Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. “Collecting and Preserving Colour Photographs at the Art Institute of Chicago” lecture by Sylvie Penichon 2. Association International de la Couleur AIC 2026 Midterm Meeting - Florence (Italy)- 3-4 September 2026 Call for paper 3. Job Opportunity - Prize Papers Project Conservator (The National Archives) 4. RE: Discoloration phenomena in Egon Schiele's papers 5. Job Opportunity (Maternity Cover) - Conservator 6. Position for Visiting Senior Objects Conservator: Palace of Nestor Excavations 7. RE: Canvas Stamp ------------------------------------------------------------------------------------------------------------ 1.From: Esther Ng Posted: Thursday December 18, 2025 7:21 AM Subject: “Collecting and Preserving Colour Photographs at the Art Institute of Chicago” lecture by Sylvie Penichon Message: Dear All, Please review your registration for this event as online attendance is possible. It appears that many people registered 'no' to attending the event when they actually want to attend online. Register for the talk here: https://form.jotform.com/253380760012044 <https://form.jotform.com/253380760012044>. Indicate 'yes' to attending the event and then options for attending in-person or online will appear. Thanks! Regards, Esther ----------------------------------------------------------------------------------------------------- Dear All, HCC is pleased to announce that Sylvie Pénichon, Director of Paper, Photography and Media conservation at the Art Institute of Chicago, will be giving a public lecture on "Collecting and Preserving Colour Photographs at the Art Institute of Chicago" on Monday, 5 January 2026, 3.00 – 4.00 pm. The talk details are below. Please register for the talk here: https://form.jotform.com/253380760012044 <https://form.jotform.com/253380760012044>. Please indicate 'yes' to attending the event and then options for attending in-person or online would appear. This talk is co-organised with the National Gallery of Singapore. <https://form.jotform.com/253380760012044> Registration for "Collecting and Preserving Color Photographs at the Art... Please click the link to complete this form. <https://form.jotform.com/253380760012044> Kind regards, Esther 2.From: Barbara Cattaneo Posted: Thursday December 18, 2025 7:23 AM Subject: Association International de la Couleur AIC 2026 Midterm Meeting - Florence (Italy)- 3-4 September 2026 Call for paper Message: Dear colleagues,We are pleased to inform you that the deadline for submitting abstracts for the AIC 2026 Midterm Meeting, organized by the Gruppo del Colore Associazione Italiana Colore, has been extended to 15 January 2026. The conference will take place in Florence, Italy, on 34 September 2026, featuring a distinguished lineup of invited speakers, including Marco Leona, Pietro Palladino, Alfredo Corrao, Roberta Piantavigna who will share their expertise in scientific methods, lighting design, photography, and digitization for cultural heritage. We are also excited to announce the AIC Student Paper Awards, presented every two years at the AIC Midterm Meeting. These awards aim to encourage students to present their work and to support their interaction with the global color research community. Students who wish to be considered for the awards should include the following phrase in the first line of their abstract: "AIC Student Paper Awards." Full papers from candidates for the AIC Student Paper Awards must be submitted by 31 July 2026. Further details on the awards are available at the following link: https://aic-color.org/award-student-paper <https://ddec1-0-en-ctp.trendmicro.com/wis/clicktime/v1/query?url=https%3a%2f%2faic%2dcolor.org%2faward%2dstudent%2dpaper&umid=dd9c7b97-3c22-4a68-9668-0a364743e9e4&rct=1765870271&auth=9a7eb84306ff09492b875aff9750a37a56ee43be-4f8707b93190543e7e7d5202930a82a209daf78b> We warmly encourage you to take advantage of this extended deadline to submit your abstract and to share the call within your networks. For more information, please visit: https://www.aic2026.org/publication/call-for-papers/ <https://ddec1-0-en-ctp.trendmicro.com/wis/clicktime/v1/query?url=https%3a%2f%2fwww.aic2026.org%2fpublication%2fcall%2dfor%2dpapers%2f&umid=dd9c7b97-3c22-4a68-9668-0a364743e9e4&rct=1765870271&auth=9a7eb84306ff09492b875aff9750a37a56ee43be-53eeeb84187b5be3355346ce4bf4866bc336620a> We look forward to welcoming you to Florence! Marcello Picollo, Barbara Cattaneo Barbara Cattaneo Funzionaria restauratrice - Opificio delle Pietre Dure di Firenze Dottoranda in Storia dellarte - XXXVIII ciclo - Universit Sapienza, RomaRicercatrice associata IFAC CNR - Sesto Fiorentino - [email protected] <[email protected]> [email protected] <[email protected]> 3.From: Sophie Adlam Posted: Thursday December 18, 2025 10:18 AM Subject: Job Opportunity - Prize Papers Project Conservator (The National Archives) Message: Job Opportunity - Prize Papers Project Conservator (The National Archives) Salary: £33,784 per annum Closing date: Sunday 18th January 2026 at midnight This is an exciting opportunity to join the Collection Care Department at the National Archives in Kew and to lead on one of the most vast and unique troves of documents and artifacts that track the daily lives of people around the globe in the time of the European colonial expansion and resistance. The Prize Papers Project Conservator will work exclusively on this externally funded Digitisation project and will be responsible for the preservation of this physical collection through interventive and preventive means. The aim of this role is to prepare this collection for imaging while also maximising access to these archival records to enhance the experience of our users. This will be achieved through a combination of project planning, day to day conservation bench work and isolated research practitioner led treatment projects. This role will take the lead as required and work together with colleagues across the organisation as well as external visitors and stakeholders to enable the success of this project. You will have an extensive knowledge of paper conservation practice, with a specialism in assessing and preparing records for Digitisation, bringing excellent project management skills as well as an informed approach to the delivery of conservation treatments in line with current conservation standards for the Digitisation of archival documents. This post will sit within the Conservation for Imaging team and you will take an active role in the on-going development of the team within The Collection Care Department by actively engaging in data collecting of all conservation treatments for the Digitisation process, knowledge sharing, teaching and mentoring others, planning and organising whilst actively promoting the work of the department across The National Archives and to a wider professional community. This is a full time post. However, requests for part-time working, flexible working and job share will be considered, taking into account at all times the operational needs of the Department. A combination of onsite and home working is available and applicants should be able to regularly travel to our Kew site for a minimum of 60% of their work time. This is a Fixed Term Appointment for 3 years. For full details and to apply, please click this link: https://nationalarchives.wd3.myworkdayjobs.com/Careers/job/Kew/Prize-Papers-Project-Conservator_JR200731 <https://nationalarchives.wd3.myworkdayjobs.com/Careers/job/Kew/Prize-Papers-Project-Conservator_JR200731> ------------------------------ The National Archives Kew, Richmond, UK ------------------------------ 4.From: Paul van der Zande Posted: Thursday December 18, 2025 10:19 AM Subject: RE: Discoloration phenomena in Egon Schiele's papers Message: Dear Valeria In the Kunstmuseum Den Haag (The Hague, The Netherlands) is a watercolour by Egon Schiele, that displays a very similar discoloration: Seated Girl with Bare Torso and Light Blue Skirt | Kunstmuseum Den Haag <https://www.kunstmuseum.nl/en/collection/seated-girl-bare-torso-and-light-blue-skirt?origin=gm&origin=gm> 1 It has never been treated. 2 The back side shows three significant shades of yellowing / browning: A The paper behind the blue skirt is light, there is very little yellowing; B The paper behind the white skin and brown hair is medium yellowed / browned; C The paper that has not been painted is darker, very much the same as the front. The paint is a physical barrier to light, and most likely a chemical buffer to the paper (more (A) and less (B) alkaline). So I think the inhomogeneous discoloration is yellowing of paper and not so much an artist tone or preparation. Best regards Paul ------------------------------ Paul van der Zande Paper Conservator Kunstmuseum Den Haag The Hague, The Netherlands ------------------------------ ------------------------------------------- Original Message: Sent: 12-15-2025 11:37 From: Valeria Pesce Subject: Discoloration phenomena in Egon Schiele's papers 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 ------------------------------ 5.From: Arianne Panton Posted: Thursday