Conservators Converse the blog of the American Institute for Conservation Thu, 27 Jul 2017 14:26:08 +0000 en-US hourly 1 All it takes is sixteen riggers, machinists, carpenters and technicians; multiple scissor lifts; 16,000 pounds of sand;dress rehearsals; and five days of work Wed, 26 Jul 2017 11:45:52 +0000 Does the casual museum visitor seeing an enormous, heavy work of art think about how it got to where it is and how it stays in place? And if he or she does, who can provide the answers to those questions? Brenda Cronin, writing in the July 25. 2017 issue of The Wall Street Journal about the installation of a 28 foot tall painting by Cristobal de Villalpando in a show at the Metropolitan Museum (“ The Met’s 28-Foot-Tall Visitor”) provides the answers for this one work. All it takes is sixteen riggers, machinists, carpenters and technicians; multiple scissor lifts; 16,000 pounds of sand;dress rehearsals; and five days of work.

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Jobs, Internships & Fellowships Digest: July 21, 2017 Fri, 21 Jul 2017 18:33:02 +0000
  • Conservator (Frames), Guildhall Art Gallery
  • Studentships in Science and Engineering in Arts, Heritage, And Archaeology, University of Oxford and University of Brighton
  • Studentships in Science and Engineering in Arts, Heritage, and Archaeology, University of Oxford and University of Brighton
  • Trust Fully Funded PhD Studentship, University of Glasgow, College of Arts
  • Assistant Conservator for Archival Materials, American Philosophical Society
  • Assistant Media Conservator, The Museum of Modern Art
  • Research Assistant, Fitzwilliam Museum
  • Preservation Services Manager, Center for Jewish History
  • Senior Objects Conservator, The Conservation Center
  • Object Conservator, The Mariners’ Museum and Park
  • Grants for Emergency Preservation of Documentary Cultural Heritage, The Prince Claus Fund, Through Its Cultural Emergency Response Programme, And the Whiting Foundation

  • 1. CONSERVATOR (FRAMES), Guildhall Art Gallery (London, UK)

    • Closing Date: July 28, 2017 at midday
    • 12-month contract, part time (17.5 hours per week)
    • Salary: GBP32,760, pro rata inclusive of London weighting
    • Maternity cover

    Established in 1886 as ‘a Collection of Art Treasures worthy of the capital city’, Guildhall Art Gallery houses the City Corporation’s permanent collections with works dating from 1670 to the present, including 17th-century portraits, Pre-Raphaelite masterpieces and a range of paintings documenting London’s dramatic history. It hosts a number of small to large-scale temporary exhibitions and interventions year-on-year.

    Beneath the gallery is London’s Roman Amphitheatre. Together, the gallery and amphitheater deliver a significant and highly-regarded education and outreach program and play an essential role in the City cultural and heritage offer.

    This post is responsible for the care and conservation of frames from the City of London’s Permanent Collection of Works of Art. Our conservation team currently consists of a part-time Senior Conservator (paintings) and a part-time Conservator (paintings). The successful candidate will work with our Conservators to monitor and advise on the condition of works, prepare condition reports, and conserve and prepare items for loans, amongst other tasks.

    We are seeking an experienced individual with a proven track record in frames conservation. The successful applicant will have a degree in a relevant subject and/or recognized conservation training, and relevant practical experience. You will have the ability to understand relevant scientific and technical procedures and the use of technical equipment. Also required is the ability to work independently as well as part of a team and good organizational and time management skills including the ability to manage multiple priorities to tight deadlines.

    Normal working hours are 17.5 hours per week. However, the successful applicant may also be required to work occasional weekends and bank holidays depending on business requirements.

    Interviews will take place August 11, 2017. It is hoped that the successful post-holder will commence work in September 2017.

    To apply, please visit

    Alternatively, please contact +44 020 7332 3978 (24-hours answerphone) quoting the reference number TC506. A minicom service for the hearing impaired is available on +44 020 7332 3732.

    The City of London Corporation is committed to Equal Opportunities and welcomes applications from all sections of the community.


    • Application deadline: July 31, 2017 by 6:00 p.m.

    The Centre for Doctoral Training Science and Engineering in Arts, Heritage and Archaeology at UCL, University of Oxford and University of Brighton is delighted to be offering the following exciting doctoral studentship: “Modelling the chemical and physical degradation of plastic objects in museum collections using a System Dynamics approach.”

    Many famous works of modern art and design in museums are made of plastics. However, despite being relatively “young,” plastics can be among the most fragile artefacts, with material degradation sometimes reported within a few years of acquisition by a museum. Degradation of plastic objects is complex, involving multiple processes such as diffusion of substances through the material and chemical responses to environmental parameters such as temperature and light. The way such processes interact as a complex system within a single object is not well understood. This project, based at UCL and in partnership with Tate and Conservation by Design will address this problem. The proposed approach uses system dynamics and will model multiple degradation processes as a single system of partial differential equations, which can then be solved and validated. This research will thus both develop a new method of modelling material degradation applicable in many fields, such as medicine or defense, and provide practical solutions for heritage professionals, such as providing guidance on controlling museum storage environments.

    For more information on this project, supervisors and how to apply, please visit the SEAHA studentships page.

    The UK EPSRC Centre for Doctoral Training in Science and Engineering in Arts, Heritage and Archaeology (SEAHA) is an 8-year initiative (2014-2022) to establish an infrastructure to meet challenges set by the heritage sector, industry and government. Working with heritage and industry partners, SEAHA students will create, innovate or use sensors, instrumentation, imaging, digital and creative technologies to improve our understanding of heritage, to develop science and engineering capabilities and to benefit the economy.

    For more information on SEAHA, please visit the SEAHA website.

    Studentship enquiries should be emailed to the project supervisor (, or the Centre Manager (


    • Application deadline: August 7, 2017

    The Centre for Doctoral Training Science and Engineering in Arts, Heritage and Archaeology at UCL, University of Oxford and University of Brighton is delighted to be offering the following exciting doctoral studentship: “What lies beneath? High resolution imaging of lichen-covered surfaces at Stonehenge?

    Recent research at Stonehenge has centered on understanding the archaeology of the wider “Stonehenge Landscape.” This has been complemented by surveys of the monument, using high-resolution laser scanning, photogrammetry and digital imaging to three-dimensionally record the standing and fallen stones. These surveys revealed unexpected insights into the surface features of the stones, including the identification of Early Bronze Age axe-head carvings, and variations in the stone dressing techniques used in different parts of the monument. They also highlighted a limitation of the imaging approaches used, since the laser beam-width struggled to penetrate many of the denser species of lichen that colonize the stones. This project aims to evaluate available technologies for the high-resolution imaging of lichen-covered surfaces, using Stonehenge as a case study, and assess the potential of these technologies for revealing new archaeological information at the monument and other heritage structures.

    For further inquiries, contact the academic supervisor at

    For more information on this project, supervisors and how to apply, please visit the SEAHA studentships page.

    The UK EPSRC Centre for Doctoral Training in Science and Engineering in Arts, Heritage and Archaeology (SEAHA) is an 8-year initiative (2014-2022) to establish an infrastructure to meet challenges set by the heritage sector, industry and government. Working with heritage and industry partners, SEAHA students will create, innovate or use sensors, instrumentation, imaging, digital and creative technologies to improve our understanding of heritage, to develop science and engineering capabilities and to benefit the economy.

    For more information on SEAHA, please visit the SEAHA website.

    4. TRUST FULLY FUNDED PhD STUDENTSHIP, University of Glasgow, UK, College of Arts (UK)

    • Closing date: August 14, 2017

     From the Golden Age to the Digital Age: Modelling and Monitoring Historic Tapestries

    Leverhulme Trust Fully Funded Studentship

    We are recruiting a highly motivated PhD student to take part in an exciting interdisciplinary project between the Centre for Textile Conservation and Technical Art History and the School of Engineering at the University of Glasgow, funded by the Leverhulme Trust with additional funding from the Textile Conservation Foundation and the University of Glasgow.

    • Start Date: It is hoped that the three-year studentship will start in September/October 2017.
    • Funding: The Leverhulme Trust Scholarship will cover
    • Home tuition fees for UK and EU applicants, and will provide maintenance costs for three years at GBP14,553 per year.

    This studentship is open to international, home and EU applicants, but will only cover tuition fees to the home & EU level.

    Project context: Many rich collections of tapestries survive and are displayed in museums and historic houses but they are often in poor condition and in need of extensive conservation treatment. The selection of tapestry support and display techniques is still largely based on experience and intuition. This study will enable conservators, curators, and conservation scientists to base decisions in a more complete understanding of material properties when treating these complex objects, using computational modelling and strain monitoring techniques to gain data on tapestry properties and behavior. The project offers exciting opportunities to work on site in a world-class museum environment at the Burrell Collection, and at one of Scotland’s most popular historic sites, Stirling Castle. The project has already started and initial results look very exciting.

    Research tasks: The student will focus on the strain monitoring research using digital image correlation to test different conservation stitching techniques and different display scenarios. (S)he will create physical models of tapestries which will be subjected to loading tests using tensile testing equipment before moving to test conserved samples of historic tapestry from the Centre for Textile Conservation Reference Collection. This element of the research will also focus on historic tapestries from the Burrell Collection and a newly woven tapestry at Stirling Castle.


    • Principal Investigator: Prof. Frances Lennard, Centre for Textile Conservation
    • Project Co-Investigator: Dr. Philip Harrison, School of Engineering

    The student will be based at the Centre for Textile Conservation.

    Entry Requirements: This is an opportunity for either a conservation graduate or an engineering graduate; the project will require an ability to cross discipline boundaries. Over the course of the project the student will be thoroughly immersed in both the theory and practice of tapestry conservation, while also developing skills in strain measurement, using digital image correlation, and mechanical testing. (S)he will ultimately gain a comprehensive understanding of the application of engineering techniques to conservation challenges; a valuable skill-set allowing the successful candidate to continue with a career in the heritage sector, the industrial textiles/composites field or in academia.

    For further information or an informal discussion about the project and the studentship please contact Frances Lennard (, or Philip Harrison (

    To apply, please send your application to: Your application should include:

    • A statement of no more than 1,000 words describing in detail your interest in and suitability for undertaking this project
    • A current CV
    • Degree transcripts (this may be an interim transcript if you are still studying)
    • An example of scholarly work up to 3000 words in length (e.g. coursework essay, or a dissertation chapter)
    • 2 academic references (these may be sent directly from your referees if they would prefer)

    5. ASSISTANT CONSERVATOR FOR ARCHIVAL MATERIALS, American Philosophical Society (Philadelphia, PA, USA)

    • Application deadline: August 14, 2017

    The Conservation Department at the American Philosophical Society is responsible for the preventive care as well as conservation treatment for items found in its diverse special collections library. This growing collection currently includes over 13 million manuscript leaves, 275,000 volumes and bound periodicals, thousands of prints and maps, and large audio, video, and digital holdings. The department is currently composed of two full-time conservators, an annual grant-funded intern, and occasional volunteers.

    As a junior member of the department, under the direction of the Head of Conservation, the Assistant Conservator for Archival Materials aids in the preservation/ preventive conservation of the collections. This care includes treatment and documentation of individual items for a variety of materials such as manuscripts on paper, maps, ephemera, photographic materials, graphic works on paper, and manuscripts on parchment.


    • Performs conservation treatment on primarily non-bound materials owned by the Library.
    • Provides written and photographic documentation in accordance with the AIC Code of Ethics (including examination, condition and treatment reports, and photographic documentation).
    • Participates and assists in a wide range of preservation/ preventive conservation activities including disaster preparedness and recovery, pest management, minor mold remediation, examination and preparation of materials for loan, and environmental monitoring.
    • Helps develop and manage treatment strategies for collections.
    • Closely collaborates with APS staff to optimize collection care.
    • Assists in the general maintenance and organization of the conservation laboratory.
    • Assists in the preparation and display of materials for exhibition.
    • Keeps abreast of current developments in the conservation field.
    • Performs other duties as assigned.


