Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. [Job Vacancy, Singapore] Senior Conservator and Head of Section (Inorganic Objects), Heritage Conservation Centre 2. FREE Training | Materials for Preserving Paper Collections 3. RE: Isolating varnish 4. RE: Isolating varnish 5. RE: Inquiry on Training Courses for Anatomical Identification of Wood in Artworks 6. Job Opportunity: AV and Digital Systems Technician - the Whitworth & Manchester Museum, The University of Manchester (full-time/permanent) 7. RE: Isolating varnish 8. RE: Isolating varnish 9. RE: Adhesive for ethafoam? ------------------------------------------------------------------------------------------------------------ 1.From: Fiona Lee Posted: Tuesday June 2, 2026 5:52 AM Subject: [Job Vacancy, Singapore] Senior Conservator and Head of Section (Inorganic Objects), Heritage Conservation Centre Message: Senior Conservator and Head of Section (Inorganic Objects), Heritage Conservation Centre The Heritage Conservation Centre (HCC) is an institution of the National Heritage Board (NHB) and supports the collecting and display activities of 12 institutions under NHB and the Visual Arts Cluster. HCC's main mission is to care for the National Collection, facilitate its current and future access and promote its use while enhancing its cultural significance. HCC is located in a purpose-built facility that serves as the centralised storage and conservation labs for the National Collection of Singapore. The National Collection encompasses a wide range of art and heritage objects, including but not limited to decorative objects, social history objects, contemporary art installations, industrial and technical heritage objects, musical instruments, and re-functionalised objects. Currently, the Conservation Services department at HCC comprises 6 conservation specialisations organised in sections: Inorganic Objects; Organic Objects; Paintings; Paper, Photographs & Digital Media; Textiles; and Conservation Science. HCC is now recruiting a Senior Conservator/ Head of Section (Inorganic Objects) to lead the Inorganic Objects conservation section. Key Responsibilities As Head of Section of the Inorganic Objects team, you will be expected to fulfil dual roles as a team manager and as a senior conservator: carrying out leadership and management functions, and delivering conservation work at an individual-contributor level. Leadership and management functions · Set the team direction in alignment with priorities defined at departmental and institutional levels while overseeing the day-to-day operations of the section. · Manage team resources to prioritise, scope, and successfully deliver conservation support for collections-related projects, including exhibitions and storage, within NHB. · Supervise staff in the section to reinforce constructive work behaviour and performance. This includes mentoring and coaching staff, identifying training needs, and facilitating general staff development. · Manage section staffing, including the hiring and selection of conservators and interns. · Contribute to the management of the Conservation Services department and facilitate work across departments and divisions in NHB, while closely working with the other Heads of Sections and leaders of relevant working groups. This includes establishing and monitoring yearly work plans and administering budgets allocated to the section, according to HCC and NHB procedures. · Represent HCC in collaborations with other institutions as and when required, to advance its reputation as a leader on conservation matters, locally, regionally and internationally. · Oversee and provide advice on conservation work undertaken by conservators in the Inorganic Objects section, including collections care, conservation treatments, scientific analyses, and project management. · Ensure that conservation guidelines and standards of practice for a holistic approach to collections care and access are based on current ethics and principles, and that they are timely and adequately implemented by the section within allocated resources. · Set research directions for the section that are aligned with the overall research priorities of the Conservation Services department, and supervise and drive the resulting research activities in the section. · Oversee and drive outreach activities of the section relating to collections care and conservation, which may include areas of professional collaboration, education, and capability development, involving both professional and non-professional target audiences that are internal or external to HCC and NHB. Operational functions As required, as in the capacity of an Inorganic Objects conservator: · Manage exhibition projects, liaising between stakeholders