December 18, 2025 12:49 PM Subject: Job Opportunity (Maternity Cover) - Conservator Message: The Leather Conservation Centre is looking to hire a conservator for a 9-month maternity cover post. Full details are provided below, If you require any more information please get in touch at [email protected] <[email protected]>. We look forward to hearing from you! Salary: £30,000 F.T.E. Full time (37.5 hours per week), 9 months fixed term contract Based at the Leather Conservation Centre (LCC) studio in Leicester, UK (and occasional offsite work). Job Description · Carry out assessment, treatment and reporting on a range of objects made partly or wholly of skin, leather and related materials in the LCC conservation studio and occasionally off-site. This may require occasional work at height, training provided as needed. · Maintain clear and professional communication with clients · Maintain high standards of ethical practice · Prioritise good health and safety practices in all areas of work · support the development and delivery of courses and workshops as suitable · Assist with the day-to-day running of the studio including tours and other public outreach activities · Adhere to LCC policy of project recording keeping, information storage, GDPR compliance and sustainability Person Specification The candidate will have a formal qualification at Masters degree level, or comparable experience. Experience working with organic materials is necessary, and specific first-hand experience working with historic leather and related materials is preferred. Candidates will be required to submit a portfolio of relevant projects as part of the interview process. The candidate must be comfortable with independent working and demonstrate good time management skills, particularly with time sensitive projects. Experience in producing quotes also preferable. Background In June 2025 the Leather Conservation Centre moved to an exciting new location in Leicester City Centre, with a new custom designed studio. The LCC is recognised as global leader in the conservation of leather, skin and related materials, working across conservation, education and research. Studio projects come from a wide range of backgrounds including museums, historic houses and private clients. To Apply: Please send CV and cover letter to Rosie Bolton at [email protected] <[email protected]>. Deadline for applications is Sunday 11th January 2026. Interviews will be held at the LCC Studio during the week beginning Monday 19th January. A portfolio of conservation work should be prepared for interview, and a practical task will be included in the interview process. ------------------------------ Arianne Panton ACR Manager of Conservation & Research The Leather Conservation Centre Canopy Duke Street Leicester LE1 6WB ------------------------------ 6.From: Kathy Hall Posted: Thursday December 18, 2025 4:35 PM Subject: Position for Visiting Senior Objects Conservator: Palace of Nestor Excavations Message: Employer: Palace of Nestor Excavations Location: Pylos, Greece Contract: Short term with possibility of renewal and/or permanent position Dates: Winter 2026 (Feb. 11-March 28, 2026) Summer 2026 (May 18-July 4, 2026) Fall 2026 (Oct. 5-Nov. 21, 2026) The Palace of Nestor Excavation Project seeks a temporary experienced objects/metals conservator for hire as an independent contractor, to work in Pylos, Greece. The Palace of Nestor Excavation is an ongoing archaeological dig sponsored by the Department of Classics, University of Cincinnati, that operates in Southwestern Greece. The site dates to the Late Bronze Age (Mycenaean period) and is located near modern-day Pylos. In 2015 the excavation team uncovered the unlooted grave of a prehistoric warrior known as the Griffin Warrior (www.griffinwarrior.org <http://www.griffinwarrior.org>). In 2018 the team began the excavation of two monumental beehive tombs (tholos tombs), which is still in progress. The conservator will help manage the conservation laboratory (in cooperation with the staff conservator) for the Palace of Nestor excavations and will, in consultation with project directors, carry out the examination, research, and treatment of objects associated with the dig. Tasks include, but are not limited to, conservation, photography, and documentation of archaeological finds; on-site object conservation as needed; supervision of visiting conservators, interns and students; operation of a digital x-radiography machine; and overseeing the storage and packaging of objects. The lead conservator reports to the co-director