    • Master’s degree from an accredited graduate training program in conservation.
    • Demonstrated working knowledge of conservation theory and practice.
    • Ability to wear a respirator and other personal protective equipment.
    • Ability to lift 40 pounds.
    • Demonstrated computer skills including use of Microsoft Office Suite and Adobe Bridge/Photoshop.
    • Demonstrated mastery of written and oral communication.
    • Demonstrated success in a wide range of conservation treatment procedures and techniques.

    The ideal candidate will have these additional qualities:

    • The desire to conduct scholarly research, and to share research results with APS staff and the conservation community through presentations and publications.
    • An interest in developing relationships across disciplines/ institutions to support the care of Library collections.
    • Undertakes projects on his or her own initiative.
    • Is highly organized.
    • An interest in outreach and education through lab tours and use of social media.
    • A willingness to help teach the interns and volunteers in the conservation department.
    • Knowledge of Aeon and Mimsy XG.

    The Society offers a competitive benefits package, including exceptional health insurance options and generous fringe benefits, including a TIAA-CREF retirement plan, dental insurance, life insurance, and paid days off.

    The American Philosophical Society is an EOE. Applications will be accepted through August 14, 2017.

    To apply upload CV or resume, a cover letter explaining qualifications for and interest in the position and three references (not letters of reference, please) to

    About the Library: Founded in 1743, The American Philosophical Society’s library, located near Independence Hall in Philadelphia, is a leading international center for research in the history of American science and technology and its European roots, as well as early American history and culture. The Library houses over 13 million manuscript leaves, 275,000 volumes and bound periodicals, thousands of prints and maps, and large audio, video, and digital holdings. Outstanding historical collections and subject areas include the papers of Benjamin Franklin (14,000 letters and documents); Jefferson’s holograph of the Declaration of Independence; the American Revolution; the papers of Thomas Paine; 18th and 19th-century natural history; western scientific expeditions and travel including the original journals of Lewis and Clark; polar exploration; the papers of Charles Willson Peale, his family and descendants; American Indian languages; anthropology including the papers of Franz Boas; the papers of Charles Darwin and his forerunners, colleagues, critics, and successors; history of genetics, eugenics, and evolution; history of biochemistry, physiology, and biophysics; 20th-century medical research; and history of physics. The Library does not hold materials on philosophy in the modern sense. More information about the Society and the APS Library can be found at

    6. ASSISTANT MEDIA CONSERVATOR, The Museum of Modern Art (New York, NY, USA)

    • Application deadline: August 15, 2017

    The Museum of Modern Art is currently accepting applications for the position of Assistant Media Conservator to work within the Media Conservation section of the David Booth Conservation Department and Center. This role involves working collaboratively on a wide-range of modern and contemporary works across all curatorial departments and participating in all departmental activities, including examination, documentation, treatment, and research of collection materials, as well as exhibition, collection care, loan, and courier responsibilities.

    Reporting to the Associate Conservator and the Agnes Gund Chief Conservator, the incumbent will have the following specific responsibilities:

    • Examines, documents, and treats media artworks in the collection that include audio, film, video, performance, and software-based artworks.
    • Participates in all departmental activities, including acquisition, preparation of works for exhibition, collection care, loans, and research.
    • Condition-assesses all forms of media works, including, but not limited to, audio, film, video, and software.
    • Assists with the maintenance of the media conservation lab, including researching, maintaining, and updating both equipment and software.
    • Works collaboratively across departments at the Museum, including Conservation, curatorial, Audio Visual, Exhibition Planning and Design, and Collection Management and Exhibition Registration.
    • Assists with the daily operation of the Museum’s digital repository, including ingesting of digital artwork material, collaborating with the ongoing development, and other repository related tasks.
    • Conducts research centering on media conservation protocols, new tools, and technologies related to artists’ practice and methods.
    • Participates in training and supervision of interns and fellows.

    Qualified candidates will possess a graduate degree in conservation or equivalent training. Two years’ experience in the conservation of media works in a museum setting or equivalent. Experience performing all aspects of the treatment of media works, with adherence to the Code of Ethics and Standards of Practice of the American Institute for Conservation. Understanding of the theory and practice of conservation documentation related to media, installation, and performance art is expected as is a firm grounding in artist interview practice. Knowledge and experience of condition assessment and installation of current and historic media technologies in audio, video, film, and software/computer-based art. Strong interpersonal and written communication skills. Ability to work cooperatively on projects and to work independently on treatments. Ability to travel as required. Experience engaging with artists and their studios is desirable. Familiarity with the Museum’s collection management system, The Museum System, is desirable.

    Candidates must submit a detailed letter of interest stating education, work history, involvement with modern and/or contemporary art, and research interests. The inclusion of a writing sample, either published work or work-related documentation or research, is strongly recommended. The application should include the names of three references, but letters from references are not requested. No treatment reports are requested and should not be included. Candidates invited for interviews will be asked to supply treatment reports at that time. All material, in digital form, should be sent to by no later than August 15, 2017.

    If hired, the individual must successfully complete a security threat assessment through the Department of Homeland Security.

    The Museum of Modern Art is an equal opportunity employer and considers all candidates for employment regardless of race, color, sex, age, national origin, creed, disability, marital status, sexual orientation or political affiliation.

    7. RESEARCH ASSISTANT, Fitzwilliam Museum (Cambridge, UK)

    • Application closing date: October 20, 2017 by midnight
    • Research Assistant, non-invasive analysis of illuminated manuscripts Zeno Karl Schindler, MINIARE Fellow
    • GBP 25,298 – 29,301
    • Twelve-month contract starting January 2018

    The Fitzwilliam Museum houses the principal collections of art and antiquities of the University of Cambridge, and holds over half a million objects in its care. The Department of Manuscripts and Printed Books (MSSPB) preserves one of the finest collections of illuminated manuscripts in the world, dating from the tenth to the sixteenth century.

    The successful candidate, supported by the MINIARE Fellowship of the Zeno Karl Schindler Foundation, will join the cross-disciplinary team of the research project MINIARE (Manuscript Illumination: Non-Invasive Analysis, Research and Expertise, Based at the Fitzwilliam Museum, University of Cambridge, MINIARE focuses on the non-invasive analyses of the materials and techniques used in medieval and Renaissance illuminated manuscripts.

    Under the supervision of the Fitzwilliam Museum’s Research Scientist and the Keeper of Manuscripts and Printed Books, the Zeno Karl Schindler / MINIARE Fellow will analyze medieval and Renaissance illuminated manuscripts with a combination of non-invasive analytical tools. He/she will be trained in the combined, mutually complementary use of different imaging and analytical methods. He/she will become fully aware of the conservation needs of unique and exceptionally fragile manuscripts, as well as of the broader cultural and historical questions that the Museum’s cross-disciplinary research endeavors to clarify.

    Candidates should hold a Bachelor’s or Master’s Degree in physics, chemistry, materials science or cultural heritage science. Those who have recently completed a PhD in any of these fields will also be considered. They should be familiar with a range of analytical and technical imaging methods.

    A collaborative, supportive and flexible team working style is essential. The ability to deal with people at all levels and in a professional manner is crucial. A high degree of IT literacy, preferably including the use of software for data acquisition and analysis and image processing, is required. A strong interest in art and art conservation would be an advantage.

    To submit an application for this vacancy, please click on the link in the “Apply online” section of the advert published on the University’s Job Opportunities pages This will route you to the University’s Web Recruitment System, where you will need to register an account (if you have not already) and log in before completing the online application form.

    • Closing date for applications is midnight October 20, 2017
    • Planned interviews: w/c November 13, 2017

    Any queries should be directed to, or Tel: +44 01223 764840.

    8. PRESERVATION SERVICES MANAGER, Center for Jewish History (New York, NY, USA)

    • Applications will be accepted until the position is filled

    The Center for Jewish History (NYC | is home to five in-house partners—American Jewish Historical Society, American Sephardi Federation, Leo Baeck Institute, Yeshiva University Museum, and YIVO Institute for Jewish Research. When the Center opened its doors sixteen years ago, it made a commitment to preserve the collections housed within its walls and make them accessible to scholars, students, and diverse audiences by implementing a unique, shared services model across all five partners.

    In keeping with this mission, the Center for Jewish History seeks a Preservation Services Manager to join a dynamic team of colleagues dedicated to preserving and providing access to the collections. These collections total more than 30,000 linear feet of archival materials, 500,000 volumes, and thousands of artworks and artifacts.

    The Preservation Services Manager will report to the Senior Manager for Collection Services and manage all activities in the Preservation Services department which offers conservation treatment and re-housing of archival, library and photographic materials, exhibition consultation, and preventive conservation services for the partners’ collections.


    • Plan and manage workflows through the conservation lab and determine priorities for conservation treatment, re-housing, exhibitions, and preventive conservation.
    • Develop, maintain, and implement procedures and training manuals; evaluate processes and outputs, ensuring that treatment standards are met and implement modifications to improve quality and effectiveness; and train and supervise lab staff, volunteers and interns.
    • Collaborate with the Archival Services Manager and Digital Services Manager around joint processing, digitization, and conservation projects.
    • Direct and carry out environmental monitoring and preventive conservation activities.
    • Direct condition surveys on both item and collection level as appropriate, devising and implementing short and long-term preservation strategies based on assessment.
    • Advise on exhibition and loan of collection material to ensure its safety and care, including condition reporting, packaging for transport, security, length of display, mounting, lighting and environmental conditions.
    • Provide emergency preparedness and disaster recovery leadership.
    • Examine, document, and conduct complex conservation treatment of a wide range of paper-based archival, library and photographic material.
    • Follow best practices and standards for treatments, and keep current about the latest conservation techniques and practices through research and training.
    • Build and track budgets, maintain department statistics, prepare reports, and maintain treatment records.
    • Assist in identifying grant opportunities and in the preparation of grant applications and funding proposals for collection-related needs.
    • Support staff, patron, and community engagement through outreach activities, including workshops, seminars, and other training for Center and/or external audiences, and social media.

    Required Qualifications:

    • Master’s degree from a recognized conservation training program with a specialization in paper or book conservation.
    • Minimum three years’ experience conserving library, archive and museum materials with a focus on paper-based materials.
    • Experience and interest in preventive conservation and collections care.
    • Experience supervising and managing collaborative teams.
    • Experience managing projects from planning to completion.
    • Knowledge of preservation theory and standards of conservation practice.
    • Excellent communication and writing skills.
    • Ability to work independently and as part of a team.
    • Ability to work with diverse constituencies, including collection managers, archivists, librarians, Building Operations staff, and administration.

    Preferred qualifications:

    • Experience with budget development and tracking budgets and expenditures.

    The Center for Jewish History is committed to diversity and inclusion. Qualified individuals who bring diverse perspectives to the workplace are especially encouraged to apply.

    Review of applications will begin immediately. Applications will be accepted until the position is filled. Send cover letter and resume to Rachel Miller, Director of Archive and Library Services, at Candidates invited for an interview will be required to provide in advance a conservation portfolio of projects and treatments. No phone calls, please.

    For more details, visit:

    9. SENIOR OBJECTS CONSERVATOR, The Conservation Center (Chicago, IL, USA)

    The Conservation Center is soliciting applicants to join the company’s Objects Department as a Senior Objects Conservator. This department provides conservation treatments on different types of artifacts ranging from decorative arts, archaeological and ethnographic objects, and modern and contemporary art. The ideal candidate should have the following: working knowledge of materials, techniques, and ethics of object conservation; extremely fine manual skills; the ability to carry out treatments of minor to major complexity; sound judgment; the ability to meet scheduled deadlines; and the ability to work effectively with colleagues and clients as a positive and productive team member.


