Conservation DistList Instance: 23:5 Thursday, June 11, 2009 Today's Subjects ------- -------- CoOL and the Conservation DistList (2 msgs) Archaeological iron Adhesive for archaeological ceramics Silk Vacuum storage bags Polyester crepeline Call for papers--Archaeological Iron Conservation Colloquium Articles on Vermeer forgery Case study of an environmentally monitored inkjet print IMLS grants and Open Repositories conference ICOM-CC Paintings Working Group Seminar on conservation of the Codex Sinaiticus--addendum Courses on microscopy Bodleian handmade paper for sale Position at National Archives of Norway Position at Guggenheim Museum Position at National Museums Scotland Position at Tru Vue Today's Queries ------- ------- Cy Twombly's painting supports Prehistoric woodborers ALUPV 250 or PP250L as a protective backing for paintings Digital microscope Flugger acrylic putty Periodic care of object Conservation policy Oversize paintings and drawings Questionnaire on brass paints Survey on corrosion-monitoring needs in cultural heritage institutions Today's Messages: Date: 10 Jun 2009 From: Catherine Tierney Subject: CoOL and the Conservation DistList Dear Colleagues, This is a difficult posting to write. For twenty two years, it has been Stanford University Libraries' great pleasure to serve and support the conservation community by hosting Conservation OnLine. Sadly, Stanford---like so many other institutions---has been hurt by the economy. As a result, we have had to make difficult choices. It is with deep regret that I inform you that we are no longer able to support CoOL. We feel it is important to alert you to this change as we are aware that so many of you rely on the distribution list as a medium of communication; there are still a number of things to be worked out. Catherine Tierney Associate University Librarian for Technical Services Stanford University Libraries and Academic Information Resources ------------------------------ Date: 10 Jun 2009 From: Walter Henry Subject: CoOL and the Conservation DistList It has been a great pleasure and privilege to work with this community and I look forward to finding ways to continue to do so. I've always held that conservation professionals were, as a class, unusually committed to the cause they serve; we really do care deeply about the cultural materials we are lucky enough to work with, and that care takes form in a remarkable dedication to the profession, to the ethical foundations upon which it is built, and to the community of practitioners from whatever discipline or specialty. So, at the beginning of what would have been the DistList's twenty third year it is with great sadness, but also with some sense of pride, that I finally give up this enterprise and that of Conservation OnLine as a whole. I don't know exactly what will happen to the resources here but I have every faith that their fate will be in good hands. I would like to thank, with all sincerity, Stanford University Libraries and Academic Information Resources, my own department, the systems and IT staff, and most of all the directorate, who have been unfalteringly supportive of my work all these years, and I know would continue to be so were the world in just a little better shape than it is now. As DistList tradition demands, I leave you a final accounting: As of this day, the Conservation DistList comprises 9696 people from at least 91 countries. Conservation OnLine contains, at a very rough guess, 120,000 documents, possibly quite a few more. I hope they have been useful to you all, and I hope to be of service to you as we move into the future. onward, walter ------------------------------ Date: 8 Jun 2009 From: Jerry Shiner Subject: Archaeological iron **** Moderator's comments: Please respond directly to the author. Paula Correia writes >I would like advice on the stabilisation of archaeological iron >(besides using tannic acid). Packaging in dry, oxygen-free environments is often used to store archeological iron: In the simplest method, an object (or group of objects) is placed in a bag made of barrier film. The impermeable barrier film may be transparent (eg Escal), or an opaque aluminum foil based film. An oxygen absorber (eg Ageless or RP-K type), or a combination oxygen absorber and desiccant (eg RP- A type) is inserted into the bag, and the bag is heat-sealed closed. In a matter of hours, the interior of the bag will become essentially free of oxygen and moisture. A good barrier film and a properly calculated charge of oxygen-scavenger should provide years of protection. Other methods of using anoxic storage are described in the general literature, and in articles on my website at Jerry Shiner Keepsafe Microclimate Systems 416-703 4696 800-683 4696 ------------------------------ Date: 8 Jun 2009 From: Robert K. MacDowell Subject: Adhesive for archaeological ceramics **** Moderator's comments: Please respond directly to the author. Reference the post by Helena Jaeschke on this subject, I would be very interested in knowing more about the techniques she has used and particularly the solvents used. We have used Paraloid B72 here since circa 1970, but as an adhesive we have found that the solvents we have tried evaporate rather quickly with the result that the adhesive thickens