Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. RE: Ultra Pure Water 2. RE: Symposium on Bookbinding Study (Rome), 26 September 2026 3. update recovering family photographs after the floods in Valencia 4. Job Advert: Fieldwork Supervisor in the Conservation of Wall Paintings, Courtauld Institute of Art, London 5. Workshop ‘Solvents and paint films: sustainable perspectives in practice’ Gwendoline R. Fife 6. RE: Carbon Photographs by Julia Margaret Cameron 7. Open for Registrations - APTCCARN7 - Evolving Conservation Practices in Local Tropical Climates Asia Pacific Focus 8. Final Call for Papers: Archaeological Heritage Network (AHN) Sessions at AIC 2027 Annual Meeting: Abstracts Due Sept. 30th ------------------------------------------------------------------------------------------------------------ 1.From: Dermot Cox-Kearns Posted: Thursday September 24, 2026 5:51 AM Subject: RE: Ultra Pure Water Message: It crossed my mind that you might need to consider how the UPW is produced, there are various methods which might impact the final water, such as distillation, filtration of some sort, reverse osmosis, etc. I was involved in micro filtration many years ago, UPW was a very varied subject. ------------------------------ Dermot Cox-Kearns Owner On The Edge Ashford - Wicklow Ireland ------------------------------ ------------------------------------------- Original Message: Sent: 09-23-2026 05:37 From: Sonia Jones Subject: Ultra Pure Water Hi Christian, Many thanks for your reply and also for the link to the Handbook of Surface Cleaning. I appreciate I may not have been looking in the right places for research on UPW, but in respect of its use in Conservation, there does appear to be very little in the way of formal research into UPW, so I'm doubly grateful to you for replying and sharing the link. Many thanks. @Barry Knight <https://www.culturalheritage.org/profile?UserKey=d9589f09-1b92-4129-9a2d-40b5d4b3125c> and @Stephanie Matthews <https://www.culturalheritage.org/profile?UserKey=8f9b1c68-3357-4f1b-8c32-c6defdb3b86a> - thank you both too for your email replies to my query. Unfortunately, I'm not an AIC member and so am not able to reply to either of your emails, but I was grateful for them nonetheless. ------------------------------ Sonia Jones Heritage Lead UK Government Liverpool United Kingdom ------------------------------ Original Message: Sent: 09-18-2026 11:21 From: Christian Mueller-Straten Subject: Ultra Pure Water UPW is probably the equivalent of German demineralized water. You are absolutely right to be extremely cautious, as it is one of the most aggressive solvents in existence. Unfortunately, many conservators are unaware of this; they regard it for example as a "clean final cleaning agent"... Ideally, it should be used only in air-conditioning systems, where tap water might cause limescale buildup. Because it constantly seeks to replenish its mineral content, it leaches pigments-for instance, from unvarnished oil paintings. For this reason, the German conservator Dr. Paul-Bernhard Eipper (an IIC Fellow) repeatedly warns against the use of demineralized water in his *Handbuch der Oberflächenreinigung* (Handbook of Surface Cleaning). This Handbook (with 120 contributors) is the European standard and contains also chapters on stone and imitated stone surfaces. See: https://www.ebook-shop-museumaktuell.de/shop <https://www.ebook-shop-museumaktuell.de/shop> Best Christian ------------------------------ [Christian] [Mueller-Straten] [Researcher, Publisher, Art Historian] [Owner] [Verlag Dr. Christian Mueller-Straten] [Munich] [Germany] [0049-89-839 690 43] [https://www.museum-aktuell.de] https://www.museum-aktuell.de/CEO <https://www.museum-aktuell.de/CEO> ------------------------------ 2.From: Athanasios Velios Posted: Thursday September 24, 2026 5:52 AM Subject: RE: Symposium on Bookbinding Study (Rome), 26 September 2026 Message: Dear all, Please note that the link for the live stream of the symposium is here https://us02web.zoom.us/j/85334690561?pwd=dP9nC988CDGZbLLH06A4MOf4GyDWdu.1 Thank you. All the best, Thanasis ------------------------------ Dr Athanasios Velios Collections Data Manager English Heritage ------------------------------ ------------------------------------------- Original Message: Sent: 09-06-2026 16:59 From: Athanasios Velios Subject: Symposium on Bookbinding Study (Rome), 26 September 2026 2026 marks 20 years of the