to cover both conservation-related and administrative aspects of exhibition preparations, including preventive conservation as necessary. · Provide advice on collection display methods and maintenance of collections storage facilities to staff at NHB institutions, the HCC Collections Management department, and other stakeholders. · Identify, design, and execute complex interventive conservation projects and treatments on artworks and artefacts from the National Collection, in collaboration with relevant stakeholders and according to HCC and NHB procedures. · Carry out documentation and knowledge management processes to ensure that all conservation-related documentation is of good quality, appropriately comprehensive, and accessible in the long-term. · Provide expert assessments of the condition and care requirements of proposed acquisitions. · Contribute to and/or conduct conservation research projects to enhance collection knowledge and support access and use of the National Collection. When relevant and possible, initiate collaborations and build partnerships locally, regionally and/ or internationally, with main stakeholders including source communities and local communities of users. · Present conservation findings and research results at local or international venues and publish articles on conservation techniques and practices. · Develop and conduct outreach activities relating to collections care and conservation, for both professional and non-professional audiences that are internal or external to HCC and NHB. These may include working with relevant stakeholders to generate greater awareness, interest, and knowledge in preservation and conservation. Requirements · A relevant Masters degree in Conservation from a recognised training institution.[AC1] <#_msocom_1> Equivalent proven experience will be considered. · Relevant practical experience of preferably 10 years in inorganic objects conservation and at least 5 years of proven leadership and management experience. Experience in an institutional/ public sector setting is preferred. · Expertise in stone conservation will be an advantage. · Proven experience in providing advice on complex conservation treatments, supervising less-experienced staff members, and managing projects (e.g. exhibitions, storage). · Ability to carry out comprehensive and complex treatments with a high degree of cultural and aesthetic sensitivity and manual dexterity, while working under limited supervision. · Experience in conducting research work in the conservation of inorganic materials, with proven dissemination of results. Solid record demonstrating scholarship and publications will be an advantage. · Ability to develop and execute heritage science and conservation research in line with HCC's research strategies around sustainability and vision as a centre of excellence. · Broad understanding of modern conservation practice and its integration with the historical study of objects, proficiency in laboratory methods, and familiarity with analytical instrumentation. · Keep up to date with developments in conservation through self-directed learning and training, with evidence of continual professional development. · Possess exposure to handling multi-cultural materials with sensitivity and sound contextual judgements in applying conservation principles and practices, while working collaboratively with relevant stakeholders. · Familiarity and experience with tropical climates and cultural materials from South-east Asia and Asia preferred. · Possess initiative with the ability to effectively multi-task, organise, and prioritise work within a given timeline, within the dynamic environment of a complex organisation. · Ability to lead, coach, and impart conservation skills and knowledge effectively. · A strong team player with good interpersonal and communication skills and the ability to work collaboratively with stakeholders across departments and institutions. · Ability to adapt to a multi-lingual and multi-racial environment. · Excellent verbal and written communication skills. Fluency in English is required. · Proficiency in Microsoft Office, including Excel. Work Location The Senior Conservator will mostly be based at HCC (32 Jurong Port Road, Singapore 619104), and will be required to occasionally travel to other work locations in Singapore. Successful candidates will be offered a 2-year contract in the first instance. Salary Range: $5000-7000 (Singapore Dollar) with attractive Relocation and Benefits Package To apply, please click HERE <https://sggovterp.wd102.myworkdayjobs.com/PublicServiceCareers/job/NHB-Heritage-Conservation-Centre-HCC/Senior-Conservator-and-Head-of-Section--Inorganic-Objects---Heritage-Conservation-Centre_JR-10000051409> to submit your