    • An advanced degree in art conservation with a specialization in object conservation preferred; or an advanced degree with comparable training, and a minimum two years of relevant post-graduate experience.
    • Thorough understanding of conservation theory and practice.
    • Strong grasp of the methods and materials utilized in object conservation.
    • Ability to provide written condition reports, treatment recommendations, and post-treatment reports for a wide range of objects.
    • Ability to perform highly skilled conservation treatments on different types of materials including, but not limited to the following: ceramics, glass, wood, lacquered surfaces, ivory, leather, metal, plastic, and stone.
    • Strong communication skills, and the ability to collaborate with other departments to execute treatments.
    • Ability to adhere to strict deadlines.
    • Ability to work in disaster recovery and triage situations.
    • Exhibits skills necessary to complete all aspects of projects, throughout the treatment process.
    • Previous experience in private practice strongly preferred.

    This is a full-time salaried position, which requires occasional travel. Compensation will be commensurate with qualifications and experience – benefits include medical insurance, vacation pay, and a 401 (k) retirement plan. The Conservation Center is an equal opportunity and affirmative action employer. All qualified candidates are encouraged to contact Heather Becker at Please submit a cover letter, resume, salary history, and three professional references which illustrate qualifications. If applying from outside the US, a US work visa is required before applying.

    10. OBJECT CONSERVATOR, The Mariners’ Museum and Park (Newport News, VA, USA)

    The Mariners’ Museum and Park is looking for a full-time object conservator to work on the conservation and collection care of over 18,000three-dimensional objects within the Museum’s collection. The collection includes ship models and decorative art objects as well as navigation, communication, and scientific equipment. In addition, the collection contains the handiwork and belongings of sailors, whaling and fishing equipment, and over 150 small craft from around the world.

    The conservator will undertake the direct treatment and preventive conservation care of objects within the three-dimensional collection of The Mariners’ Museum and Park. This individual will work closely with conservation staff and other museum personnel to conserve objects and to prepare them for exhibition, long-term storage, loan, photography, etc.

    Familiarity with a wide variety of inorganic and organic materials is required.

    To view the full position description and apply online, please visit:

    11. GRANTS FOR EMERGENCY PRESERVATION OF DOCUMENTARY CULTURAL HERITAGE, The Prince Claus Fund, through its Cultural Emergency Response programme (CER), and the Whiting Foundation

    New grant opportunity for projects to preserve acutely threatened documentary cultural heritage. The Prince Claus Fund’s Cultural Emergency Response programme and the Whiting Foundation are co-funding this new initiative, which supports work to conserve urgently-threatened manuscripts, tablets, archives, and the like, in Africa, Asia, Latin America, and the Caribbean.

    Applications will be accepted on a rolling basis until the end of the year. We expect that the average grant made will be in the range of 15,000 Euros.

    For details on Eligibility, Selection Criteria, and how to apply, please click here.

    More information is available on the Prince Claus Fund website at:

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    Emerging Conservation Professionals Network (ECPN) Seeking a Liaison to Conservators in Private Practice (CIPP) Fri, 21 Jul 2017 00:36:38 +0000 The Emerging Conservation Professionals Network (ECPN) is seeking candidates for the position of liaison to the Conservators in Private Practice (CIPP) specialty group. This is a one-year term position, with the potential to renew for another year. It is open to early-career conservators who are currently working in private practice and are members of CIPP.

    The liaison would join ECPN’s growing Specialty Group Liaison program, and serve as a connection between Specialty Group leadership, ECPs in your specialty group, and the larger ECPN community.

    Both ECPN and CIPP’s charges and current leadership can be found on the AIC website here and here, respectively.

    CIPP Duties and Goals:

    • Conference Calls with CIPP Officers (first Wednesday of the month)
    • Subscribe to CIPP Officer listserv
    • Assist with developing CIPP programming targeted toward emerging conservators (such as Annual Meeting programs, webinars, resource guides, blog posts)
    • Participate/co-author one CIPP article in AIC News
    • Provide content for updating the CIPP website
    • Produce a summary of activities for CIPP biannual report to AIC Board of Directors
    • Funding may be available to offset the registration costs to attend the annual meeting

    ECPN Duties:

    • Conference Calls with ECPN Outreach Officers (1-2x/year)
    • Conference Calls with ECPN Officers (1-4x/year)
    • Disseminate information pertinent to the ECPN community (e.g. BigTent forums andspecialty group listserv)
    • Make at least two short entries on BigTent updating the ECPN liaison community on upcoming or successful initiatives
    • When appropriate, advocate for ECPs in specialty group meetings and promote specialtygroup initiatives to ECPs
    • Assist with the AIC Wiki edit-a-thon on specialty group web pages in consultation with specialty group chair and ECPN
    • Provide support to ECPN entries on the AIC blog
    • Publicize ECPN webinars (two organized annually)
    • If present at the annual AIC meeting, attend the specialty group business meeting and give the ECPN update presentation (talking points will be provided by ECPN Officers); promoting ECPN programming
    • Stay connected via Facebook and ECPN posts on the AIC Blog
    • Brief Spring Report: a short summary of the work done by the specialty groups and how it affects the ECPN community and how this information was circulated.

    Please send a CV and brief statement of interest to ECPN’s Outreach Officers at by August 4, 2017.

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    45th Annual Meeting—Textiles Session, Tuesday May 30th—“Making the Mold: A Use for Fosshape in Upholstery Conservation” by Kirsten Schoonmaker and Abby Zoldowski Wed, 19 Jul 2017 01:21:47 +0000 After much ado and various delays, I am happy to post about Kirsten Schoonmaker’s fascinating presentation!

    The task at hand was creating consistent custom upholstery packages for eight Heppelwhite shield back chairs. Belonging to the Philip Schuyler Mansion State Historic site, the chairs are part of a suite of Heppelwhite pieces, which all date between 1790 and 1804. The pieces were on display when the site opened to the public in 1917. They were removed from the house in 1926, and were recovered in the 1950s, altering the profile and the show fabric. After returning to the mansion in the 1970s, the chairs were again recovered, this time in a Scalamandre fabric.

    As 2017 marks the centennial of the Philip Schuyler Mansion, it was decided to return the chairs to their former glory. The chairs were suffering from saggy backs and over-stuffed arm padding, and the seats in the set featured two different profiles. Removal of the replacement show fabric and additional layers of padding on the arms of one of the chairs exposed some of the original show fabric, informing the decision regarding new show fabric. Still, a decision had to be made regarding the upholstery profile. A modern, all-archival materials solution was considered, as was the possibility of leaving all of the remaining period materials intact and part of the piece. In the end, it was decided to remove all of the additions from the 1950s restoration onward. In the case of the chair backs, whose structural condition was compromised the most, the conservators worked from the bare frame. Kirsten presented the process piece by piece, with illustrations and photographs to clarify her descriptions (a very important element for audience members with little upholstery experience like me!)

    The new shield back upholstery required complex curves, which are hard to achieve when carving ethafoam. Kirsten explained the interest in utilizing the adaptable qualities of Fosshape to recreate the proper silhouette for the new upholstery packages. Both the customized shape and the resistance of set Fosshape to changes in relative humidity made the material desirable. Fosshape 600 was used to test the creation of a new chair back. The conservation team created a plywood cradle and used air-dry clay to create molds of the front and back curved pieces. The fosshape was draped over the mold and steamed to follow the correct shape. The front and back layer were then sewn together with a layer of polyester batting sandwiched between. The unified piece was then covered in muslin (and eventually a new silk fabric). Two application approaches were tried with the new shield back packages, and the effectiveness depended heavily on tack placement.

    Kirsten noted several factors to keep in mind for any future experimentation using Fosshape in this manner. Addressing the inflection points and tacking edges in the mold stage would improve the process. Also, experimentation to determine Fosshape’s self-adhering qualities could prove useful in future projects. The notion of using a 3-D scanner to create a printable mold in the future could speed the process along even more. In the end, there are plenty of possibilities to take away from this fascinating project.

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    45th Annual Meeting — Research and Technical Studies Session, June 1, 2017 — “Revealing the text and folds in 17th-century locked letters” presented by Jana Dambrogio Tue, 18 Jul 2017 14:23:30 +0000 The final talk of the June 1st RATS session was by Jana Dambrogio, Thomas F. Peterson (1957) Conservator, MIT Libraries, Curation & Preservation Services. Jana has been working for several years on the subject of “letterlocking,” the many techniques by which a letter can be folded to form its own envelope. Some of these letters are folded very simply while others are outfitted with complex security features that indicate if a letter has been opened by someone other than the intended recipient. Jana’s research has even suggested that a single individual might have had more than one technique for folding letters.

    Most of this research has been carried out by studying unfolded letters, examining folds, cuts, and other physical evidence in order to reverse engineering the original folded structure. Now, Jana and a team from Queen Mary, University of London are using Computed Microtomography (CT scanning) to discern the interior structure of unopened letters. A collection of 600 such letters is held by the Museum voor Communicatie in The Hague, Netherlands.

    The letters are part of a group of 2,600 that came to the Museum stored in a 17th century trunk. Jana explained that in the period when the letters were written, the mail operated on a “cash on delivery” system. The letters in the trunk were never retrieved, and thus remained in the custody of the postmaster. While about 2,000 have previously been opened, the “Signed, Sealed & Undelivered” project team are studying the 600 that have never been opened, using a novel application of CT imaging.

    During the talk, Jana shared many videos from the project website, demonstrating techniques for letterlocking and showing the potential of the imaging technique.

    For more information visit:

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    Now if the Mona Lisa had been damaged… Tue, 18 Jul 2017 13:02:16 +0000 Each morning I search The New York Times and Wall Street Journal for conservation related news. However, it was not until this morning when I read the July 18, 2017 issue of Hyperallergic that I learned of the damaging flooding in the Louvre, the National Library of France, and the French Ministry of Culture’s main storage facilities caused by extremely heavy rains on July 9th (“ Flooding Damages Three Paintings and Multiple Rooms at the Louvre”). Just over a year ago, the Louvre and Musee d’Orsay suffered damage when heavy rains caused the Seine to overflow. The second flood damaging Parisian museums in two years would seem worthy of a mention in the Times or WSJ. Perhaps with all of the damage to the cultural heritage that has been caused by human action over the past two years, a second ( but limited) natural disaster doesn’t seem that newsworthy. Now if the Mona Lisa had been damaged…

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    Grant: Association of Print Scholars Individual Grants Mon, 17 Jul 2017 19:13:33 +0000
  • Application deadline: August 1, 2017
  • The August 1st deadline for the Association of Print Scholars’ individual grants is approaching. As always, conservators, as well as curators, scholars, and artists are welcome to submit proposals.

    The Association of Print Scholars welcomes applications for individual grants in an effort to encourage innovative scholarship on printmaking and collaboration among the print community. Funding will range from $500-$1000 and will support (but is not limited to) research projects, programs, and publications that advance knowledge of printmaking. Guidelines for applying are intentionally broad: awardees should aim to further the mission of APS and provide opportunities to bring together diverse print scholars and types of expertise. A panel of the field’s senior members will review applications.

    Grants will be awarded twice per year. Applications are due by February 1 (for a March award) or August 1 (for a September award). Examples of previously funded projects are available at

    Applications must include the following materials, which should be sent to Angela Campbell, Grants Coordinator, at

    • A brief statement describing the proposed project and its connection to APS’s mission (500 words maximum)
    • A proposed budget. If the APS grant is in addition to major funding, please detail how an award could further enrich research, programs, publication, etc.
    • CV for applicant(s)

    Successful applicants are requested to submit a brief report and, if possible, images or other documentation of their grant project within one month of its completion. All current APS members are eligible to apply.