of the project, Sharon Stocker (see https://en.wikipedia.org/wiki/Sharon_Stocker). Qualifications: Experience with archaeological conservation and excavation Experience conserving metals, ivory and bone with an emphasis on archaeological metals (excluding iron) Good English written and verbal communication skills Computer skills Familiarity with scientific instrumentation Experience with removal of objects from archaeological contexts Ability to work independently and in a group Some familiarity with Aegean culture Compensation and Benefits: Max compensation is $1800 per month gross; in addition, the conservator receives housing in an apartment in Pylos, some meals, and use of an automobile for local transport. Applicants are required to have their own health care plan. Requirements: MS or MA in Conservation and a minimum of three years of experience in objects conservation; experience with archaeological metal conservation; driver's license and ability to operate vehicle with a manual transmission. To Apply: Please submit the following items: Current curriculum vitae Statement of Interest Graduate transcript (unofficial okay) One reference and contact information for a second Complete applications should be sent as a PDF file to Sharon Stocker at [email protected] <[email protected]>. Applications for the winter session are due by January 15, 2026. Applications for summer and fall seasons are due by March 1, 2026. ------------------------------ Kathy Hall Senior Conservator INSTAP Study Center for East Crete Crete Greece ------------------------------ 7.From: Heather Galloway Posted: Thursday December 18, 2025 4:35 PM Subject: RE: Canvas Stamp Message: Thank you Steven. I agree that we are lucky to have such a knowledgeable community that is so willing to help. May we have a fabulous new year with more canvas stamps to puzzle over, fewer tariffs, and more reasons to count ourselves lucky in community. Best, Heather ------------------------------ Heather Galloway Conservator, Fellow Galloway Art Conservation 1305 W 80th St. Suite #225 Cleveland, OH 44102 ------------------------------ ------------------------------------------- Original Message: Sent: 12-17-2025 13:32 From: Steven Prins Subject: Canvas Stamp Belatedly, Heather, I wanted to say that your prejudice is neither exclusively American nor unfounded. Colormen in Europe began stamping their prepared canvases by the mid 19th Century, even before they were being industrially manufactured. The fact that you were able to identify it as a tax/duty stamp is, I think, a profound testament to the amazing breadth and depth of knowledge, not to mention generosity, of our professional community. Still haven't had any word on Alex Katlan, the American pioneer of canvas stamps. Hope he is still with us and doing well at this special time of year. Happy holidays everybody. ------------------------------ Steven Prins Santa Fe, NM ------------------------------ Original Message: Sent: 11-08-2025 19:41 From: Heather Galloway Subject: Canvas Stamp Dear All, Thank you for all the resources. I find a rather humorous that as an American I was thinking of Colourman's stamps when it is an import duty! Again, thanks for all the suggestions. Best, Heather ------------------------------ Heather Galloway Conservator, Fellow Galloway Art Conservation 1305 W 80th St. Suite #225 Cleveland, OH 44102 Original Message: Sent: 11-08-2025 12:34 From: Ian Primrose Subject: Canvas Stamp Heather, The word above 2J8 is LINENS, and is likely a Duty Stamp. I have attached a similar example (look at the sideways mark below the 80), taken from the National Portrait Gallery, London, resource - British artists' suppliers, 1650-1950, subsection - British canvas, stretcher and panel suppliers' marks, Part 1, 1785-1831. Hope this helps, Ian Primrose Restorer Original Message: Sent: 11/7/2025 3:32:00 PM From: Heather Galloway Subject: Canvas Stamp I have an unlined British painting in my studio from 1822 that has a repeated canvas stamp that is difficult to read. The artist worked in London. The stamp is topped with a crown and the bottom appears to read "2J8" but most of the image did not take well to the linen. I'm attaching an image of the clearest impression in the hopes that someone might recognize it. Thanks, Heather ------------------------------ Heather Galloway Conservator, Fellow Galloway Art Conservation 1305 W 80th St. Suite #225 Cleveland, OH 44102 ------------------------------ 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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