application. Senior Conservator and Head of Section (Inorganic Objects), Heritage Conservation Centre <https://sggovterp.wd102.myworkdayjobs.com/PublicServiceCareers/job/NHB-Heritage-Conservation-Centre-HCC/Senior-Conservator-and-Head-of-Section--Inorganic-Objects---Heritage-Conservation-Centre_JR-10000051409> All interested applicants should follow the instructions at the Careers@Gov website to submit their application. Deadline for submission is 9 July 2026 Please direct any questions to: Phyllis Koh [email protected] <[email protected]> [AC1] <#_msoanchor_1>Putting in this specific will mean we will only consider candidates with at least a Masters degree. ------------------------------ Phyllis Koh [email protected] Senior Assistant Director & Senior Conservator (Paper) • Heritage Conservation Centre•Singapore ------------------------------ 2.From: Diana Bencatel Posted: Tuesday June 2, 2026 5:52 AM Subject: FREE Training | Materials for Preserving Paper Collections Message: Hi! I'll be hosting a free training on Materials for Preserving Paper Collections. It will take place on June 9 at 3:00 PM (London time). In this webinar, I'll share practical guidance on tools and equipment that support key conservation actions, from environmental monitoring and cleaning to proper storage and small emergency repairs. >> Register for free here: https://materials2026.subscribepage.io/ <https://materials2026.subscribepage.io/> Can't attend live? Register anyway and you'll get access to the recording after the event. See you soon! Diana BencatelCollections Conservator 3.From: Elisabetta Bosetti Posted: Tuesday June 2, 2026 5:53 AM Subject: RE: Isolating varnish Message: Hi Valeria, Very interesting research. I have encountered this phenomenon several times and, following advice from colleagues, I have used a dilute Paraloid solution as an isolating layer before varnishing in order to even out differences in absorbency, although only in small localised areas. I have never used this method on the entire surface of a painting. I have not encountered the use of animal glue for this purpose. I would be interested to know whether any long-term studies have been carried out on the stability of animal glue used in this way, particularly under fluctuating environmental conditions. Thank you. ------------------------------ Elisabetta Bosetti Paintings Conservator Malerikonservator Elisabetta Bosetti Bagsvaerd Denmark ------------------------------ ------------------------------------------- Original Message: Sent: 06-01-2026 13:57 From: Valeria Cocchetti Subject: Isolating varnish I am doing research on the use of animal glue such as isolating varnish on paintings; in cases of absorbent painting films I have often found this method to even out the pictorial fields and avoid having more or less absorbent areas. Has anyone found similar cases? Valeria CocchettiPainting ConservatorFlorenceItaly 4.From: Valeria Cocchetti Posted: Tuesday June 2, 2026 9:53 AM Subject: RE: Isolating varnish Message: Hi Elisabetta, my research is on ancient restoration methods: in Italy from the middle of the 20th century onwards it was used to apply glue as Isolating varnish (synthetic resins were not known). During my restorations I frequently found this method, but without ever finding a biography or studies on it: they were artisanal practices that were handed down mainly orally. Ive been dealing with paints for paintings for a long time and I also use Pardloud as an Isolating varnish. My question is to historically reconstruct the methods used to uniform differently absorbent surfaces and I was wondering if the practice of applying glue was known abroad. Secco Suardo in the Manual of the restorer painter is the only one who runs this methodology. Valeria Cocchetti ------------------------------------------- Original Message: Sent: 6/2/2026 5:46:00 AM From: Elisabetta Bosetti Subject: RE: Isolating varnish Hi Valeria, Very interesting research. I have encountered this phenomenon several times and, following advice from colleagues, I have used a dilute Paraloid solution as an isolating layer before varnishing in order to even out differences in absorbency, although only in small localised areas. I have never used this method on the entire surface of a painting. I have not encountered the use of animal glue for this purpose. I would be interested to know whether any long-term studies have been carried out on the stability of animal glue used in this way, particularly under fluctuating environmental conditions. Thank you. ------------------------------ Elisabetta Bosetti Paintings Conservator Malerikonservator Elisabetta Bosetti Bagsvaerd Denmark ------------------------------ ------------------------------------------- Original Message: Sent: 06-01-2026 13:57 From: Valeria Cocchetti Subject: Isolating varnish I am doing research on the use of animal glue such as isolating varnish on paintings; in cases of absorbent painting films I have often found this method to even out the pictorial fields and avoid having more or less absorbent areas. Has anyone found similar cases? Valeria CocchettiPainting ConservatorFlorenceItaly 5.From: Julia Campbell-Such Posted: Tuesday June 2, 2026 9:53 AM Subject: RE: Inquiry on Training Courses for Anatomical Identification of Wood in Artworks Message: Thank you for sharing this information about Luis Silva, Rui, that's wonderful! I was not familiar with his work but will look into it. Ana, I hope Peter Gasson is still offering the course as well. Best of luck! Julia. Julia Campbell-Such (she/her) Assistant Conservator, Frames T 416.979.6660 x6261 AGO.ca <http://www.ago.ca/> | Facebook <http://www.facebook.com/AGOToronto> | Instagram <https://instagram.com/agotoronto/> ------------------------------------------- Original Message: Sent: 6/1/2026 6:11:00 PM From: Rui Bordalo Subject: RE: Inquiry on Training Courses for Anatomical Identification of Wood in Artworks Dear Catarina, Wood identification in this context is indeed a highly specialized area, but you do have options closer to home. Luís Silva, based in the Lisbon region (Oeiras), is a specialist with close to 20 years of hands-on experience in art conservation, with a particular focus on wood identification in artworks and cultural heritage objects. He dedicated his Master's and PhD to this specific area, and his expertise covers precisely what you describe: macroscopic and microscopic anatomical features, sampling strategies, and species diagnostic criteria relevant to art historical and conservation contexts. Given his depth of knowledge and practical experience, Luís is an exceptionally well placed position to provide you direct guidance or collaboration on the analytical work itself. I would strongly encourage you, and any other colleagues working in this area, to reach out to him directly. You can email him at [email protected] Hoping this is helpful to you and to others on the list! All the best, Rui ----- Rui Bordalo, PhD Researcher CITAR - Universidade Católica Portuguesa Porto, Portugal ------------------------------ Rui Bordalo Heritage Scientist Universidade Católica Portuguesa, Centro de Investigação em Ciência e Tecnologia das Artes Porto Portugal ------------------------------ ------------------------------------------- Original Message: Sent: 05-27-2026 08:56 From: Ana Pinheiro Subject: Inquiry on Training Courses for Anatomical Identification of Wood in Artworks Dear colleagues, I would like to inquire whether anyone is aware of existing training opportunities-courses, workshops, or short-term programs-focused on the anatomical identification of wood species, specifically in the context of artworks and cultural heritage objects. I am particularly interested in hands-on or practice-oriented training that addresses identification methods relevant to conservation and technical art history (e.g., macroscopic and microscopic features, sampling strategies, and diagnostic criteria for commonly used species in art objects). If you know of any institutions, universities, or organizations that offer such courses (preferably in-person), I would be very grateful if you could share with me. Thank you in advance for your time and assistance. Best regards, Catarina Pinheiro Técnica Superior, Biologia, Laboratório Analítico | Laboratório José de Figueiredo Rua das Janelas Verdes (s/ nº frente ao nº96) | 1249-018 Lisboa | Portugal | (+351) 213 934 200 6.From: Sarah Potter Posted: Tuesday June 2, 2026 10:32 AM Subject: Job Opportunity: AV and Digital Systems Technician - the Whitworth & Manchester Museum, The University of Manchester (full-time/permanent) Message: AV and Digital Systems Technician The Whitworth & Manchester Museum Are you a technical expert looking to work at the intersection of art, culture, and digital innovation? The University of Manchester is seeking a proactive AV and Digital Systems Technician to join the Collections Care teams across two of the UK's most iconic cultural institutions. In this dual-site role, you will lead the design and delivery of innovative AV installations-from permanent galleries to international touring shows-while serving as the primary contact for digital infrastructure. Beyond daily operations, you will play a vital role in the preservation and management of Time-Based Media (TBM) works within the Whitworth's collections. If you have advanced knowledge of professional audio-video systems, experience in creative project management, and a commitment to sustainable practice, we want to hear