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    45th Annual Meeting — Book & Paper Session, May 30, 2017 — “Removing Oil From Paper: A Collaborative Conservation Challenge” presented by Holly Herro Mon, 17 Jul 2017 18:58:17 +0000 It’s probably safe to say that most book conservators have encountered at least one oil-stained textblock. In many cases, the source of the oil was leather dressing, historically applied in an attempt to improve the suppleness, appearance, and longevity of leather bindings. Many different formulae of leather dressing have been documented, but one of the best known is a roughly 1:1 mixture of neatsfoot oil and lanolin.

    Treating this staining is challenging for a number of reasons: while conservators can speculate about the type and age of the oil causing the stain, they can’t always make a definitive identification, so extensive testing is often necessary; oil-based printing inks can be susceptible to the same solvents that will act on the stain; treatment of any stain in a bound textblock is difficult; and finally, depending on the amount of oil still saturating the binding, there is the potential for the stain to return or expand over time.

    Holly Herro, Conservation Librarian for the History of Medicine Division at the National Library of Medicine presented on the development of a process to remove oil stains from book paper. The project was carried out in collaboration with paintings conservator Scott Nolley, Chief Conservator at Fine Art Conservation of Virginia, and paper conservator Wendy Cowan of Richmond Conservators of Works on Paper. Tests were conducted on a blank modern paper endsheet from a 15th century book. The sheet was stained with what the conservators suspected was a combination of neatsfoot oil and lanolin, applied approximately 30-40 years ago. Several protocols were tested, but the most successful at reducing the staining was as follows:

    Pre-wash the affected page in a 50/50 solution of deionized water and ethanol buffered to pH 9 with ammonium hydroxide. In the tests, the samples were washed in three baths totaling one hour and air dried. Using suction, first apply a pipette filled with petroleum ether, a low polarity solvent that solubilizes the lanolin. Then apply acetone with a pipette, a high polarity solvent, to solubilize the neatsfoot oil. Continue alternating these solvents in a 1:1 ratio, changing the blotters regularly, until the oil is visibly reduced. Periodically view the substrate using a ultraviolet light checking for any oil residue. After the oil is reduced, wash the paper in a deionized water buffered to pH 9 with ammonium hydroxide.

    The samples were examined under UV and visible light before and after treatment to determine the effectiveness of each treatment. The alternation of a polar and non-polar solvent over a suction table seems to have been an effective way to reduce both suspected components of the stain. The protocol was also tested on an endsheet in a bound book using a suction platen.

    Leather dressing stains in books continue to be a common problem faced by book conservators and additional tips and tricks are always useful to have on hand. A great next step for this work would be testing of the impact of the protocol on printing inks.

    To read more about the project and about techniques for reducing oil and leather dressing staining on paper, consult the following resources:

    “Oil on Paper: A Collaborative Conservation Challenge” by Kristi Wright and Holly Herro:

    “Treatment Options for Oil Stains on Paper” by Denise Stockman:

    “The Removal of Leather Dressing from Paper” by Brenna Campbell:

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    People will take selfies. Why not be prepared? Sun, 16 Jul 2017 11:17:13 +0000 In the July 14, 2017 issue of The New York Times, Sopan Deb reported (“Oops! A Gallery Selfie Gone Wrong Causes $200,000 in Damage” ) that a visitor taking a selfie caused considerable damage to a number of pieces in a show at 14th Factory in Los Angeles when, striving for a better photo, she got too close to a pedestal, lost her balance, and set a row of pedestals with art works on top crashing down domino style. There have been a number of prior art museum and gallery selfie mishaps. Short of confiscating cell phones (and cameras) from visitors, an institution would be hard pressed to eliminate the practice of taking selfies Pedestals and art works can be secured. Barriers and do not cross floor markings can be installed. People will take selfies. Why not be prepared?

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    Job, Internship, Fellowship Digest: July 14, 2017 Fri, 14 Jul 2017 13:51:37 +0000
  • Contractual Conservator, Maryland Archaeological Conservation Laboratory
  • Conservation and Design Officers, Cheshire East Council
  • Collections Assistant, Royal Tyrrell Museum
  • Supervisory Librarian (Chief, Digital Collections Management and Services), Library of Congress
  • Painting Conservator – Q Art Conservation Pte Ltd.
  • Mellon Fellow Textiles Conservator, Los Angeles County Museum of Art: The Conservation Center
  • Head of Conservation, Museu de Arte de Sao Paulo
  • Collections Technician: Library Assistant Ii, Johns Hopkins University

  • 1. CONTRACTUAL CONSERVATOR, Maryland Archaeological Conservation Laboratory (St. Leonard, MD, USA)

    • Application deadline: July 20, 2017

    The Maryland Archaeological Conservation Laboratory, located at the Jefferson Patterson Park and Museum in St. Leonard, MD, is recruiting for a full time contractual conservator.

    Main Purpose of Job
    This position will function as Conservator working under the direction of the Lead Conservator on a wide range of archaeological objects from marine and terrestrial excavations, including iron, copper alloy, ceramic, glass, leather, stone, and wood. The position will examine and document objects, perform analytical tests, prepare treatment proposals, perform chemical and mechanical conservation treatments, package or mount artifacts for transport, storage, and display, and submit full reports of all activities, thus fulfilling contractual obligations and providing revenue generation for the Conservation Program of the Maryland Archaeological Conservation Laboratory (MAC Lab).

    Minimum Qualifications
    Applicant must have a degree in the conservation of Objects, from an accredited conservation degree program. Current students seeking a minimum 12-month internship either post-graduate or as a graduation requirement, are eligible. Equivalent work experience of two years practical conservation of archaeological materials maybe excepted in lieu of a conservation degree.

    Desired or Preferred Qualifications
    The applicant should be able to lift 50 pounds, work on ladders or in crouching positions, have experience with taking and processing photographs, and experience with computers operating the Windows Office Suite (Work, Excel and Access), or other equivalent computer software programs. Prior training in health and safety and the use of lifting and moving equipment is desired.

    The deadline to apply is July 20, 2017. For more information and to apply online, go to:

    2. CONSERVATION AND DESIGN OFFICERS, Cheshire East Council (UK) 

    • Closing date: July 24, 2017
    • Job ref: WB 00002J
    • Salary: £22,658 – £25,951 (Grade: 7)
    • 37 hours per week
    • Temporary 2-year contract


    Cheshire East is an amazing place to live, work, visit and invest. We are proud to be one of the biggest employers in the area, employing around 4000 staff based in offices and other workplaces across the Borough. As a unitary council, we provide many different services and we offer a wide range of opportunities to job applicants from all backgrounds, ages, skills and interests. Our aim is to have a diverse workforce that understands and represents the communities they serve.

    We work hard to deliver on our promise to Put Residents First by asking our staff to live our values which we believe underpin our success. To us ‘Putting Residents First’ is about listening and understanding what residents and businesses need and responding appropriately to provide the best possible Service.

    If you would like to be part of our team and want to contribute to our ongoing success, have the flexibility and drive to enable us to innovate and are willing to work as part of a team we would like to hear from you for our current vacancy.

    This position requires you to declare any unspent convictions under the Rehabilitation of Offenders Act 1974 (Exemptions Order 1975), where prompted to do so within in the application process. You are not required to disclose any spent convictions.

    The ability to converse at ease with customers and provide advice in accurate spoken English is essential for this post.

    Cheshire East is planning for substantial growth and now seeks to strengthen its Heritage and Design Team within the Development Management Service to meet new challenges around Urban Design and protection of the Borough’s important heritage assets. We are looking for two Conservation and Design Officers.

    One post will work directly with the Principal Design and Conservation Officer focusing on urban design, supporting the roll out of our recently adopted housing design guide through enhanced design advice on planning applications, training and implementation of design review.

    The other post will support a Senior Conservation and Design Officer to provide advice on heritage related planning applications and undertake reviews of Conservation Areas and Buildings at Risk.

    Please state in your application which post you are applying for – Conservation or Design.

    For an informal discussion on this post, please contact: Ian Dale Environmental Planning Manager (+44 01625 383732), or David Hallam Principal Design and Conservation Officer (+44 01625 383733).

    For any enquiries please email or call +44 0300 123 5500. Please quote job reference number WB 00002J in all correspondence.

    3. COLLECTIONS ASSISTANT, Royal Tyrrell Museum (Drumheller, Alberta, Canada)

    • Application deadline: July 24, 2017, but the competition will remain open until a suitable candidate is found

    The Collections Assistant will support all aspects of the Royal Tyrrell Museum’s Collection Management Program by undertaking day-to-day operation of the collection database.

    The Collections Assistant will assist with installation and removal of specimens from public galleries as required.

    They will provide preservation support, including inventory and cataloging of field collections, best practices in the storage and movement of palaeontological collections, and maintaining the database standards of a large scale natural history collection.


    • Inventory and cataloging
    • Storage and specimen handling
    • Collections Management support


    • Bachelor’s degree in Earth sciences, museum studies, or a related field.


    • Experience working with a relational database
    • Experience cataloguing a natural history collection
    • Knowledge of Alberta palaeontology
    • Class 5 driver’s license

    Required skills:

    • Task orientated, ability to meet deadlines in a timely manner
    • Independent worker with strong problem solving skills
    • Must have demonstrated excellent communication skills, working well in a team environment


    • Salary will be commensurate with education and experience
    • Group Health Benefits Plan available
    • Group RSP Plan available

    Consideration of applications will begin July 24, 2017; however, the competition will remain open until a suitable candidate is found.

    To apply forward your resume with a cover letter to: Kathy Little, Support Services Manager Drumheller and District Chamber of Commerce,

    We thank all candidates for their interest. Only individuals selected for interviews will be contacted. All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. If suitable Canadian citizens or permanent residents cannot be found, other individuals will be considered.


    • Application deadline: August 10, 2017
    • Job announcement No. VAR000152
    • Salary: $124,406 to $187,000 / per year

    About the Agency

    This position reports to the Director, Technology Policy, in Library Services and is responsible for leading the newly established Digital Collections Management & Services Division. The division is responsible for providing support for the full lifecycle management of digital collections. This includes executing digitization projects using in-house or contractor digitization services. Digital Collection Management & Services staff collaborate with Library curatorial units, technical staff, and cross-service unit organizations to establish policies, implement new and streamline existing digital workflows, identify digital content management problems and propose solutions, provide training, and communicate best practices.

    • This position is located in the Digital Collections Management and Services Division, Technology Policy Directorate, Library Services.
    • The position description number for this position is 350565.
    • The salary range indicated reflects the locality pay adjustments for the Washington, D.C., Metropolitan area.
    • The incumbent of this position will work a flextime work schedule.
    • This is a supervisory, non-bargaining unit position.
    • Relocation expenses will not be authorized for the person(s) selected under this vacancy announcement.

    Leads the development of strategies for planning and developing major agency programs of national scope and impact related to digital collections. Contributes to the development of a vision and strategy for acquiring and managing the Library’s digital collections. Oversees and administers digital content management programs within the scope of the division. Participates in the evaluation, development, and documentation of long-and short-term efforts. Ensures that the two subordinate units within the division, Digitization Services Section and Digital Content Management Section, achieve their strategic goals and objectives. Evaluates current and proposed programs, develops new programs, and recommends actions to be initiated or discontinued. Designs and implements digital lifecycle management efforts to be undertaken within existing resource levels and advises on the impact of efforts requiring additional resources. Ensures that digital collections under the care of the unit are managed in accordance with established policies.

