Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. Servants' Stories Interpretation 2. IWG Call for Imaging TIPS at AIC CAC Annual Meeting 3. Job Alert: Lead Preventive Conservator at the British Library 4. Job Opportunity: Conservator (Textiles) - the Whitworth, The University of Manchester (full-time/permanent) 5. RE: Microscope for media ID through glazing 6. RE: Microscope for media ID through glazing 7. Call for contributors: Sustainability in Conservation 8. Discoloration phenomena in Egon Schiele's papers 9. RE: FAIC 50th Anniversary of the Oral History Project 10. Paper conservator position at Princeton University Art Museum 11. RE: Extract-All Air Impurities Removal Systems Model 981 series 12. Paid Summer Internship - Kimbell Art Museum 13. Freezing Heritage Dioramas ------------------------------------------------------------------------------------------------------------ 1.From: Eleanor Palmer Posted: Monday December 15, 2025 8:50 AM Subject: Servants' Stories Interpretation Message: Dear all, I work for a historic house and we are in the process of rethinking the ways we tell our servants' stories and engage visitors with the Servants Quarters. Currently, most of our interpretation is focussed on the wealthy who owned, built, and lived in the house. However, I think many visitors relate more to the 'life below stairs' so would appreciate more information about the servants' lives. I was wondering if any of you would like to share interesting ways you've seen historic houses engage visitors with servants' stories and bring the servants quarters to life. This can either be at your own properties or ones you've visited, and anything you think hasn't worked so well would also help our research very much. Any ideas would be greatly appreciated! Thank you, Eleanor ------------------------------------------- 2.From: Tessa de Alarcon Posted: Monday December 15, 2025 8:50 AM Subject: IWG Call for Imaging TIPS at AIC CAC Annual Meeting Message: Are you planning on attending the AIC CAC Annual Meeting in Montreal? The Imaging Working Group will be hosting a TIPS lunch on April 30 and we want to hear your imaging tips, tricks, and tools! Share your latest imaging tips and workarounds with fellow photography friends! We want to hear your practical, inexpensive, and creative hacks and solutions that helped you tackle recent imaging projects. What new tool improved your imaging setup? What trick reduced the cost of an equipment upgrade? What tip …. ? This session is for conservators across specialty groups, imaging specialists, scientists and more who are interested in and use imaging as part of their conservation work. We are looking for informal, short (~5-min) presentations that share your tip with the imaging community using slides or storytelling. Interested? Send a brief (2-3 sentence) description of what you would like to share and a brief bio to Keats Webb ([email protected] <[email protected]>) and Tessa de Alarcon ([email protected] <[email protected]>) by Friday March 13. ------------------------------ Tessa de Alarcon Conservator Penn Museum Philadelphia PA [email protected] ------------------------------ 3.From: Caroline De Stefani Posted: Monday December 15, 2025 11:33 AM Subject: Job Alert: Lead Preventive Conservator at the British Library Message: Lead Preventive Conservator Location: St Pancras Contract: Permanent Hours: Full time (36 hours) Grade: A Salary: £42,179 per annum About the role The British Library is seeking a Lead Preventive Conservator to provide leadership and advocacy in preventive conservation and disaster preparedness across the St Pancras site, London. Embedded within the conservation department, the role manages a small Preventive Conservation team, delivering a work programme using risk mitigation for collection storage, transit, display and use, in all St Pancras spaces. By promoting the adoption of a preventive conservation culture within the library, the role is an important liaison and advisor for a wide reach of stakeholders to enable access to collection material. The role works closely with the Sustainability Manager continually developing collection care practices that support the BL Sustainability and Climate Change Strategy. The Preventive Team also provide an effective interface between the aligned Conservation departments in St Pancras and Boston Spa, Yorkshire. The post holder will have a degree or equivalent experience in Preventive Conservation or similar discipline. You will have experience of working in a relevant heritage context using risk management and with knowledge of designing and implementing policy, processes and procedures. Good communication skills are essential. About us We are the national library of the UK and we are here for everyone. Our shelves hold over 170 million items – a living collection that gets bigger every day. Although our roots extend back centuries, we aim to collect everything published in the UK today, tomorrow and far into the future. Our trusted experts care for this collection and open it up for everyone to spark new discoveries, ideas and to help people do incredible things. Application closing date: 11 January 2026 How to apply: Job Search <https://ce0752li.webitrent.com/ce0752li_webrecruitment/wrd/run/ETREC179GF.open?WVID=5071482BMD> ------------------------------ Dr Caroline De Stefani Head of Conservation The British Library T +44 (0) 20 7412 x 7738 [email protected] The British Library 96 Euston Road LONDON NW1 2DB www.bl.uk ------------------------------ 4.From: Sarah Potter Posted: Monday December 15, 2025 11:33 AM Subject: Job Opportunity: Conservator (Textiles) - the Whitworth, The University of Manchester (full-time/permanent) Message: We are seeking a permanent, full-time textile conservator to join our Collection Care Team at the Whitworth, The University of Manchester, UK. £37,694 to £46,049, per annumdepending on relevant experience The position involves: Specialist responsibility for the care, conservation, and display of all textile-based material across our collections , which range from post-Pharaonic textiles to contemporary art textiles. Assessing, preparing, and condition checking textile works for our busy exhibitions, tours and the loans-out programme, including couriering. Planning and implementing programmes for conservation treatment, documentation, and preventive care. Developing and sharing knowledge on best practice for conservation and display. Contributing to public engagement, such as delivering teaching on University courses, leading tours, and responding to research enquiries. Please visit the official University of Manchester job portal for the full job description and to submit your application: https://www.jobs.manchester.ac.uk/internal/Job/JobDetail?JobId=34010 <https://www.jobs.manchester.ac.uk/internal/Job/JobDetail?JobId=34010> ------------------------------ Sarah Potter Preventive and Object Conservator the Whitworth,, The University of Manchester Manchester United Kingdom ------------------------------ 5.From: Emily Cloutier Posted: Monday December 15, 2025 11:33 AM Subject: RE: Microscope for media ID through glazing Message: Bonjour George! I have a number of loupes, though none as strong as yours, but most of them have a cm or so at best working distance. Often contemporary photographs are framed with a pretty deep space between the work and the glazing (1-2") and I have yet to find something portable that would allow for quick up close exams. I still might consider the 30x40 loupe, it would be an upgrade from mine! Merci pour la suggestion! Emily ------------------------------ Emily Cloutier Conservator - Art on Paper and Photographs Musée des beaux-arts de Montréal Montreal Canada ------------------------------ ------------------------------------------- Original Message: Sent: 12-02-2025 10:58 From: George Schwartz Subject: Microscope for media ID through glazing Bonjour Emily! I'm using a 30x40 loup and find it quite versatile. It will give you better than 1cm of space from whatever you need to examine. I've uploaded a picture of it, it's available from many sources (Amazon is out of stock) at various advantageous prices. Good Luck! George (Anciennement de Montreal) ------------------------------ George Schwartz Principal, Senior Conservator ConservArt, Inc. Boca Raton FL [email protected] <[email protected]> Chair CIPP 2011-2013 Conservators in Private Practice ------------------------------ Original Message: Sent: 12-01-2025 12:14 From: Emily Cloutier Subject: Microscope for media ID through glazing Hello all, I am looking for some kind of portable microscope (digital or analog) with a longer depth of field. Basically, I am looking for something that would allow me to examine framed graphic and photographic works through glazing, mostly for media identification. I have a couple of pocket microscopes that are great, but the subject has to be up against the microscope to be able to see anything, so even a 1/4" gap + thickness of the glazing is enough to make them useless with framed works. Has anyone solved this problem? Thanks! Emily ------------------------------ Emily Cloutier Conservator - Art on Paper and Photographs Musée des beaux-arts de Montréal Montreal Canada ------------------------------ 6.From: Emily Cloutier Posted: Monday December 15, 2025 11:34 AM Subject: RE: Microscope for media ID through glazing Message: Hi Gawain, thank you for the suggestion, that model definitely looks like the Cadillac version of digital microscopes! I took a quick peak at the specs, and it looks like the working distance is still pretty short for higher magnification. For example, at 150x the working distance is less than 1/4". Have you tried it with framed works yet? It looks great for lower magnifications though. BTW I have your amazing process ID charts on the corner of my desk. It is incredibly generous of you to share them freely and I, for one, am very appreciative. Thanks again! Emily ------------------------------ Emily Cloutier Conservator - Art on Paper and Photographs Musée des beaux-arts de Montréal Montreal Canada ------------------------------ ------------------------------------------- Original Message: Sent: 12-02-2025 11:44 From: Gawain Weaver Subject: Microscope for media ID through glazing Hi Emily--I did this for a museum collection survey and used a Proscope HR2 with a 400x lens (I used a 400x lens because I needed to differentiate Cibachrome from dye coupler prints, which needs the additional magnification). I had to remove the clear plastic tip that was made to keep the subject at a distance that was in focus. The distance from the front of the glazing to