from you. Summary Salary: £32,080 to £36,636 per annum, depending on relevant experience Contract: Full-time, Permanent Location: Split between the Whitworth (0.6 FTE) and Manchester Museum (0.4 FTE) Closing date: 23/06/2026 Apply here: <https://www.jobs.manchester.ac.uk/internal/Job/JobDetail?JobId=35026>AV and Digital Systems Technician :Manchester <https://www.jobs.manchester.ac.uk/internal/Job/JobDetail?JobId=35026> Manchester remove preview <https://www.jobs.manchester.ac.uk/internal/Job/JobDetail?JobId=35026> AV and Digital Systems Technician :Manchester Location: Split between the Whitworth (0.6 FTE) and Manchester Museum (0.4 FTE) Are you a technical expert with a passion for the intersection of art, culture, and digital innovation? It's a dream opportunity to join the teams at the Whitworth and Manchester Museum as our new AV and Digital Systems Technician. View this on Manchester > <https://www.jobs.manchester.ac.uk/internal/Job/JobDetail?JobId=35026> ------------------------------ Sarah Potter Acting Collections Care Manager & Conservator Whitworth Art Gallery Manchester United Kingdom ------------------------------ 7.From: Elisabetta Bosetti Posted: Tuesday June 2, 2026 11:57 AM Subject: RE: Isolating varnish Message: Hi Valeria, Thank you for the clarification. I had understood your question primarily from a technical rather than a historical perspective. Unfortunately, I cannot contribute much regarding the historical use of animal glue as an isolating varnish. In my professional experience, I have never come across this practice being discussed or documented. It is very interesting that you have encountered so many examples in practice while finding so little written documentation. I hope someone in the group may be able to provide references from outside Italy, as it would be fascinating to know whether this was a more widespread workshop practice. Thank you for sharing your research. Best regards, Elisabetta ------------------------------ Elisabetta Bosetti Paintings Conservator Malerikonservator Elisabetta Bosetti Bagsvaerd Denmark ------------------------------ ------------------------------------------- Original Message: Sent: 06-02-2026 08:08 From: Valeria Cocchetti Subject: Isolating varnish Hi Elisabetta, my research is on ancient restoration methods: in Italy from the middle of the 20th century onwards it was used to apply glue as Isolating varnish (synthetic resins were not known). During my restorations I frequently found this method, but without ever finding a biography or studies on it: they were artisanal practices that were handed down mainly orally. I've been dealing with paints for paintings for a long time and I also use Pardloud as an Isolating varnish. My question is to historically reconstruct the methods used to uniform differently absorbent surfaces and I was wondering if the practice of applying glue was known abroad. Secco Suardo in the "Manual of the restorer painter" is the only one who runs this methodology. Valeria Cocchetti Original Message: Sent: 6/2/2026 5:46:00 AM From: Elisabetta Bosetti Subject: RE: Isolating varnish Hi Valeria, Very interesting research. I have encountered this phenomenon several times and, following advice from colleagues, I have used a dilute Paraloid solution as an isolating layer before varnishing in order to even out differences in absorbency, although only in small localised areas. I have never used this method on the entire surface of a painting. I have not encountered the use of animal glue for this purpose. I would be interested to know whether any long-term studies have been carried out on the stability of animal glue used in this way, particularly under fluctuating environmental conditions. Thank you. ------------------------------ Elisabetta Bosetti Paintings Conservator Malerikonservator Elisabetta Bosetti Bagsvaerd Denmark ------------------------------ 8.From: Valeria Cocchetti Posted: Tuesday June 2, 2026 12:36 PM Subject: RE: Isolating varnish Message: Thanks to you Elisabetta and to all those who can contribute. I'm not even sure if the practice was mainly used in Tuscany or is also found in other Italian regions. Will accept any testimonials! Valeria ------------------------------------------- Original Message: Sent: 6/2/2026 10:59:00 AM From: Elisabetta Bosetti Subject: RE: Isolating varnish Hi Valeria, Thank you for the clarification. I had understood your question primarily from a technical rather than a historical perspective. Unfortunately, I cannot contribute much regarding the historical use of animal glue as an isolating varnish. In my professional experience, I have never come across this practice being discussed or documented. It is very interesting that you have encountered so many examples in