Ligatus Summer School. A symposium to review and discuss ideas about the future of bookbinding study will be held on Saturday between week 1 and week 2 of the Summer School in Rome. 20 years of bookbinding studies - the contribution of the St Catherine's Monastery Library survey provisional programme - registrations to open soon - hold the date Saturday 26th Sep 2026 Istituto Centrale per la Patologia degli Archivi e del Libro, Via Milano 76, 00184 Rome - Italy For more information visit: https://www.ligatus.org.uk/summerschool/node/759 <https://www.ligatus.org.uk/summerschool/node/759> All the best, Athanasios Velios ------------------------------ Dr Athanasios Velios Collections Data Manager English Heritage ------------------------------ 3.From: Rosina Herrera Garrido Posted: Thursday September 24, 2026 5:52 AM Subject: update recovering family photographs after the floods in Valencia Message: Dear Colleagues, On 29 October 2024, the province of Valencia in Spain was severely affected by a DANA (Isolated Depression at High Levels), causing intense rainfall and widespread flooding across 75 municipalities. Just a few days after the disaster, a spontaneous solidarity initiative started to recover as many photographs and family albums damaged by the floods as possible. What began with a small group of conservators and photography enthusiasts eventually became what is now known as the Salvem les Fotos (Save the Pictures) Project. In February 2025, I was invited to talk about the project at the Winter PMG Meeting in Santa Fe, New Mexico. The support we received from the organization and from the photo conservator fellows was incredible. You shared advice, ideas, materials, and even financial donations. In the months that followed, we continued to receive help, with people sending us materials and even travelling to Valencia to volunteer and work with us. The project has also grown beyond photography. We are now working with books, manuscripts, letters, paintings, and other family treasures. Through our collaboration with the Red de Cine Domstico (Home Movie Network), we have also recovered and stabilized audiovisual materials affected by the floods, including film, magnetic tape, and optical media. For photographs, the basic conservation treatments involve drying, cleaning, washing, and basic stabilisation, followed in some cases by digitisation. At the beginning, the project relied almost entirely on volunteers and donations. As the amount of material increased, we gradually found different sources of financial support, which allowed us to hire staff and expand the work. One of the most important aspects of the project has always been working closely with the local community and the families affected by the disaster. It is not only about recovering photographs, but also about helping people recover part of their memories, their personal history. Today, two laboratories are still active, working on an estimated 500,000 photographs that still need treatment. I have been one of the project leaders and coordinated one of these laboratories. Since September, I have not been as involved in the day-to-day work as before, but I continue to look for support and help disseminate information about the project. There is also an open-access article about the project in Tabula magazine, which is freely available to download. https://publicaciones.acal.es/tabula/article/view/1090 <https://publicaciones.acal.es/tabula/article/view/1090> I wanted to share this update with you. Once again, thank you for all the support you have given us. It has made a real difference to the project and to the people whose photographs we are trying to salvage and preserve. Best, Rosina 4.From: Emily Howe Posted: Thursday September 24, 2026 5:53 AM Subject: Job Advert: Fieldwork Supervisor in the Conservation of Wall Paintings, Courtauld Institute of Art, London Message: The Courtauld Institute of Art is advertising a 3-month fixed-term contract for a Fieldwork Supervisor to work on our wall paintings project at Longthorpe Tower near Peterborough (UK). The post will run from mid-December to mid-March, with fieldwork taking place from mid-January to the start of March. https://ce0942li.webitrent.com/ce0942li_webrecruitment/wrd/run/etrec179gf.open?WVID=7234972FGb&LANG=USA&VACANCY_ID=5300693ZZO <https://ce0942li.webitrent.com/ce0942li_webrecruitment/wrd/run/etrec179gf.open?WVID=7234972FGb&LANG=USA&VACANCY_ID=5300693ZZO> Applicants