the surface of the print took the place of the plastic tip. It also had a lens that could be focused. The Proscope line is discontinued (and mine just failed after 10 years), but I just purchased a Dino-Lite Edge Plus AM8517MZT (US$1399!), which also has a plastic tip that helps with setting the focus distance, so I'm guessing that it will be able to serve a similar function. While this unit is 8MP and 10x-220x, there are lower resolution options from Dino-Lite that are somewhat more affordable. Gawain ------------------------------ Gawain Weaver Photograph Conservator Gawain Weaver Art Conservation San Francisco Bay Area Free Process ID Charts: http://gawainweaver.com/processID <http://gawainweaver.com/processID> ------------------------------ Original Message: Sent: 12-01-2025 12:14 From: Emily Cloutier Subject: Microscope for media ID through glazing Hello all, I am looking for some kind of portable microscope (digital or analog) with a longer depth of field. Basically, I am looking for something that would allow me to examine framed graphic and photographic works through glazing, mostly for media identification. I have a couple of pocket microscopes that are great, but the subject has to be up against the microscope to be able to see anything, so even a 1/4" gap + thickness of the glazing is enough to make them useless with framed works. Has anyone solved this problem? Thanks! Emily ------------------------------ Emily Cloutier Conservator - Art on Paper and Photographs Musée des beaux-arts de Montréal Montreal Canada ------------------------------ 7.From: Lorraine Finch Posted: Monday December 15, 2025 11:34 AM Subject: Call for contributors: Sustainability in Conservation Message: Book chapters and case studies required. Would you like to be part of an exciting project to create the Handbook, Sustainability in Conservation? Due to be published in 2027 as part of the Routledge Series in Conservation and Museology, the Handbook, will provide a comprehensive overview of sustainability in conservation. Sustainability in Conservation covers the theory and practice of sustainability in conservation providing the depth of information needed to take impactful and meaningful action. It provides the context and background to sustainability setting out the current situation, establishing what sustainability is, why sustainability is important and recognising that urgent action is required. To enable conservators to embed sustainability in their practice the Handbook provides practical guidance and examples of actions and steps that have been taken. Join a stellar line-up of authors by expressing your interest to contribute one of the following chapters or case studies... Chapters required:The impact of the climate and environmental crises on conservation AfricaAsiaStrategies for a sustainable studio TreatmentsFinanceStrategies for sustainable exhibitions, loans and storage LightingDisaster planning and responseDeaccessioning/mindful collectingStrategies for sustainable digital In relation to the collection, e.g. digitisation, use of AI, storage of digital filesAdaptation Design and implementation of adaptation measures CASE STUDIES Sustainable travel for the conservator, for example implementing a green travel policy, writing a sustainable travel policy, steps youve taken to make your travel more sustainable or the benefits of sustainable travel.Actions taken to reduce the impact of our use of computer technology, for example digital declutters, policies on data storage or practices for sustainable AI. Adaptation actions taken.Expressions of interest (EoI) are welcome from all but are especially welcome from contributors outside of Europe and the USA. Submit your EoI stating which chapter or case study you would like to contribute, the proposed title, a 250 word abstract and a short biography to the editor at [email protected] <[email protected]> by 31st December 2025. Further details on the practicalities of preparing your contribution and on the content of Sustainability of Conservation will be provided once your EoI has been accepted. Looking forward to hearing from you. 8.From: Valeria Pesce Posted: Monday December 15, 2025 12:15 PM Subject: Discoloration phenomena in Egon Schiele's papers Message: Dear all, I am looking for information about the paper used in works by Egon Schiele. I am currently examining a graphite drawing by Schiele in the collection of the Harvard Art Museums that displays a characteristic inhomogeneous discoloration (see image/link <https://harvardartmuseums.org/collections/object/296665?position=2>). This phenomenon appears to be commonly observed in papers Schiele used around 1910. The literature suggests that such discoloration may be associated with Strathmore's so-called Japan paper, a 100% rag paper with gelatin sizing, which has been reported to be prone to uneven yellowing and mold growth. In discussions with colleagues at other institutions, a further hypothesis has been raised: that the paper may originally have been toned and later treated aqueously, resulting in partial solubilization or alteration of the preparation layer. There is no record of any treatment at Harvard for this specific drawing. I would be very interested to know whether others have encountered papers exhibiting similar discoloration patterns in Schiele's works