    Establishes performance expectations for a group of staff members performing work up to the GS-15 level. Provides informal feedback and periodically evaluates staff on organizational performance. Provides advice and counsel to staff members and subordinate managers. Effects disciplinary measures. Reviews and approves or disapproves leave requests, telework, and other work-related arrangements.

    Coordinates the formulation and administration of policy related to the lifecycle management of the Library’s digital collections, exercising considerable discretion and judgment concerning the implementation and interpretation of new and existing policies, and in making analytical and technical decisions. Establishes and maintains close and cooperative working relationships with agency officials and various working groups to develop the policy framework and establish the curatorial and long-term preservation policies and requirements for the Library’s digital collections. Examples of policy areas include required processes for inventorying digital content, data security for digital content, and life cycle management of digital holdings to include long-term preservation and rights-protected access. Facilitates the development of a cohesive digital preservation program for Library Services. Ensures consistent application of approved library methodologies and processes across relevant digital projects. Ensures that proposed and active digital projects and programs are aligned to Library and service unit strategic objectives. Provides expert advice related to requirements for digital repository tools and services and their associated technical infrastructure. Works collegially with other service units, agency officials and various working groups to explore and formulate long-range strategic plans and ensures that digital project and program goals and objectives are aligned to library and service unit strategic objectives. Participates in interagency, national, and international task forces, expert panels, and meetings related to the lifecycle management of digital collections forces. Chairs working groups and task forces related to policy development and planning related to digital collections content.

    Serves as a nationally and internationally recognized expert on digital lifecycle management and preservation. Stays current with developments in the field, and provides expert policy advice and guidance on the most challenging problems in the lifecycle management of digital collections. Advises senior managers, officials at multiple levels in the Library, professional colleagues at libraries at all levels, Congressional staff, researchers, scholars, and the general public. Works closely with and advises digital collections staff throughout the library. Serves on interagency, national and/or international special work groups, task forces, or expert panels.

    Serves as a principal LC liaison at professional conferences, seminars, and exhibits. Represents Library Services and its organizational interests and perspectives at high level internal and external meetings involving discussion and establishment of policy, or consideration of issues or Initiatives with potential Library-wide impact. Chairs tasks groups for the development of programs and events that may have Library-wide impact. Establishes and maintains

    effective working relationships with various high-level individuals, including Members of Congress and their staff, other legislative and executive agencies, executives of major corporations, professional associates, research libraries and institutions, foundations, and distinguished members of the public. Establishes and maintains close and cooperative working relationships with management and officials at the library of Congress, government agencies, and private sector partners in order to advance the programs and long-term projects of Library Services and the Library of Congress.

    For a full job description, and to apply, visit:

    5. PAINTING CONSERVATOR – Q Art Conservation Pte Ltd. (Singapore)

    Q Art Conservation Pte Ltd is part of Q Framing Group in Singapore. Q Framing Group provides Fine Art Framing and Conservation Services to Singapore’s Museums, Galleries and Private Collections.

    We provide local transportation, crating and packing, installation, Fine Art Custom Framing, and conservation services to museums, galleries, auction houses, private and corporate collections.

    As part of our growth, we now have a vacancy for the position of Conservator of Paintings. Qualified candidates will have academic credentials from a recognized conservation training program and specialized experience beyond the degree in the study, care, and treatment of paintings.

    This position is responsible for carrying out the examination, documentation, and treatment of paintings on behalf of Q Art Conservation Pte Ltd.

    This position requires experience in the typical range of conservation activities involved in optimal preservation and presentation of a large and varied range of paintings originating in South East Asia.

    The Conservator of Paintings has direct responsibility for conservation of paintings spanning many cultures across South East Asia. Candidates must possess outstanding visual and manual aptitudes, strong written and oral communication skills, a sound art-historical and technical knowledge of painting, and demonstrates ability to deal with the complexities and dynamic pace of a private conservation studio.

    Duties include:

    1. Carry out physical examination and documentation of paintings on behalf of Q Art Conservation by:

    • carrying out surveys of the physical condition of paintings to assist in the planning of treatment proposals
    • performing detailed examination of the materials, structure, and condition of paintings;
    • prepares written reports on the materials, structure, and condition of paintings, and on treatments proposed for those works and estimated costs
    • performing slide and digital photography as well as image processing
    • adhering to accepted professional standards in all aspects of examination and documentation

    2. Carry out complete conservation and restoration procedures of minor to major complexity on paintings, by:

    • performing such treatments as solubility testing, consolidation, reduction of deformation, facing, lining, lining removal, surface cleaning, varnish removal, overpaint removal, infilling, inpainting, and surface coating application
    • implementing preventive conservation measures, provide feedback and assist in frame modification, re-framing, and others, to prepare paintings for display, exhibition, loan, photography, or storage
    • operating specialized equipment such as the heated suction table during paintings conservation treatment
    • recording photographically the various stages of treatment to create a permanent documentary record
    • maintaining accurate records and preparing written final reports of the treatments carried out
    • maintaining an awareness of hazardous materials and performing duties in accordance with accepted standards of health and safety; ensuring that junior staff and interns follow safe procedures
    • adhering to accepted professional standards in all aspects of conservation treatment

    3. Contribute to the safe display, storage, and movement of paintings, by:

    • recommending framing and hanging systems to ensure the physical safety of paintings
    • recommending safe environmental levels of light, temperature, and relative humidity
    • recommending safe packing methods for art works being stored or transported
    • advising on safe handling procedures

    4. Perform other related duties, as required, including but not restricted to:

    • participating in periodic inspections of works of art
    • collaboration on projects with other conservators, proposal writing, and site-visits
    • assisting other conservators in the examination and/or treatment of works of art
    • assembling specialized equipment such as humidity chambers, temporary stretchers, work surfaces, and maintaining laboratory equipment and tools as required

    The ideal candidate will possess the following as minimum qualifications:

    • Master’s degree in Art Conservation, or equivalent combination of conservation training and experience
    • Three or more years’ experience in the examination and treatment of paintings,
    • Advanced skills in: examining paintings to establish their physical condition; distinguishing between original materials and later additions, recommending conservation measures, and carrying through to completion restoration operations of minor to major complexity
    • Comprehensive knowledge and understanding of the materials and techniques of traditional easel paintings on canvas, wood, and related supports
    • Thorough understanding of the mechanisms of physical, chemical, and biological deterioration of materials making up paintings
    • Sound knowledge of the principles, processes, and practices involved in the preservation and treatment of paintings, both traditional and the most recent developments
    • Understanding of safe handling, framing, crating, and shipping practices
    • Ability to adhere to deadlines
    • Ability to perform the physical labor as required for specific treatments
    • Previous experience in private practice is an advantage

    If you feel that you possess the experience and qualifications outlined, please submit your cover letter, resume and salary history/requirements to our HR department at for consideration.

    This is a full-time salaried position, which requires relocation to Singapore.

    Compensation will commensurate with qualifications and experience – benefits include medical insurance and annual paid leave.

    6. MELLON FELLOW TEXTILES CONSERVATOR, Los Angeles County Museum of Art: The Conservation Center (Los Angeles, CA, USA)

    • Regular Full-Time

    With more than 130,000 objects dating from ancient times to the present, the Los Angeles County Museum of Art (LACMA) is the largest art museum in the western United States. A museum of international stature as well as a vital part of Southern California, LACMA shares its vast collections through exhibitions, public programs, and research facilities that attract over 1.5 million visitors annually. LACMA’s eight building complex is located on 20 acres in the heart of Los Angeles, halfway between the ocean and downtown. Learn more about the museum by exploring

    The Conservation Center at the Los Angeles County Museum of Art is seeking applications for an Andrew W. Mellon Fellowship in costume and textile conservation. The fellowship is a full-time position for one year, and includes a stipend of $43,680 per year plus benefits. A $2,000 travel allowance for study/research will be allocated at the discretion of the section head and the Director of Conservation.

    The fellowship will focus on the study, examination, and conservation of costume and textiles in the collections of the Los Angeles County Museum of Art. Successful candidates will gain considerable experience working within a conservation laboratory that is tasked with preparing artifacts for exhibition, loan, photography and storage. Collaborative projects with the Center’s Research Laboratory are possible. Successful candidates will have the opportunity to participate in informal lectures, symposia, and workshops and to visit and collaborate with nearby cultural institutions.

    The qualified candidate will have a Bachelor’s in Conservation or related field. Candidates will be considered who have graduated from a recognized conservation training program, with a specialization in textiles conservation, or who have similar training or experience.

    Interested candidates must submit the following materials:

    • A curriculum vitae including basic biographical information, current and permanent addresses and telephone numbers, education, and experience
    • A short statement of the candidate’s interest and intent in applying for the fellowship.
    • Letters of recommendation from three professional references.

    An Equal Opportunity Employer: It is the policy of the Los Angeles County Museum of Art to provide all persons with equal employment practices and opportunities without regard to race, color, religion, ancestry, sex, sexual orientation, national origin, disability, age, veteran or marital status or any other characteristic protected by federal, state or local law.

    7. HEAD OF CONSERVATION, Museu de Arte de Sao Paulo (Sao Paulo, Brazil)

    The Conservation and Restoration coordinator will be responsible for the preservation, conservation, and restoration of artworks belonging to the MASP collection.

    Main assignments:

    • Conservation and care of the museum collection.
    • Perform restoration treatments, keeping proper documentation.
    • Evaluate artworks utilizing stereo-microscope, infrared reflectography, X-ray fluorescence analyses, among other techniques.
    • Write condition reports of the collection.
    • Design and execute micro-climate vitrines for display of paintings and
    • Travel as a courier accompanying works of art nationally and
    • Support the loan department regarding conservation topics.
    • Evaluate and record the condition of paintings being considered for
    • Develop conservation projects in partnership with other international
    • Consult with and oversee the shipping companies regarding the proper packing requirements and safe shipping of artworks.
    • Support temporary exhibitions: check incoming and outgoing artworks, write condition reports when necessary, work with the collection and exhibition staff regarding safety of exhibiting works, lighting, temperature, and relative humidity requirements.
    • Oversee the preventative conservation of the collection, advising colleagues on the care, storage and conservation of the collection.
    • Provide assistance to the staff regarding the fragility of artworks when handling the works for framing, mounting, attaching backing boards, etc.
    • Periodically monitoring the condition of the collection.
    • Collaborate with other museum staff and curators, offering orientation regarding the condition, conservation and care of the collection.
    • Carry out anoxic treatment of insect infested artworks.
    • Monitor and control insect infestation and problems with mold, when necessary.

    Background, knowledge, and previous experience required:

    • Postgraduate degree in arts conservation with specialization in paintings conservation from an internationally recognized institution.
    • Five years’ minimum previous practical experience in painting conservation, preferably in art museums;
    • Experience in examination and treatment of paintings;
    • Basic knowledge of imaging techniques for record keeping: digital photography including UV, infrared reflectography, X-ray, etc.
    • Experience in both the treatment of old masters and modern paintings is desirable.
    • Digital photography for making condition reports.
    • Basic knowledge of chemical and technical methods of analyses of art works
    • Basic knowledge of biology of microorganisms found in museum collections.
    • Fluency in writing, speaking, and reading Portuguese and English; knowledge of other languages desirable.
    • Availability for frequent domestic and international travels.
    • Professionalism, management and teamwork experience, proactivity

    Write to, or

    8. COLLECTIONS TECHNICIAN: LIBRARY ASSISTANT II, Johns Hopkins University (Baltimore, MD, USA)

    • Requisition No. 315042
    • Range: OD; Level: 2
    • Salary: Commensurate with experience
    • Status: Full Time
    • School: Krieger School of Arts and Sciences
    • Location: Homewood Campus, Baltimore, MD
    • Contact: Central Talent Acquisition Office +1 443.997.5100
    • This is a six-month position

    The primary function of this position is to rehouse and photo document objects in the Johns Hopkins Archaeological Museum to increase access to the museum collection for the purposes of study, teaching, research and visitation by Johns Hopkins University faculty, students, staff and members of the general public.