practice while finding so little written documentation. I hope someone in the group may be able to provide references from outside Italy, as it would be fascinating to know whether this was a more widespread workshop practice. Thank you for sharing your research. Best regards, Elisabetta ------------------------------ Elisabetta Bosetti Paintings Conservator Malerikonservator Elisabetta Bosetti Bagsvaerd Denmark ------------------------------ ------------------------------------------- Original Message: Sent: 06-02-2026 08:08 From: Valeria Cocchetti Subject: Isolating varnish Hi Elisabetta, my research is on ancient restoration methods: in Italy from the middle of the 20th century onwards it was used to apply glue as Isolating varnish (synthetic resins were not known). During my restorations I frequently found this method, but without ever finding a biography or studies on it: they were artisanal practices that were handed down mainly orally. I've been dealing with paints for paintings for a long time and I also use Pardloud as an Isolating varnish. My question is to historically reconstruct the methods used to uniform differently absorbent surfaces and I was wondering if the practice of applying glue was known abroad. Secco Suardo in the "Manual of the restorer painter" is the only one who runs this methodology. Valeria Cocchetti Original Message: Sent: 6/2/2026 5:46:00 AM From: Elisabetta Bosetti Subject: RE: Isolating varnish Hi Valeria, Very interesting research. I have encountered this phenomenon several times and, following advice from colleagues, I have used a dilute Paraloid solution as an isolating layer before varnishing in order to even out differences in absorbency, although only in small localised areas. I have never used this method on the entire surface of a painting. I have not encountered the use of animal glue for this purpose. I would be interested to know whether any long-term studies have been carried out on the stability of animal glue used in this way, particularly under fluctuating environmental conditions. Thank you. ------------------------------ Elisabetta Bosetti Paintings Conservator Malerikonservator Elisabetta Bosetti Bagsvaerd Denmark ------------------------------ 9.From: Tara Kennedy Posted: Tuesday June 2, 2026 2:43 PM Subject: RE: Adhesive for ethafoam? Message: Thank you, Mark! This is very helpful. I will see if I am able to purchase this from the UK and then look into doing Oddy tests on US distributors for the adhesive. Many thanks! Tara ______________________________________________________________________ Tara D. Kennedy Head, Preventive Conservation Library Center for Preservation and Conservation Services 344 Winchester Avenue, New Haven, CT 06511 203-432-4335 [email protected] <[email protected]> Collection Emergency? 475-301-4519 ------------------------------------------- Original Message: Sent: 5/29/2026 5:39:00 AM From: Mark Anderton Subject: RE: Adhesive for ethafoam? Hello Tara, At National Museums Liverpool, England, UK, we've been using Techbond 240 manufactured by Power Adhesives. It's an EVA-based hot-melt adhesive that has passed the Oddy test in the UK as suitable for permanent use. A cursory Google search suggests it is available in the US. https://www.poweradhesives.com/adhesives/tecbond-240/ <https://www.poweradhesives.com/adhesives/tecbond-240/> I can provide our Oddy test results for reference, however I'd be mindful that the composition of products can vary if they're manufactured in different parts of the world. For peace of mind, It might be prudent to repeat the Oddy test with a sample from a US supplier. I hope that's helpful. Kind Regards, Mark ------------------------------ Mark Anderton Preventive Conservator National Museums Liverpool Liverpool, England, United Kingdom [email protected] ------------------------------ ------------------------------------------- Original Message: Sent: 05-26-2026 10:56 From: Tara Kennedy Subject: Adhesive for ethafoam? Dear Colleagues- What are conservators using nowadays to adhere ethafoam to corrugate board that is safe for permanent storage? All of the hot low temp melt adhesives do not pass Oddy and I am looking for something that can be used outside of a lab setting easily. I can use PVA if I need to, but was hoping for other solutions. Thanks so much for your suggestions and recommendations in advance, Tara ------------------------------ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Tara D. Kennedy Head, Preventive Conservation Yale Center for Library Preservation and Conservation New Haven, CT National Heritage Responder (NHR) Co-Chair of the NHR Working Group Health and Safety Network Member ------------------------------ 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.
