who have contributed! Resources from the show notes: Phipps Conservatory <https://www.phipps.conservatory.org> Climate Toolkit <https://climatetoolkit.org> LEED Certification <https://www.usgbc.org/leed> Phipps Production Greenhouse LEED Platinum <https://www.usgbc.org/projects/phipps-production-greenhouse> One Earth <https://www.oneearth.org> Climate Resilience Resources <https://www.resilience.culturalheritage.org> Green Tea episode on the Climate Resilience Resources <https://open.spotify.com/episode/1jAJTAcnrxo8i8fRAqhRVE> Regenerative Systems Thinking <https://reallyregenerative.org/living-systems/> Roger Hart's Ladder of Participation <https://www.unicef.org/ukraine/media/591/file/English%20version.pdf> UN Framework Convention on Climate Change <https://unfccc.int/process-and-meetings/united-nations-framework-convention-on-climate-change > Action for Climate Empowerment <https://unfccc.int/topics/education-and-youth/big-picture/ACE> ------------------------------ Lindsey Williams Conservation Technician ------------------------------ 3.From: Lisa Muccigrosso Posted: Monday October 27, 2025 2:29 PM Subject: RE: Unknown blue substance on film Message: Hi Alexis - I consulted with my film conservator colleague who had this to report: "Remjet (the anti-halation and anti-static layer) wouldn't be my first theory because that's typically black and found on negatives. The anti-halation layer is typically only blue in photographic film, but you never know. It could also be a chemical used during development or it could be a chemical or substance that got onto the surface of the film at any point in its life - i.e., something could have been spilled on one section of the pack and then seeped between the layers so it now appears at regular intervals. Talking to a photo conservator may be helpful, but I'd probably write to FotoKem <https://fotokem.com/> or CineLab <https://www.cinelab.com/> first to see if something in the development process could be eliminated. Based on the photos, it could just be that something spilled on the film, particular if the regular intervals get gradually closer or farther away as you wind through." Feel free to contact me directly if you'd like to discuss this in more detail with my colleague, and I can connect you. ------------------------------ Lisa Muccigrosso Interim Head of Preservation Iowa State University Library Ames IA ------------------------------ ------------------------------------------- Original Message: Sent: 10-21-2025 04:48 From: Alexis See Tow Subject: Unknown blue substance on film Hello colleagues, In the process of condition checking some colour 16mm film, and I came across this mysterious residue on the emulsion side of the film. It is extremely stubborn, not very sticky (if at all), and only very slightly lifts when agitated with Isoclene (isopropyl alcohol). When removed, it is blue! On first thought, it could be the result of something mechanical, like the film running through some rollers and one of them was dirty? This residue is across the whole film at regular intervals, imagine it like tyre marks where only a certain section of the tyre is dirty. Has anyone come across something like this? Maybe something with the developing phase? I did some reading and got piqued on something about anti-halation layers? This was projected for viewing maybe less than 5 times, but all other films also ran through the same projector and none had this. I tried to do some reading, something about anti-halation layers but nothing that would suggest residue that looks like track marks over the whole film. Film stock is Fuji 16mm safety film 1976 Jan-Mar Let me know if anyone has any suggestions or leads, thank you for your time! ------------------------------ Alexis See Tow Graduate Student (Class of 2026) UCL Postgraduate Programme in the Conservation of Contemporary Art and Media London United Kingdom ------------------------------ 4.From: Renate Mesmer Posted: Monday October 27, 2025 3:17 PM Subject: Book and Paper Conservator for Exhibitions at Folger Shakespeare Library, Washington DC Message: The Folger Shakespeare Library, located on Capitol Hill in Washington, DC, seeks a skilled Book and Paper Conservator for Exhibitions (Conservator) to join its collaborative Conservation and Preservation team. Under the direction of the Head of Conservation and Preservation, this individual will perform conservation treatments on bound and unbound library and archival materials for exhibition-related activities in the collections held by the Folger. For full details, including the salary range and application instructions, see: Book and Paper Conservator for Exhibitions (JR6463) <https://amherst.wd5.myworkdayjobs.com/en-US/FSL_Employment_Opportunities/details/Book-and-Paper-Conservator-for-Exhibitions_JR6463> Applications will be reviewed on a rolling basis. Priority will be given to candidates who apply by 4:30 PM ET on December 1st. We encourage all interested applicants to apply by this date. We look forward to receiving your application. ------------------------------ Renate Mesmer Head of Conservation and Preservation Folger Shakespeare Library Washington United States ------------------------------ 5.From: Gerhard Eggert Posted: Monday October 27, 2025 4:41 PM Subject: Magnesium nitrate as sustainable solution for constant RH (53%) and pollutant absorption in display cases Message: D. and J.D. Piechota reported about their 30 years of experience with magnesium nitrate in a showcase and a cupboard for RH control (WAAC Newsletter 1/2024). The Germanisches Nationalmuseum Nuremberg has exhibited a sensitive wooden inlay portrait over a saturated magnesium nitrate solution for two decades. An international community science project 2003/4 now confirmed that the method works and is easy to use. Much lower maintenance than for silica gel is needed for cases in rooms without HVAC systems. Now another advantage has been published: the solution absorbs readily carbonyl pollutants like formaldehyde or acetic acid, for details see https://rdcu.be/eMstm <https://rdcu.be/eMstm> Gerhard Eggert Institute of Conservation Sciences Stuttgart State Academy of Art and Design. 6.From: Daniela Leonard Posted: Monday October 27, 2025 7:51 PM Subject: Paul Willard Obituary Message: For those who are not already aware of the passing of Paul Willard, the following is a copy of his obituary written by Paul Ackroyd for The Picture Restorer magazine: Paul Willard, who has died aged 66, was owner and director of Willard Conservation Ltd., the company renowned for manufacturing bespoke, high-quality equipment for the conservators since the late 1950s. Paul was the third generation of his family to run the business joining it in 1981. Willard Ltd was founded by Paul's grandfather, Herbert, before the Second World War in Chichester where it has remained ever since. Paul's father, Jack, took over the business in the 1950s, and it was in the late 50s that Willard Ltd first became involved in conservation when Jack was asked by a local conservator to make a hot spatula. Word soon got around and by the early 1960s the company was not only inundated with orders for heated spatulas but was also asked to design and make other pieces of equipment - large washing tables for textiles or vacuum hot tables for lining paintings, were some examples. Noted for its durability and quality of engineering, Willard's equipment often lasts for decades as testified by the overhead retouching lights installed in the National Gallery's conservation studios in the early 60s, which, although still functional, were replaced only last year under Paul's direction with LED lights. Jack was awarded an MBE in 1997 for his services to conservation. His overriding passion was for inventing but was less concerned with marketing: Paul once quoted his father as saying, 'If they can find me, I'll do business with them'. Paul, on the other hand, became remarkably adept at marketing the company, especially abroad where he was successful in gaining contracts not only in Europe and North America but also the Far East, Middle East, Australia and New Zealand. Paul was amazingly good at dealing with the logistics of shipping some enormous items abroad, for instance a 4m X 4m lining table to the studios at Elsinore, Denmark, and an even larger lining table to the Guggenheim in Dubai. The company was granted a Royal Warrant in 2002 which is still in existence, and The Queen's Award for Enterprise and International Trade in 2016. Another important reason for the company's success was Jack's and Paul's benevolent management styles which has ensured the retention of a small, highly skilled and dedicated staff, many of whom have worked for the company for most of their working lives. Paul was also a generous donor to several conservation charities: he was the founding corporate sponsor for the Anna Plowden Trust, sponsor of the Willard Prize at West Dean College and in 2022 donated a lining table to the Centre for Restoration in Kyiv. He was also involved in charities local to Chichester: he sat on the committee of the St Pancras Corporation, and supported various causes sponsored by the Round Table. Paul was an intelligent, easy-going personality - very affable, and always good company. Although he spent most of his life living and working in Chichester and was clearly rooted to the area, he was not at all parochial in outlook but had well-informed opinions on current affairs and a keen sense of the world outside of his local area. Outside of work his life revolved around his family and, after his children had grown up, he enjoyed holidays with his wife, Roxanne, sometimes travelling in a camper van around France - and sometimes accompanied by his children. Paul died peacefully at home surrounded by his family after a short illness, having been diagnosed with a brain tumour in November 2024. He will be greatly missed by many of us in conservation, but above all by his family. He is survived by Roxanne, his daughter Daisy, son Charlie, granddaughter Margot and mother Ann. Paul Williard (1959 – 2025) ------------------------------ Daniela Leonard Paintings Conservator Reanda Art Conservation, LLC Chicago, IL ------------------------------ You are subscribed to "Global Conservation Forum (ConsDistList)" as [email protected]. To change your subscriptions, go to http://community.culturalheritage.org/preferences?section=Subscriptions. To unsubscribe from this community discussion, go to https://community.culturalheritage.org/HigherLogic/eGroups/Unsubscribe.aspx?UserKey=d16eaa87-0f69-494b-9f2f-303dbc1222e1&sKey=fab9aa4f27a04c5d876e&GroupKey=757a8f16-505f-4323-8e74-e376757aa9f7.