    Duties and Responsibilities

    Rehousing objects:

    • Create archival housing containers using appropriate archival materials for objects to ensure the long-term preservation of the collection.
    • Maintain inventory of rehousing supplies and materials and order supplies and materials as needed
    • Consult with staff on procedures, design, and execution of storage mounts
    • Track progress of rehousing and location data using museum database
    • Research design of storage mounts and materials as needed
    • Verify objects accession numbers and assure proper labeling of housing
    • Assist with installation and de-installation of objects as needed
    • Photo-documentation of objects
    • Refine and implement photography workflow
    • Appending metadata to images using Adobe Bridge to ensure images are organized and easily retrievable.
    • Maintain photography equipment
    • Maintain the organization of digital images on server
    • Provide images to researchers and the public
    • Track photography status of objects in database.
    • Documentation/Social Media/Outreach
    • Post on museum social media accounts including Facebook and museum website
    • Present work to museum visitors

    Student supervision:

    • Supervise undergraduates on rehousing and photo-documentation of collection
    • Develop workflow and projects for students
    • Provide quality control of products developed by students
    • Ensure projects are completed in timely manner

    Administrative support:

    • Communication closely with the Associate Director and Collections Manager about the status of various aspects of the project
    • Maintain log of rehoused and photo-documented objects
    • Prepare rehousing and photography to supervisory staff
    • Provide other administrative support as needed including occasional staffing of the museum during visiting hours
    • Assure museum space and workstation is kept clean and tidy


    • Bachelor’s Degree in archaeology, art, art history, museum studies or a related field highly preferred.
    • Requires two years of experience working with artifacts in a museum context.
    • Experience in collections management or conservation preferred. 

    Knowledge and Skill:

    • Knowledge of current archival housing practices
    • Basic skill in constructing housing for museum collections
    • Understanding of museum documentation and record keeping
    • Ability and willingness to learn new digital skills in programs including but not limited to Filemaker Pro, Adobe Photoshop and Bridge, WordPress and Pages
    • Attention to detail is essential
    • Excellent communication skills required
    • Ability to work effectively with a variety of individuals, from faculty and researchers to undergraduate students.

    NOTE: The successful candidate(s) for this position will be subject to a pre-employment background check.

    If you are interested in applying for employment with The Johns Hopkins University and require special assistance or accommodation during any part of the pre-employment process, please contact the HR Business Services Office at 443-997-5100. For TTY users, call via Maryland Relay or dial 711.

    EEO is the Law.

    ]]> 0
    LEUKOS: Call for Papers on Museum Lighting Fri, 14 Jul 2017 12:14:22 +0000 LEUKOS: The Journal of the Illuminating Engineering Society
    Special Issue: Museum Lighting Call for Papers
    Deadline: March 31, 2018

    Investigating how modern lighting solutions can improve customer experiences in museums?
    Concerned with the challenges new lighting technologies present for conservation of museum exhibits?
    Please contribute your research to the Special Issue of?LEUKOS on ?Museum Lighting.?

    Why this subject?
    Museum lighting is at a pivotal moment. Solid-state lighting (SSL) promises to transform the illumination and display of art. LED lighting offers many opportunities to present art, heritage and archaeological pieces in a better light. Literally. But they present new challenges concerning conservation and the best customer experience. The challenges are likely to be addressed from applied and multidisciplinary research. This includes engineering, architecture, vision science, psychophysics, psychology, conservation science, physics, and chemistry.

    This special issue will follow the 1st International Museum Lighting Symposium and Workshops, to be held September 11 – 12, 2017 at University College London.

    What could you contribute?
    Your high-quality, insightful research into:

    • The application of light-emitting diodes (LED) to the illumination of artwork, including assessments of how their salient technical characteristics (e.g., compact size, long life, low UV, low IR) are relevant to museum lighting applications.
    • The challenges and opportunities associated with the ability to control the spectral power distribution (SPD) of LED products, including how spectral tuning affects visual perception of artworks and physical deterioration of artwork materials.
    • Color rendition and appearance, including color naturalness, color contrast and discriminability, image quality, color gamut, color preference, and all other perceptual phenomena that relate to the visual effects of the interaction of light with objects.
    • Design and technical aspects of lighting in museum settings, including the relationships between lighting design decisions and conservation.
    • Rigorous psychophysical and perceptual studies that report on lighting perception and preference for the display of artwork, including human non-visual responses to lighting.
    • Digital control of LED lighting products, including how spectral and intensity control strategies of LED lighting, and daylighting control strategies, may support conservation of artwork and reduce energy use.

    We also seek well-written reviews that appropriately summarize and organize material for non-experts in the field.

    Your manuscript should be of high scientific quality and clearly written in professional English. It should not have been published previously, nor be under consideration for publication elsewhere. As with all manuscripts published in LEUKOS, the selection process will be based on a double-blind peer review.

    As the special issue follows the 1st International Museum Lighting Symposium and Workshops, we encourage authors who present at the conference to submit a full manuscript to LEUKOS for consideration for this special issue. However, this is not a requirement for submission to this LEUKOS special issue. If your research is relevant, then please send it to us.

    If you would like preliminary comments about suitability of a topic that you are considering for this special issue, then please send a tentative title and abstract to:,

    For instructions on how to prepare your manuscript, and to submit online, visit:

    Posted for the LEUKOS Editor-in-Chief, Kevin W. Houser, PhD, PE, FIES, LC
    Professor, Dept. of Architectural Engineering, Penn State University

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    2017 AIC MEMBER DIRECTORY Wed, 12 Jul 2017 14:25:17 +0000
    The spiral-bound 2017 AIC Member Directory is currently available in the AIC store.

    Why should you get a copy?
    Because it is a primary source for conservators, museum and arts professionals, students, and others in contact with the conservation field. It consists of 276 pages of AIC members by name, specialty, and geographic region and listings of conservation guilds, training programs, international conservation organizations, and funding agencies.

    Get yours now!
    The regular price for non-members is $60, but as an AIC member your copy is only $25 with the discounted code. Just visit, log in or create an account, then enter the code in the “Discount Code” field. Remember to press the “Update Order” button to confirm your reduced pricing.

    If you have any questions about the directory or your order, write us at or call 202.452.9545.

    Get one for you, one for your fellow conservator, one for your institution…one for everyone!

    Our store discount is one of many benefits of AIC membership. Join today at!

    ]]> 0
    Jobs, Internships & Fellowships Digest: July 7, 2017 Fri, 07 Jul 2017 16:21:50 +0000
  • Subject Leader and Program Coordinator in Metals, Conservation of Metals, West Dean College
  • Associate Conservator of Paintings, Philadelphia Museum of Art
  • Project Conservator, Denbighshire Record Office
  • Conservation Professionals, Smithsonian, National Air and Space Museum
  • Collection Care North Manager, British Library
  • Graduate Teaching Assistant – Conservation of Ceramics and Related Materials, West Dean College
  • MPHIL Textile Conservation, University of Glasgow
  • Paper Conservator, Bristol Museum & Art Gallery
  • The Mora Sample Collection, ICCROM Archives and Laboratory
  • Conservator, Vancouver Art Gallery
  • Conservation Internship, National Library of Ireland
  • Associate Conservator of Works on Paper, The Conservation Center

  • 1. SUBJECT LEADER AND PROGRAM COORDINATOR IN METALS, Conservation of Metals, West Dean College (West Sussex, UK)

    • Application deadline: July 12, 2017

    The Edward James Foundation is a charitable educational trust located on the 6,400-acre West Dean Estate in beautiful West Sussex countryside near Chichester, specializing in creative and applied arts. As well as being a respected educational institution, the historic house and collections, the stunning grounds and gardens open to the public, and the year-round events and exhibitions make West Dean truly unique.

    We currently have an exciting opportunity for an enthusiastic conservation professional to be the Subject Leader specializing in Metals. Working within the School of Conservation, the post holder will be responsible for the organization and delivery of subject specialist curriculum for conservation of Metals at Graduate Diploma and Masters level, as well as having responsibility for the co-ordination and management of some aspects of cross-school curriculum as agreed with the Head of School.

    The Metals department comprises one of five conservation disciplines offered at West Dean, with courses ranging from Foundation Diploma to MA; validated by the University of Sussex. Subject specific study within the broad contextual experience of a multi-disciplinary conservation college, a low staff to student ratio, extensive workshop time and international profile, contribute to a unique experience. With the course established for nearly three decades West Dean Alumni are leading practitioners both in the UK and beyond.

    The ideal candidate for this position will have demonstrable experience in the professional practice of metals conservation and a broad understanding of inorganic materials; with experience of teaching, assessment and administration in higher education, as well as a track record of successful program management. Crucial to the role is also a solid understanding of contemporary conservation theory and practice, and a professional approach to best workshop and studio practice.

    For the full job description, person specification and terms and conditions of employment, please contact Full or part time hours maybe available. The closing date for applications is July 12, 2017.

    2. ASSOCIATE CONSERVATOR OF PAINTINGS, Philadelphia Museum of Art (Philadelphia, PA, USA)

    • Application Deadline: July 15, 2017

    Reporting to the Senior Conservator of Paintings, the Associate Conservator has direct responsibility for conservation of a renowned and growing collection of paintings spanning many cultures and curatorial departments. Candidates must possess outstanding visual and manual aptitudes, strong written and oral communication skills, a sound art-historical and technical knowledge of painting, and demonstrated ability to deal with the complexities and dynamic pace of a large cultural institution.


    • Examine, perform technical and historical study, document, and treat paintings in the collection
    • Assess the condition of paintings requested for loan or being considered for acquisition, and document the condition of incoming or outgoing loans
    • Advise on installations, storage, handling, packing, and transport of paintings
    • Work with conservation scientists in chemical and instrumental analysis and characterization of materials and construction of works of art
    • Supervise and instruct conservation junior staff, post-graduate fellows, interns, and technicians
    • Promote awareness of the role and work of the museum’s Conservation Department, in part through developing content for public outreach

    Your diverse background includes:

    • Academic credentials from a recognized conservation training program and specialized experience beyond the degree in the study, care, and treatment of paintings
    • Significant museum experience in the typical range of conservation activities involved in optimal preservation and presentation of a large and varied paintings collection
    • Involvement in the support of active loan and exhibition programs
    • Experience working cooperatively with staff at large to meet departmental and institutional goals

    Questions may be directed to Teresa Lignelli, The Aronson Senior Conservator of Paintings,

    For more details and to apply, visit:

    3. PROJECT CONSERVATOR, Denbighshire Record Office (Ruthin, North Wales)

    • Closing date: July 17, 2017
    • Full time (37 per week, 3-month Fixed Term contract until December 2017)
    • Salary: Grade 6 – GBP21,962 – GBP24,964

    We are looking for an experienced, motivated and enthusiastic Conservator to survey the condition of the collection and advise on any further preservation requirements.

    For more information see Denbighshire County Council’s job pages at:

    The project will survey the records of the North Wales Hospital, which was the main institution in North Wales for the care of the mentally ill for almost 150 years. This important collection tracks the development of institutional psychiatric care and treatment during an exceptional period of innovation in mental health treatments.