must have the right to work in the UK. Please don't hesitate to contact us should you wish to discuss the post further. Emily Howe Programme Lead, MA in the Conservation of Wall Painting Courtauld Institute of Art [email protected] <[email protected]> ------------------------------ Emily Howe Lecturer in the Conservation of Wall Painting The Courtauld Institute London United Kingdom ------------------------------ 5.From: Bianca Gonçalves Posted: Thursday September 24, 2026 8:45 AM Subject: Workshop ‘Solvents and paint films: sustainable perspectives in practice’ Gwendoline R. Fife Message: Workshop 'Solvents and paint films: sustainable perspectives in practice' with Gwendoline R. Fife The aim of the workshop is to support students and practitioners in their practical applications of solvents, to ensure safer solvent use for art, us, and the world. This will be achieved by providing a review of knowledge with an overview, including research into solvent effects, current findings into solvent application techniques, assessing solvent hazards and impacts, defining greener solvents, and an open forum for discussions covering workshop participants' questions, practical experiences and opinions regarding solvent choices and application. Additional information The lectures and workshop will be focused on the fundamental properties and use of solvents in conservation, with a focus on paintings. The solvents discussed will predominantly comprise those organic solvents most commonly used in the field and in accordance with the approaches of careful conservation practice. However, some information will be provided for some other solvents (e.g. 'silicone solvents'). The fundamental properties of solvents and the modelling of their behaviour will be explained, and the clear relevance of this information to their applications within our field such as varnishing, varnish removal and consolidation will be described. The research data on solvent effects and assessing hazards and impacts will be highlighted. Material developments and adaptations (such as new gelling approaches/tissues/greener solvents/testing and documentation procedures) will be reviewed. From a conservator's perspective, examining how the magnitude of potential solvent effects can be influenced by our solvent choice, techniques and practices is a pertinent focus, and will be the central tenet of the workshop. In the workshop the sharing of participants' observations, experiences, opinions and questions regarding solvent choices and applications will be an important aspect throughout a key aspect being the opportunity to discuss these materials in an open, non-biased and non-judgemental forum. Practical Information: The theory will be held online over two mornings, from 10:00 to 12:30 CET, and will be open to conservators around the world. Participation is free for RN members. If you are not a member, the cost is 10, or you can sign up as an RN member and participate for free (https://restauratoren.nl/ <https://restauratoren.nl/>). The practical workshop will take place the following week at CollectieCentrum Nederland (CC NL) in Amersfoort. It will consist of two full days, including lunch and snacks, and is open to RN members only. The cost is 100, and places are limited. Those interested in attending will first join a waiting list. Participants will then be selected from the waiting list and invited to claim their place. Once a place is offered, you will have 48 hours to complete the 100 payment. If payment is not completed within this period, the place will be offered to another person on the waiting list. Please note that joining the waiting list does not guarantee a place in the practical workshop. Theory (9+10 Nov) RN Member | FREE Theory (9+10 Nov) Non-member | 10 Theory (9+10 Nov )+ Practical Workshop (16+17 Nov) RN Members Only | 100 Limited places REGISTRATION HERE: https://www.eventbrite.nl/e/solvents-and-paint-films-sustainable-perspectives-in-practice-tickets-2002061034448?aff=oddtdtcreator <https://www.eventbrite.nl/e/solvents-and-paint-films-sustainable-perspectives-in-practice-tickets-2002061034448?aff=oddtdtcreator> This workshop is a collaboration between the Schilderijen Working Group and the Sustainability Working Group of Restauratoren Nederland. Not a member yet? Join RN and become part of our community. RN members can also join the WhatsApp and Signal groups for