or in comparable early 20th-century papers. Are you aware of any conservation treatments that have been attempted to reduce or mitigate this pronounced discoloration? I would greatly appreciate any insights or references you may be willing to share. Thank you in advance for your time. Best regards, Valeria ------------------------------ Valeria Pesce Fellow, Paper Conservator Straus Center for Conservation and Technical Studies Cambridge United States ------------------------------ 9.From: Valeria Orlandini Posted: Monday December 15, 2025 4:37 PM Subject: RE: FAIC 50th Anniversary of the Oral History Project Message: The provided text refers to a key 2005 publication, entitled "Scientific Examination of Art: Modern Techniques in Conservation and Analysis," from the National Academies Press, based on a colloquium held on March 19-21, 2003, that explored the application of scientific methods to art conservation. nationalacademies.org/read/11413/chapter/5 <https://www.nationalacademies.org/read/11413/chapter/5> Changing Approaches in Art Conservation: 1925 to the Present (2005) Joyce Hill Stoner Abstract: The years between 1925 and 1975 in the United States marked a period of pioneering progress and expansion in the field of art conservation: museums established conservation departments and analytical laboratories; the first art technical journals were published; and professional societies and training programs were established. From 1975 to the present, processes were refined, choices multiplied, and procedures that had once seemed black and white became gray and variable. There was also a hands-off or minimalist movement, increased attention to preventive conservation, and a new role for the conservator as a high-level collaborator. The twenty-first-century conservator should work with museum scientists to understand the strengths and limitations of a vast array of possibilities for instrumental analysis, should collaborate with curators, archivists, archaeologists, architects, and artists, and should understand a vocabulary of technology and connoisseurship that may range from the contents of a shipwreck to Indian miniature paintings. Today's conservator should understand integrated pest management, light levels, heating, ventilation, and air-conditioning systems, and should be able to speak articulately about the field to audiences ranging from grade school groups to museum and university trustees. Rules are flexing with regard to use and handling of Native American materials in museums, removal of ceremonial substances, and collaboration with living artists. Conservators, who were once lonely advocates for the physical materials of art works and their long-term survival, now must look at preservation in a much larger arena, including the cultures of origin and economic survival in the twenty-first century. National Academies of Sciences, Engineering, and Medicine. 2005. Scientific Examination of Art: Modern Techniques in Conservation and Analysis. Washington, DC: The National Academies Press. https://doi.org/10.17226/6248 <https://doi.org/10.17226/6248>. ------------------------------ Valeria Orlandini Conservator of Works on Paper and Photographic Materials Chevy Chase MD (301) 657-2682 ------------------------------ ------------------------------------------- Original Message: Sent: 09-08-2025 09:11 From: Valeria Orlandini Subject: FAIC 50th Anniversary of the Oral History Project FAIC 50th Anniversary of the Oral History Project Congratulations for the celebration of the FAIC 50th Oral History Project Anniversary Roundtable at Winterthur! https://www.winterthur.org/preserving-oral-histories-for-50-years-and-still-going-strong%ef%bf%bc/ <https://www.winterthur.org/preserving-oral-histories-for-50-years-and-still-going-strong%ef%bf%bc/>Please, contact Molly Mapstone, Project Assistant of the Oral History Project at the Winterthur Museum, Garden & Library to access the recording of this event.E-mail: <[email protected] <[email protected]>> Attached find the presentation entitled "Filling the gaps of our conservation past with oral histories" by Professor Joyce Hill Stoner and Rebecca A. Rushfield at the symposium entitled Narratives. Contributions to the History of Conservation which took place on September 29-30, 2022, at the Academy of Fine Arts Vienna in Austria. Contributions from a variety of disciplines were covered in a wide geographical range from Austria, Croatia, Denmark, Germany, Turkey and the USA.Narratives. Contributions to the History of Conservation <https://www.akbild.ac.at/en/institutes/conservation-restoration/events/conferences/2022/symposium-narratives-contributions-to-the-history-of-conservation>Professor Dr. Joyce Hill Stoner <[email protected] <[email protected]>>Rebecca Rushfield <[email protected] <[email protected]>> ------------------------------ Valeria Orlandini Conservator of Works on Paper and Photographic Materials Chevy Chase MD (301) 657-2682 ------------------------------ 10.From: Bart Devolder Posted: Monday December 15, 2025 4:38 PM Subject: Paper conservator position at Princeton University Art Museum Message: Dear all, I am very excited to share that we are looking for a Paper Conservator to come work with us in the new conservation studios at the recently re-opened Princeton University Art Museum. For more information