    4. CONSERVATION PROFESSIONALS, Smithsonian, National Air and Space Museum (Chantilly, VA, USA)

    • Application deadline: July 21, 2017

    The Smithsonian Institution has a requirement for the services of conservation professionals to perform artifact condition assessments, documentation, triage treatments and treatment reports for artifacts at the National Air and Space Museum. The award(s) will be performed within a 12-month period and for a maximum of 1,800 hours of service. All work will be performed in the Emil Buehler Conservation Laboratory at the Steven F. Udvar-Hazy Center in Chantilly, Virginia.

    Additional information about this project, including the “Request for Quote” and “Statement of Work” documents can be requested by contacting Lauren Horelick (

    Responses from interested parties, based on the “Request for Quote” document and the “Statement of Work”, will be due by 5:30 p.m. EST on July 21, 2017.

    5. COLLECTION CARE NORTH MANAGER, British Library (Boston Spa, UK)

    • Closing date: July 23, 2017
    • Interview date: Week commencing August 7, 2017

    The British Library wish to appoint a Collection Care Manager to manage collection care activities on our Boston Spa site in West Yorkshire. The post-holder will be the primary collection care contact on site and will work with colleagues and stakeholders to identify and manage risks to physical collections in storage, transit and use. The post-holder will line manage the Collection Care North team who box, shrink wrap as well as processing collection items for an external binding contract.

    Working in close collaboration with the Preventive Conservation and Conservation teams in St. Pancras the post-holder will develop and manage a yearly work program which balances the needs of the collections with changing user and business needs. The initial focus will be to review activities and further develop the team to ensure it meets the future needs of the site and collections stored there to ensure a consistent approach to collection care across both sites.

    You need to have a degree in book or paper conservation or equivalent experience, recent experience managing preventive conservation/preservation activities and an understanding of digitization processes and workflows. In addition, you will have a broad knowledge of preventive and conservation treatments within library collections together with the ability to diagnose conservation problems and to develop and evaluate options for solutions. You will work with minimal supervision and have the skills and knowledge to plan and manage your work to ensure that deadlines are met. You must be able to communicate effectively with people at all levels, and be able to keep clear, detailed and accurate records of all treatments undertaken. You will have previous experience managing staff, interns or volunteers and delivering coaching or training.

    For more information and to apply please visit:


    • Closing date for applications: July 24, 2017

    The Edward James Foundation is a charitable educational trust located on the 6,400-acre West Dean Estate in beautiful West Sussex countryside near Chichester, specializing in creative and applied arts. As well as being a respected educational institution, the historic house and collections, the stunning grounds and gardens open to the public, and the year-round events and exhibitions make West Dean truly unique.

    We currently have an exciting opportunity for an enthusiastic conservation professional to be the Graduate Teaching Assistant in the Ceramics and Related Materials programs. Under the direction of the Program Leader, this role will provide supervision and tuition of students and oversight of the studios, workshops and equipment.

    The Ceramics department comprises one of five conversation disciplines offered at West Dean, with courses ranging from Foundation Diploma to MA; validated by the University of Sussex. Subject-specific study within the broad contextual experience of a multi-disciplinary conservation college, a low staff-to-student ratio, extensive workshop time and international profile, contribute to a unique experience.

    The ideal candidate will have at least 3 years practical experience in the conservation of ceramics and related materials gained in a commercial or museum context. Crucial to the role is the ability to approach with confidence and ethical best practice, the treatment of a range of conservation problems commonly encountered, and to be able to assist students with the evaluation and delivery of treatments. Supervisory experience is also required.

    This is a part time role, ideally one day a week. For the full job description, person specification and terms and conditions of employment, please contact

    7. MPHIL TEXTILE CONSERVATION, University of Glasgow (Glasgow, UK)

    • Application deadline: July 24, 2017

    An unexpected vacancy has arisen on the program beginning in September 2017 and further applications are welcome. The application deadline is Monday 24 July. Interviews will be held, in person or by skype, on Tuesday 8/ Wednesday 9 August.

    Depending on need, bursary funding will be available for UK/EU or overseas students.

    Please see information about the program at: Information on the online application process is at:

    Please contact Frances Lennard (, or Karen Thompson ( for more information.

    8. PAPER CONSERVATOR, Bristol Museum & Art Gallery (Bristol, UK)

    • Closing date for applications: July 24, 2017
    • Salary Range: GBP26,822 – GBP30,153
    • Contract: Permanent/Full-time

    Bristol Culture has an exciting opportunity for an experienced paper conservator to join their Conservation and Documentation team.

    Part of Bristol City Council, Bristol Culture is responsible for the care of collections held across 5 museum sites and the Bristol Archives and it welcomes approximately 1 million visitors annually. Based in a well-equipped studio at Bristol Museum & Art Gallery, the paper conservator will have the opportunity to work across all curatorial departments with nationally and internationally significant collections including a Designated Eastern Art Collection, over 20,000 Fine Art works on paper and an extensive World Cultures collection.

    The successful applicant will identify and prioritize conservation projects and undertake interventive conservation treatments, materials analysis, and research where necessary. They will assess, plan and schedule conservation work associated with the busy exhibitions and loans program, including condition checking, mounting, and framing works on paper. They will advise on new acquisitions, carry out technical examination and undertake collections care projects to increase access through improved documentation, mounting and storage.

    They will maintain the equipment and materials in the studio, ensure that health and safety requirements are met and the Museum’s security procedures are adhered to. Experience supervising students and volunteers and providing specialist talks to visitors, Friends groups and professional colleagues is required.

    With excellent communication skills and the ability to work independently they will have a relevant qualification or equivalent in paper conservation and be able to demonstrate experience of working with similar collections. Professional accreditation through ICON is desirable.

    For further information, including the full job description and how to apply, please visit:

    9. THE MORA SAMPLE COLLECTION, ICCROM Archives and Laboratory

    • Application deadline: July 31, 2017

    Request for proposal to reorganize and describe the Mora Sample Collection ICCROM holds a valuable collection of material samples donated by Paolo and Laura Mora, internationally renowned conservators involved in the coordination of ICCROM’s Mural Painting Conservation course along with numerous technical missions and campaigns.

    ICCROM invites interested professionals (scientists/conservators/archivists) with experience in this type of work to prepare a proposal for the reorganization and description of the Mora sample collection.

    Further information at:, and

    10. CONSERVATOR, Vancouver Art Gallery (Vancouver, BC, Canada)

    • Application deadline: July 31, 2017
    • Salary: Pay Grade 26 Step 1 $31.40 per hour
    • Hours: Monday to Friday; nine-day fortnight, 70 hours bi-weekly

    Reporting to the Director of Operations & Museum Services, the Conservator is responsible for the overall design and administration of the conservation program with regards to all works of art of the Vancouver Art Gallery, including works on loan. He/she supervises the work of staff/interns; provides conservation input with regards to exhibitions, loans and acquisitions. The Conservator examines works of art to determine conservation techniques required; executes conservation and restoration treatments on works of art; ensures that professional conservation standards for mounting and framing works, environmental and lighting conditions are met. He/she works with the Director of Operations and the Senior Curator to develop and manage the conservation and permanent collection maintenance budgets. The Conservator provides consultation and technical guidance to members of the Gallery staff, colleagues from other institutions, artists and lenders, regarding conservation. He/ she oversees and maintains departmental records and database files; and produces reports as required. He/she maintains a current awareness of developments in art conservation and research into conservation techniques and materials.

    The Conservator supervises and participates in the work of staff/interns engaged in conservation duties, such as examining works of art (to determine the condition of the work), and conservation treatments required both for newly acquired art work and works in the collection.

    Major Responsibilities:

    • Determine and perform, or supervise, treatments for art works and prepare relevant reports.
    • Manage contract conservation services for art works requiring specialized expertise, or when time is not sufficient to do the work in- house.
    • Devise techniques for conservation treatments.
    • Test new materials for conservation use and ensure that all materials used meet conservation standards.
    • In consultation with Curatorial staff, approve art works for loan to other art galleries, museums and institutions based on knowledge of the art work, and a review of facility reports from borrowing institutions.
    • Examine incoming and outgoing works of art, prepare condition reports or supervise the preparation of condition reports by other staff, stabilize art works and ensure their condition is satisfactory for travel.
    • Manage the care and maintenance of the Outdoor Art collection.
    • Assist the Director of Operations in developing and administering an annual budget for the Conservation department.
    • Assist the Senior Curator in developing and administering an annual budget for the maintenance of the permanent collection.
    • Work with the Director of Operations, Chief Curator, Curators, Registrar and Preparation staff, and lead the preservation of the collection in terms of environmental and physical conditions in the Gallery and storage areas. Advise Preparation on packing and crating, matting and framing and handling of works of art.
    • Select and supervises Conservation Interns and volunteers.
    • Assist in writing grant applications for conservation interns and conservation projects.
    • Oversee and develop conservation documentation, including: condition reports, treatment reports, installation instructions and the preparation of information for the collections database and conservation database. Ensure data standards and guidelines are followed. Develop reports and respond to requests for information as required.
    • Chair the Vault Working Group.
    • Lead Emergency Preparedness for the Permanent Collection
    • Represent the Conservation department at a variety of meetings, including exhibition, loan and department head meetings.
    • Respond to inquiries from colleagues at other institutions, artists and lenders regarding a broad range of matters related to conservation, environmental conditions and conservation-related supplies and services.
    • Travel to tour venues and complete condition reports and other work as required. Performs as a courier for loaned works of art as required.
    • Assist with the development of plans for the future Vancouver Art Gallery, especially with respect to designs for the future storage of the Permanent Collection, and for the future Conservation Laboratory.

    The duties and responsibilities outlined above are representative, but not all inclusive.

    Required Knowledge, Abilities, and Skills:

    • Thorough knowledge of the theory and practice of restoration and preservation of works of art in one or more areas of specialization.
    • Thorough knowledge of the correct nomenclature and terminology to describe damage, deterioration, and incipient problems in works of art.
    • Thorough knowledge of the factors which may contribute to the deterioration of works of art and the conservation programs necessary to combat deterioration.
    • Thorough knowledge and experience in all application treatments to conserve and restore art works in own area of specialty.
    • Thorough knowledge of the principals of art, chemistry, bacteriology, physics and laboratory techniques as they apply to the conservation of works of art.
    • Working knowledge of preparation techniques.
    • Considerable knowledge of conservation and restoration techniques applied to works of art other than those of own specialty.
    • Knowledge of the photographic processes required in conservation work.
    • Ability to supervise and participate in the work of subordinates engaged in conservation duties.
    • Ability to develop a budget, and select and order suitable equipment and supplies for the conservation laboratory of a major Art Gallery.
    • Ability to recognize and respect curatorial prerogatives in conservation.
    • Ability to write clear, concise reports.
    • Ability to establish and maintain effective working relationships with Art Gallery staff, vendors of equipment, materials, and services; colleagues in other institutions, both local and international, and the public.
    • Skill in the use and care of scientific laboratory equipment.

    Training and Experience

    • A Master’s degree in Art Conservation specializing in fine Arts; supplemented with considerable experience (minimum of 5 to 7 years) in Art conservation at the supervisory level in a major Art Gallery.
    • The successful applicant will be required to consent to a Criminal Record and Background Check.
    • All applicants must be legally entitled to work in Canada.

    Please send your resume, in confidence, by Monday, July 31, 2017, to the Director of Human Resources, Vancouver Art Gallery, 750 Hornby Street, Vancouver, B.C. V6Z 2H7, Fax: (604) 682-1086 or email:

    We thank all applicants for their interest; however, only those short-listed will be contacted.

    11. CONSERVATION INTERNSHIP, National Library of Ireland (Dublin, Ireland)

    • Deadline for receipt of completed applications: September 1, 2017 at 3:00 p.m.
    • Stipend: GBP27,000 (subject to normal statutory deductions)

    The National Library of Ireland offers a one-year Conservation Internship, jointly funded with the Heritage Council of Ireland. The internship is part of the Heritage Council’s commitment to the promotion of best practice for conservation in Ireland.