appreciably before one can get pieces being bonded into their absolute best alignment and tightest fit. Also, if much solvent is used, the B72 adhesive tends to 'wick' into pottery and other porous objects, leaving an insufficient amount at the bonding surfaces. Another issue is the fact that when any adhesive gets on the porous surfaces that will be visible in the finished work, the appearance of the ceramic is often unalterably changed because some of the adhesive penetrates the surfaces and sets up. We'd really like to use B72 in more of our projects because we have found it to be very stable and resistant to yellowing and it offers relatively easy reversibility, but so far haven't fond the ideal technique for using it. Many of our projects are not part of museum collections, and we cannot control the amount of handling and abuse the finished work will have to tolerate, making this issue even more vexing. Any further information on this will be highly appreciated. Robert K. MacDowell MacDowell Restorations 39845 The Narrows Road Waterford, Virginia 20197 540-882-9000 ------------------------------ Date: 10 Jun 2009 From: Slim Khosrof Subject: Silk **** Moderator's comments: Please respond directly to the author. Cihat Uzun writes >The following is posted on behalf of Nezih Ertug > > I am a conservator in Dolmabahce Palace-Museum located in > Istanbul, Turkey. I want to learn alternative methods from ours > to improve the strength of silk fabric degraded by light. There is not a particular treatment that could make a silk fiber recover its lost physico-chemical properties due to exposure to light. Especially when the treatment has to be in compliance with the fundamental rules of conservation-restoration of cultural properties: respect to the artifact integrity and reversibility of the applied treatment. Most conceivable treatments remain essentially consolidative, by placing stitches or backing the damaged textile, using silk threads. These interventions tend to improve the cohesion of the fabric, but their main role is to displace any effort to which could be submitted the original and damaged fabric, to the newly implemented threads or to the backing fabric. I don't know the particular environment of Dolmabahce textile collections, neither the extent of investigations carried on their fibers to recommend a specific attitude. One should have in mind, that in museum environment, any loss of the initial cohesion of a material is due to a decay process. Certainly illumination has a part to do within in the degradation, when photosensitive materials like silk are concerned. But inappropriate R.H.%, and high pollutants concentration are worth taking in consideration. These degradations factors are relevant of the artifact environment, and before attempting any consolidation treatment of the fabric, the suitable environment for silk has to be implemented. It should mentioned in this context that since the 80's, parylene, a synthetic resin is used in the vapor state to deposit a stable coating that give strengthen to fragile materials. Various textile fibers are among the wide range of materials in desperate state. The Canadian Conservation Institute is among the leading investigators for the use of this resin in the conservation of cultural heritage. **** Moderator's comments: The above URL has been wrapped for email. There should be no newline. Slim Khosrof INP. Tunisia ------------------------------ Date: 8 Jun 2009 From: Jerry Shiner Subject: Vacuum storage bags **** Moderator's comments: Please respond directly to the author. Ilse Bogaerts writes >The following is posted on behalf of the conservator of the Royal >Army Museum Brussels. +44 32 0 2 737 79 18 > >Which museums have experience with the use of "vacuum storage bags" >in their textile-depots? The advantages of saving space are known. >What are the disadvantages--uncontrolled micro-climates? It is quite possible (with no more than a vacuum cleaner as your source of vacuum) to make a wedding gown or sweater as solid feeling as piece of lumber, so the first question that arises is how much "vacuum" pressure is maintained? Substantial compression (creating a dramatic reduction of package size) can be generated and maintained in an evacuated plastic bag, but I wonder about the long term effects of storing the textiles under pressure. Attention would also be needed to use a plastic with no free plasticizers, very careful folding, a well controlled moisture content in the textiles before packaging, and a storage environment where temperatures were kept from falling too low (to control maximum humidity levels in the bags). The use of an oxygen-free atmosphere in combination with the secure environment offered by encapsulation has distinct advantages, although I don't know of this being used in conjunction with compression. A copy of Julia Brennan's paper on Storing textiles in anoxic packaging is on my website at: Jerry Shiner Keepsafe Microclimate Systems 416-703 4696 800-683 4696 ------------------------------ Date: 8 Jun 2009 From: Bettina Landgrebe Subject: Polyester crepeline **** Moderator's comments: Please respond directly to the author. Nana Jonsson writes >I work as Textile Conservator at Langelands Museum, DK. My problem >is that the