on the museum: http://artmuseum.princeton.edu <http://artmuseum.princeton.edu> For applications, please visit: https://www.princeton.edu/acad-positions/position/41041 <https://www.princeton.edu/acad-positions/position/41041> ------------------------------ Bart Devolder Chief Conservator Princeton University Art Museum ------------------------------ 11.From: Elizabeth Nunan Posted: Monday December 15, 2025 4:40 PM Subject: RE: Extract-All Air Impurities Removal Systems Model 981 series Message: Hi Barbara - I can speak comment on these extractors. I bought my first 987 model in 2012 and I just bought a second one literally last week - the first one is still working, so that speaks to it's motor longevity! I also like that the HEPA and activated charcoal filters are separate and easily replaceble, and the activated charcoal can be refilled (the same company sells 4 and 10 lb refills of activated charcoal). As Monona Rossol pointed out in a separate thread and on previous occasions, it becomes tricky to know when the charcoal needs to be replaced as there is no indicator of "fullness". I wouldn't say they are an "alternative" to a fume hood though as I tend think of fume hood usage more for fairly sizeable solvent quantity usage. These extractors would be more for small to moderate usage, like solvent-based adhesives for consolidating or inpainting, more than the kind of fume extraction that would be needed when varnishing a painting or solvent-bathing documents (unless your tub is otherwise enclosed). I also advise my staff wear their personal respirators if they are working with solvents for extended periods, or with larger amounts of solvent usage. We also make sure to be working near our other solvent extractor that vents filtered air outside, rather than relying only on the activated charcoal to neutralize the air that is otherwise being recycled back into the room which is what these extractors do. Happy to chat more if you'd like - Beth ------------------------------ Elizabeth Nunan Flux Art Conservation Corp Owner and CEO (she/her/hers) www.fluxartcon.com 215-259-8559 ------------------------------ ------------------------------------------- Original Message: Sent: 12-13-2025 11:21 From: Barbara Hebard Subject: Extract-All Air Impurities Removal Systems Model 981 series Hello, I realize that AIC does not endorse products/equipment, but wonder if AIC members would comment on or offer opinions on the Extract-All Air Impurities Removal Systems. I am particularly interested in your thoughts on the Model 981 series. They advertise them as useful for "Art restoration & conservation", with multiple filter options. These are supposed to be an alternative to a fume hood. ------------------------------ Barbara Adams Hebard Preservation Coordinator Brandeis Library Waltham, MA, USA ------------------------------ 12.From: Peter Van de Moortel Posted: Monday December 15, 2025 10:11 PM Subject: Paid Summer Internship - Kimbell Art Museum Message: Conservation Internship The Kimbell Art Museum offers one paid internship in the conservation department to a graduate student, specializing in the conservation of easel paintings. This opportunity is generously supported by the Samuel H. Kress Foundation. Candidates must be currently enrolled in a recognized conservation training program and authorized to work in the U.S. The Kimbell internship program is designed to mentor future museum professionals from diverse cultural, economic, social, and educational backgrounds. The internship in Conservation will consist of researching and undertaking the treatment of an old master painting. This will happen under supervision of Kimbell Art Museum conservation staff. Summer Internship Program Cycles · Session Dates June 1-August 15 (approximately 370 hours) · Applications Open December 12 · Applications Close February 6 Dates are subject to change Pay Rate: $21.00 per hour Additionally, the intern will receive a $3,000.00 relocation stipend and a reimbursement up to $1,500.00 towards a domestic study trip. The application requires: · Resume describing relevant experiences · Cover letter · Two professional and two personal references Applicants must be able to pass a standard pre-employment criminal background and drug screening. Applications can be submitted through the museum's online portal ( https://kimbellart.org/internships ) Please refer to the posting on the museum's website for more information. To request an accommodation, or if you prefer to complete the application in an alternative format, or if you have additional questions about this opportunity, please contact [email protected] <[email protected]>. Required documents can be emailed to [email protected] <[email protected]>. ------------------------------ Peter Van de Moortel Chief Conservator Kimbell Art Museum Fort Worth United States ------------------------------ 13.From: Melissa Holt Posted: Monday December 15, 2025 10:12 PM Subject: Freezing Heritage Dioramas Message: Hi, We have two heritage showcases made of timber with glass panels, that have dioramas of taxidermied birds inside. Does any one have any experience freezing an object such as this? Thank you! Melissa Juillard Conservator The Australian Museum 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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