these working groups to exchange knowledge, questions, and experiences with fellow conservators. All information can be found on the RN website. -- Bianca GonalvesPaintings Conservator | Conservao e Restauro de Pinturas GoGreen Researcher at the RijksmuseumatelierCurarte.com <https://www.ateliercurarte.com/> | Instagram <https://www.instagram.com/ateliercurarte/> 6.From: Klaus Pollmeier Posted: Thursday September 24, 2026 2:05 PM Subject: RE: Carbon Photographs by Julia Margaret Cameron Message: Hello Diane, having produced hundreds of carbon transfer prints in the 1990s, I fear that washing old carbon prints with unkown manufacture and storage history could become a risky endeavour. It goes without saying that the water must be rather cold, since warm water (>30°C) might dissolve the pigmented gelatin of the image layer. Still, you should expect the gelatin image of the print to swell considerably in the water. It will become very delicate and touch-sensitive when wet. Also its adhesion to the base paper can be limited. Drying would have to be done by hanging the print freely in the air without anything touching its surface. Kind regards, Klaus Pollmeier ------------------------------------------- Original Message: Sent: 9/23/2026 11:12:00 AM From: Diane Tafilowski Subject: Carbon Photographs by Julia Margaret Cameron Has anyone washed a carbon photograph by Julia Margaret Cameron? -- Diane Tafilowski Conservation of Photographs & Art on Paper 617-999-0919 [email protected] <[email protected]> 7.From: Noni Zachri Posted: Thursday September 24, 2026 2:06 PM Subject: Open for Registrations - APTCCARN7 - Evolving Conservation Practices in Local Tropical Climates Asia Pacific Focus Message: Registrations now open - APTCCARN7 - Evolving Conservation Practices in Local Tropical Climates Asia Pacific Focus Across 5 sites and 3 locations in Kuala Lumpur, Ipoh and Lenggong | National Art Gallery Malaysia, Islamic Arts Museum Malaysia 7-9 December 2026 + 1 day option 10 December Lenggong After almost 20 years, APTCCARN7 is returning to Malaysia, where it held its first meeting in 2008. In these two decades, the practice of cultural conservation in the Tenggara-South of Southeast Asia has formed its distinct character, thought style and learning communities. APTCCARN7 <https://www.aptccarn.com/aptccarn7>will engage with: Who decides? Culture is conserved only when people care. But then who decides what is cared for and whose voice is represented? For what local contexts? From local contexts, inclusive and collective responses can evolve. Across Southeast Asia, is it possible to identify shared regional practices and common approaches? Does a common view of cultural conservation exist? Approaches to cultural heritage follows its own pathway in Southeast Asia. This means there are multiple ways to understand how cultural conservation is practised and recognised. What change do we want to see? As climate changes, we change our practices and develop new ways of doing things. Our approach to heritage, adapts and evolves to offer promising new ideas for cultural conservation. APTCCARN7 includes December 7 - Day 1 in Kuala Lumpur: National Art Gallery Malaysia, Islamic Arts Museum Malaysia December 8 - Day 2 in Kuala Lumpur: National Art Gallery Malaysia, afternoon, from Kuala Lumpur to IPOH, 2-hour transfer to IPOH, Museum Azman, PORT (People of Remarkable Talent) December 9 - Day 3: IPOH, National Gallery of Contemporary Art (NGOCA), transfer IPOH to Kuala Lumpur OR/ overnight IPOH. December 10 - Day 4: +1 day option in Lenggong Participants will need to book accommodation in Kuala Lumpur on Sunday 6 and Monday 7 December, IPOH on Tuesday 8 December, and will return to Kuala Lumpur in the evening of Wednesday 9 December. Participants who will join Day 4, will also need to book accommodation in IPOH on Wednesday 9 December and will return to Kuala Lumpur on Thursday 10 December. Registrations APTCCARN7 invites registrations. This includes participation in APTCCARN7 over 3 days, lunch, snacks, the conference dinner, travel between venues, and travel between Kuala Lumpur – Ipoh return. Pricing: Registrations fees are paid in Australian dollar (AUD$). The prices in Malaysian ringgit (MYR) and US dollar (US$) are estimated amounts based on an exchange rate of 1 AUD = $0.71 USD / 2.88 RM. Please note that the exchange rate is subject to fluctuation. Non-Malaysians - $150 AUD (~$107 USD / 436 RM) Malaysians - $51.50 AUD (~$37.10 USD / 150 RM) Optional Lenggong tour - $300 AUD (~$214 USD / 871 RM) Find out more about the program and register today through the links on the APTCCARN7 website:https://www.aptccarn.com/aptccarn7 <https://www.aptccarn.com/aptccarn7> Organising committee National Art Gallery Kuala Lumpur <http://www.artgallery.gov.my/> Robert Cripps Institute for Cultural Conservation, University of Melbourne <https://arts.unimelb.edu.au/crippsinstitute> Islamic Arts Museum Malaysia <https://iamm.org.my/> ------------------------------ Noni Zachri Paper and Photographs Conservator Grimwade Conservation Services North Melbourne Australia ------------------------------ 8.From: Ella Andrews Posted: Thursday September 24, 2026 4:39 PM Subject: Final Call for Papers: Archaeological Heritage Network (AHN) Sessions at AIC 2027 Annual Meeting: Abstracts Due Sept. 30th Message: Final call for papers for Archaeological Heritage Network's sessions at AIC's 2027 Annual Meeting! Abstracts due September 30th. The Archaeological Heritage Network (AHN) seeks proposals for the AIC's 2027 Annual Meeting in Albuquerque, New Mexico. Proposals should reflect the meeting theme of Community of Trust and center on archaeological conservation. Possible topics include field work, site management, archaeological collections, and/or a significant treatment. We encourage submissions that highlight working effectively across disciplines and/or within teams, sustainable preservation, and collaborative work with traditional knowledge holders. AHN will be hosting an AHN Specialty Session, a Joint Session with the Architecture Specialty Group (ASG), and a Joint Session with the Objects Specialty Group (OSG) on Tending the Afterlife– the Treatment of Mummified Human Remains. Submissions for the ASG/AHN joint session should focus on archaeological and architectural preservation in relation to communities of trust. Topics may include though are not limited to sustainable site and architectural preservation in relation to local capacity building, funding strategies, adaptive reuse, locally sourced materials, innovative solutions to sites with limited resources, and environmentally conscious strategies within networks of trust. Submissions for the Tending the Afterlife– the Treatment of Mummified Human Remains should explore approaches to the treatment and restoration of mummified human remains found in museum collections worldwide. Many of these ancestral remains have associated wrappings and funerary materials whose states of preservation vary from excellent to extremely poor. Higher levels of loss and damage can create extremely challenging treatment problems, especially when there is no clear pathway to engaging with ancestral communities. Investigation, treatment, and restoration of such remains ranges from minimal to highly invasive and typically involves decision-making based on research and trust among conservation professionals, bioanthropologists, curators, and, sometimes, representatives from a specific community of origin, but more often from a specific community of care. The organizers recognize the difficulties inherent in discussing these matters but feel that this makes it all the more important to create a space in which these discussions can happen. We particularly welcome contributions that address issues of treatment of loss or damage, offer reflections on past decisions, and/or highlight how conservation professionals balance treatment priorities, research and exhibit goals, and ethical considerations. Abstraction submission deadline is Wednesday, September 30th, 2026. Abstracts should be no longer than 500 words and be accompanied by author bio(s) of 300 words or less. To submit an abstract, please click here <https://www.culturalheritage.org/events/annual-meeting/current-meeting/call-for-submissions> or visit AIC's Call for Submissions webpage. There is now one centralized proposal form to submit papers (as well as panels and posters) for AIC. If you have any questions, please reach out to AHN Program Chair, Alyssa Rina ([email protected]) and AHN Assistant Program Chair, Ella Andrews ([email protected]). ------------------------------ Ella Andrews Assistant Conservator Vizcaya Museum & Gardens Miami, FL United States ------------------------------ 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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