    The intern will work alongside experienced conservators in the NLI’s busy conservation studio. The internship will combine studio practice and research and preservation, and will develop and broaden the intern’s knowledge and experience. He/she will work on a variety of collections from the manuscript, printed and visual collections of the National Library of Ireland, as well as assisting in the preparation and installation of exhibitions and loans. The intern will be encouraged to publish and present their work to different and diverse audiences.


    • Recent graduates of a recognized book &/or paper conservation training program (2015-2017)
    • Theoretical understanding and practical experience of conservation treatments (paper and/or book or parchment)
    • Experience in surveying/ dealing with large collections
    • Ability to work independently and as part of a team
    • Excellent written, verbal & IT communication skills

    Applicants should ensure that they are eligible to live and work in Ireland. Applications from non-conservation graduates will not be considered.

    To apply, post 3 hardcopies of completed application form to Human Resources, National Library of Ireland, 4 Kildare Street, Dublin 2, Ireland.

    Deadline for receipt of completed applications is 3:00 p.m. on Friday, September 1, 2017.

    For more details, visit:

    12. ASSOCIATE CONSERVATOR OF WORKS ON PAPER, The Conservation Center (Chicago, IL, USA)

    The Conservation Center in Chicago is searching for an Associate Conservator of Works on Paper, in effort to expand the company’s Paper Department. The ideal candidate should have the following: working knowledge of materials, techniques, and ethics of paper conservation; extremely fine manual skills; the ability to carry out treatments of minor to major complexity; sound judgment; the ability to meet scheduled deadlines; and the ability to work effectively with colleagues and clients as a positive and productive team member.


    • An advanced degree in art conservation with a specialization in paper conservation preferred; or an advanced degree with comparable training, and a minimum of two years’ post-graduate experience.
    • Thorough understanding of conservation theory and practice.
    • Ability to provide written condition reports, treatment recommendations, and post-treatment reports for a wide range of works on paper.
    • Strong grasp of methods and materials utilized in the conservation of works on paper including, but not limited to the following: water bathing, humidification, light bleaching, flattening methods, backing removal, lining, mounting, stain reduction, hinge removal, tear and loss repair, compensation, retouching, suction table techniques, and safe handling procedures during use of solvents.
    • Ability to perform stabilization and treatment on different types of items including the following: drawings, prints, pastels, watercolors, contemporary media, folding screens, scrolls, architectural drawings, letters, documents, and photographs.
    • Strong communication skills.
    • Ability to adhere to strict deadlines.
    • Ability to perform the physical labor as required for specific treatments.
    • Ability to work in disaster recovery and triage situations.
    • Exhibits skills necessary to complete all aspects of projects, throughout the treatment process.
    • Previous experience in private practice strongly preferred.

    This is a full-time salaried position, which requires occasional travel. Compensation will be commensurate with qualifications and experience – benefits include medical insurance, vacation pay, and a 401(k) retirement plan.

    The Conservation Center is an equal opportunity and affirmative action employer. All qualified candidates are encouraged to contact Heather Becker at Please submit a cover letter, resume, salary history, and three professional references which illustrate qualifications. If applying from outside the US, a US work visa is required before applying.

    ]]> 2
    SPNHC Call for Applications for the Faber Research Grant Thu, 06 Jul 2017 16:14:35 +0000 The SPNHC Recognition and Grants Committee requests proposals for the Faber Research Grant, a cash grant of up to $1000, to support an innovative project addressing issues on the management, care, conservation, or use of natural history collections.

    Applicants for this Grant must be SPNHC members in good standing for at least one year prior to the award date. The successful applicant will be expected to:

    1. present a final or interim report at the Annual Meeting of the Society, and
    2. publish the results, with the understanding that the manuscript will be sent first to the SPNHC Publications Committee for first right of refusal.

    Each applicant may submit only one proposal per funding period. The cover sheet should include a project title, name(s) of project personnel (including title, address, phone number and email), and a single line spaced 100 word abstract describing the proposed project. The proposal text should include a statement of purpose, project plan (e.g., participants, methods, materials, schedule of completion, etc.), and proposed use of funds. The application document should be formatted to have one inch margins, a font with 10-12 characters per inch, and double line spacing. The application, including cover page, should not exceed 10 pages. Curriculum vitae of the principal investigator and letters of commitment may be single spaced and attached as an appendix.

    Questions and proposals should be directed to the Chair of the Recognition & Grants Committee, Andrew Bentley ( and must be submitted by February 1st of each calendar year.

    ]]> 0
    45th Annual Meeting: Lunch Session: BPG Wiki Discussion Thu, 06 Jul 2017 15:37:11 +0000 At the 2017 AIC Annual Meeting in Chicago, we, Katherine Kelly, Denise Stockman, and Alex Bero, gave an overview of the 2016-2017 developments in the BPG Wiki and sought feedback from an audience of about 60 interested members about how to move forward in 2017-2018. We want to thank the BPG Officers, who made certain that this discussion group had a place in a very busy schedule!

    There have been a lot of changes to the BPG Wiki in the past year. We followed through on our promise to increase communication with the BPG membership, and this has led to much greater participation in return. We have a long list of contributors to thank, which we have included at the end of the post.

    We undertook a reformatting campaign across the wiki. Standardization is crucial to allowing for the future growth of the Wiki, so we created a template to choose among the many variations of page design. We resolved many issues along the way, such as how to reduce numbering but differentiate between sections, how to include links and references, and how to thank new and old contributors without top-loading the page. The elimination of the original numbered outline format makes it much easier to grow and move information around.

    All of the shared BPG pages and all of the Book Conservation pages have been updated in this way. For the pages derived from the original Paper Conservation Catalog, 10 pages have already been reformatted. We are looking for volunteers to re-format 16 other pages. See our Call for Reformatting on the Help Wanted Page.

    Annual Tips
    The first contributors to the Wiki this year were the Tips presenters in Montreal, who shared images and PDFs from their 2016 presentations. This was a great way to quickly share new techniques. These contributions were available within a month of the Annual Meeting and are now gathered together with Tips from 2013 and 2014. (There were no Tips Sessions in 2015 or 2017.)

    Alex Bero spoke about the activities of the Bibliographies subgroup. A recent priority has been to update the format of bibliographic entries of the wiki, in order to bring them into line with the JAIC Style guide, with a few modifications for the online format.

    For 2017-2018, we intend to build a new Guide to Resources page with information on how to get resources that are not freely available online, and on resources that are underutilized.

    If you have suggested improvements to any BPG Bibliography, please consider becoming a wiki editor or sending your citations or annotations to, who will format them and post them on the wiki.

    Images Added
    It has long been our goal to get more images on the Wiki pages. This year, progress was made on several pages, including the Fiber Identification page. Jennifer McGlinchey Sexton offered us the images she had created for CAMEO, the Conservation & Art Materials Encyclopedia Online, and Xiaoping Cai offered to add them to the Wiki. The result is a much more appealing and useful page.

    Adhesives Recipes and Tips
    The first call for content this year asked for contributions to Adhesive Recipes and Tips. This is a companion page to Adhesives for Paper, which offers a more in-depth and technical discussion of adhesive properties. With contributions from seven book and paper conservators, Adhesive Recipes and Tips now offers recipes for making methyl cellulose, Klucel G, funori, isinglass, and wheat starch paste in a variety of ways. There is also an annotated bibliography on remoistenable and pre-coated tissues.

    Non-Western Bookbindings and Their Conservation
    This year’s blockbuster success was a new page on Non-Western Bookbinding Structures and Their Conservation. This topic was identified as one that had very little coverage in the wiki, but that might interest many of conservators. Immediately after the Call for Content, this page took off, and in a month, ten conservators had contributed more than 130 citations on Armenian, Chinese, Korean, Japanese, Islamic, Palm-Leaf, Thai, and Tibetan manuscript and bookbinding traditions.

    In addition to the benefits of many minds coming together to create good content, there were collaborations between well-established and emerging conservators. This type of collaboration can combine deep experience, the perspective of someone new the field, and wiki-editing skills – with excellent results.

    Culturally Sensitive Treatment
    One of the contributors for the Non-Western Bookbindings page, Marieka Kaye, from the University of Michigan, saw an opportunity for an offshoot page that focuses on the Culturally Sensitive Treatment of book and paper objects. The aim of this page is to discuss the conservation ethics involved in treating materials from a wide variety of cultures and help identify components of those artifacts that should not be lost during treatment. The page currently focuses on East Asian materials, but we hope to expand into other cultures.

    Related AIC Wiki Pages
    The BPG Wiki is part of the larger AIC Wiki. A long-term goal is to connect BPG pages to those in other Specialty Groups, and to contribute to pages of common interest. These efforts are in the early stages, but there are some good successes to report, including Conservation Supply Sources, Oddy Testing Results, History of Conservation, and the recent ECPN page on Gels, Thickeners, and Viscosity Modifiers.

    Following the presentation, we asked the audience for feedback on how the Wiki should grow in the coming year.

    There were discussions about the appropriateness of moving content around to allow certain topics to grow (for example, iron gall ink might benefit from having its own topic page), removing excessive information, updating out-of-date or inappropriate terminology, improving bibliographies with software like Zotero, and soliciting images.

    There was also an enthusiastic debate about how the wiki should deal with outdated treatment techniques. The pages on Alkalization & Neutralization and Bleaching have several examples of treatments that, while accepted practice at the time of their writing, have fallen out of favor (e.g. Diethyl Zinc). It was agreed that outdated techniques should be indicated within the wiki. There was a suggestion from the audience that keeping information on the same topic page was better, ideally in a separate section for historical or superseded techniques. Another audience member stressed the importance of adding a date for when techniques were moved to that section (or when the technique was in common use).

    Another audience member pointed out that treatments change and are updated all the time. She recommended a review cycle for pages (perhaps every 10 years) to review the content of a chapter and provide updates.

    We are grateful for the thoughtful debate on these issues and feel that this year’s discussion group has provided excellent guidance and direction for the year ahead.

    How You Can Help
    If you have ideas about how you would like to get involved in the Wiki, please send the Wiki Coordinators an email. You can also look at the page called BPG Help Wanted, where we list topics in need of attention, recent Calls for Content, and ideas for future growth. Please also join the AIC-Wiki listserv as this is the main way that Wiki editors communicate among themselves.

    Denise Stockman, Paper Conservation Wiki Coordinator, New York Public Library
    Katherine Kelly, Book Conservation Wiki Coordinator, Library of Congress
    Alex Bero, Wiki Bibliographies Team, New York University

    2016-2017 BPG Wiki Contributors
    Linda Barone
    Adrienne Bell
    Alex Bero
    Rachel Bissonnette
    Xiaoping Cai
    Susan Cobbledick
    Amélie Couvrat Desvergnes
    Sue Donovan
    Quinn Ferris
    Eliza Gilligan
    Amy Hughes
    Seth Irwin
    Marieka Kaye
    Katherine Kelly
    Yasmeen Khan
    Evan Knight
    Natasa Krsmanovic
    Nora Lockshin
    Steven Loew
    Terry Marsh
    Debora D. Mayer
    Laura McCann
    Suzy Morgan
    Jan Paris
    Dan Paterson
    Olivia Primanis
    Sarah Reidell
    Jennifer McGlinchey Sexton
    Denise Stockman
    Michelle Sullivan
    Tina C. Tan
    Christina Taylor
    Jodie Utter
    Yana van Dyke
    Aisha Wahab
    Stephanie Watkins
    Emily Williams
    Renée Wolcott

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