fabric I'm used to use for supporting fragile fabrics >such as silk flags/banners are no longer produced by the company >called SEFAR in Switzerland. The fabric, a polyester crepeline, was >called SEFAR TR-Fabrics ('Textile Restoration), approximately 13 >g/m2 and thickness of 85 micrometer. The US company Talas in NY is selling a fabric which might be suitable for your purpose. It is called Stabiltex/Terelene/Tetex and can be ordered online from TalasOnline.com . Another fabric they carry is PE-Cap, also a polyester. Bettina Landgrebe, conservator The Chinati Foundation 1 Cavalry Row PO Box 1135 Marfa TX 79843 432-729-4742 Fax: 432-729-4597 ------------------------------ Date: 11 Jun 2009 From: Gerhard Eggert Subject: Call for papers--Archaeological Iron Conservation Colloquium Call for Papers Archaeological Iron Conservation Colloquium State Academy of Art and Design Stuttgart, Germany June 24-26, 2010 Aim of the International Conference: Preservation of the masses of iron finds is still a problem. Although somewhat neglected in the last decades, now there are many current research projects going on in Germany and worldwide. Summer 2010 will be the right time to give an overview of their outcome and the state of the art in general. A number of invited researchers already agreed to present their work. Submission of Contributions: Researchers who want to contribute need to send an abstract (ca 200 words) until 31 December 2009 per e-mail to Gerhard Eggert. Contributors will be notified until 31 January 2010 about acceptance. There will be no conference publication. Speakers are free to submit talks and papers elsewhere as they like. We do not expect exclusivity. To help non-native English speakers to understand the contents, speakers are asked to submit an extended abstract of 3 pages in English until 31 March 2010 (ready for print without editing, will be collected in a photocopied conference reader for all attendants and put on the web) Programme: Lectures (20 min + 10 min discussion) on June 24-25, 2010 Excursion (optional) to places of interest in art history/archaeology June 26, 2010 Keynote address: "Iron and the Microscope" David A. Scott, USA Conference Language: All lectures have to be given in English. No simultaneous translation, we want to keep fees as low as possible. Fees: Conference fee 50 EUR (waived for speakers and conservation students) Audience: Mainly Central European conservators and students, max. 120 (lecture hall capacity) Organizer: State Academy of Art and Design Stuttgart, Objects Conservation Contact: gerhard.eggert [at] abk-stuttgart__de Co-organizers: Landesamt fur Denkmalpflege Baden Wurttemberg AIAE "Archaeological Iron after Excavation", sub-WG of ICOM-CC WG Metals Deutsche Bundesstiftung Umwelt (DBU) Landesmuseum Sachsen-Anhalt / KUR-Project Gerhard Eggert State Academy of Art and Design Stuttgart Objects Conservation ------------------------------ Date: 7 Jun 2009 From: Hans-Christoph von Imhoff Subject: Articles on Vermeer forgery **** Moderator's comments: Please respond directly to the author. Starting May 27, 20099 there was series of 7 articles by Errol Morris, entitled Bamboozling ourselves, with a blog entry for each in the New York Times. They start of with the recent book of Jonathan Lopez. The man who made Vermeers--Unvarnishing the Legend of Master Forger Han van Meegeren" Harcourt: Orlando, Austin, New York, London, San Diego, 2008, ISBN 978-0-15-101341-8 The blog contributions are quite interesting as well. They are all available now on **** Moderator's comments: The above URL has been wrapped for email. There should be no newline. but without the blog entries. Hans-Christoph von Imhoff ------------------------------ Date: 10 Jun 2009 From: Mark McCormick-Goodhart Subject: Case study of an environmentally monitored inkjet print **** Moderator's comments: Please respond directly to the author. Case Study #2 entitled "A Year in the Life of an Inkjet Print - Environmental, Colorimetric, and Visual Assessments" has been added to the Documents page of the Aardenburg Imaging and Archives website. It can be located as the fifth document in the list (AaI_20090402_CS-02.pdf) or you can download it directly from the link in the news item about this study on the AaI&A home page. I have posted this message to the Cons DistList because the work may be of interest to paper and photograph conservators. There is empirical evidence of extreme susceptibility of optical brighteners to gas fading (probably ozone) when the OBAs are located in the ink receptor layers of microporous inkjet papers. Mark McCormick-Goodhart Director, Aardenburg Imaging and Archives 144 West Park Street Lee, MA 01238 413-243-4181 ------------------------------ Date: 8 Jun 2009 From: Jeannine Mjoseth Subject: IMLS grants and Open Repositories conference **** Moderator's comments: Please respond directly to the author. IMLS Grants Highlighted at Open Repositories Conference Institute of Museum and Library Services (IMLS) grants showcased innovative repository-based projects at the Fourth International Open Repositories Conference (OR2009) in Atlanta May 18-21, 2009. The meeting focuses on open-source repository platforms to manage and archive digital data from a variety of environments (education, research, science, cultural heritage) and contexts (national, regional, institutional, project, lab, personal). Ultimately, the goal of these repositories is to support the creation and management of digital content, to enable its use and re-use, to interconnect information, and to ensure its long-term preservation and archiving. Among presentations by former and current IMLS grantees were the following: Michael Witt, from Purdue University presented an IMLS National Leadership Grant (NLG) project, "Investigating Data Curation Profiles Across Multiple Research Disciplines." He shared preliminary findings of this investigation, with a focus on scholars' data curation needs and how these could help shape the functional requirements for a data repository. Sayeed Choudhury, Associate Dean for Library Digital Programs and Hodson Director of the Digital Research and Curation Center at the Sheridan Libraries of Johns Hopkins University, referenced his current work with an NLG project "Digital Archiving of Astronomical Data to Support Publication and Long-term Preservation," and how it influences work soon to be funded by the NSF Datanet program. Elizabeth Yakel, assistant professor at the University of Michigan, described research she is conducting with fellow investigator Soo Young Rieh, for the NLG project, "Institutional Repositories: Ensuring Continued Access to Learning Objects." The comparative case study of five institutional repositories (IR) explores the internal and external factors that contribute to an institutional repository's success, and considers how these repositories help libraries achieve long-term goals of service to academic communities. Bill Parod, Karen Miller, and Claire Stewart shared Northwestern University Library's work building a digital repository on the FEDORA technical architecture, as part of the NLG project, "From the Zanzibar Slave Market to Election Campaigning in Pre-Independent Kenya: Digital Access to 100 Years of East African Life and Culture." Work being performed under the NLG project, "The Texas ETD Repository: Promoting our Scholarship and Preserving Our Legacy" was presented in two sessions: Alexey Maslov of the Texas A&M University Libraries described tools for harvesting and federating content in the statewide electronic theses and dissertation repository; and Scott Phillips, also from the Texas A&M University Libraries, presented on Vireo, a submission and workflow tool developed for the Texas ETD project. William Reilly of the Massachusetts Institute of Technology, described work conducted under an NLG project, "Future-Proofing Architectural Computer-Aided Design (FACADE)." This project created an object model for CAD digital content, built numerous applications to help capture or create information necessary for long-term curation and archiving of CAD content, devised techniques for processing CAD collections at large scale, and designed compelling visualization and discovery user interfaces for stored content. In addition to these conference presentations, IMLS grantees highlighted other projects during the conference poster session, including working from the Apiary Project at the University of North Texas . Building open repositories is a topic of international interest. More than half of the 326 attendees traveled from 23 foreign countries to the Georgia Institute of Technology Hotel and Conference Center. More information about the OR2009 conference, which IMLS co-sponsored, is available online at ------------------------------ Date: 8 Jun 2009 From: Gunnar Heinrich Subject: ICOM-CC Paintings Working Group "Conservation documentation: on-going projects and perspectives" ICOM-CC Working Group Paintings Meeting on Conservation Documentation To be held at The Wallace Collection, London 19 September 2009 9 am - 5:40 pm Programme: 9:00 Registration and coffee 9:30 Introduction 9:40 - 9:55 MetigoMAP - an innovative graphic software for conservation documentation Julia Burdajewicz Academy of Fine Arts, Warsaw 9:55 - 10:10 Automated thread counting from x-rays of canvas supports Ella Hendriks Van Gogh Museum, Amsterdam C. Richard Johnson, Jr. Cornell University Don H. Johnson Rice University 10:10 - 10:25 Stereo-radiography in the digital age Meta Chavannes Rijksmuseum Amsterdam 10:25 - 10:40 "SPECTRUM" - a Rijksmuseum project R.E. Blekman Rijksmuseum Amsterdam 10:40 - 11:30 Questions / discussion / coffee break 11:30 - 11:45 "Artist Rooms" Rosie Freemantle Tate, London Jacqueline Ridge National Galleries of Scotland 11:45 - 12:00 Conservation documentation in the Thyssen Bornemisza Foundation Helene Desplechin Thyssen Museum, Madrid 12:00 - 12:15 Using the collections database 'Mimsy XG' to disseminate conservation documentation Janet Brough Paintings Conservator Royal Pavilion and Museums Brighton and Hove, England 12:15 - 12:30 Creating access to the conservation documentation Kriste Sibul, Andres Uueni Conservation Centre Kanut, Tallinn 12:30 - 12:45 The online publication of the Cologne research project on the painting techniques of Impressionism and Postimpressionism Iris Schaefer, Katja Lewerentz, Caroline von Saint-George, Hans Portsteffen Wallraf-Richartz-Museum and Fondation Corboud and University of Applied Sciences, Cologne 12:45 - 1:15 Questions / discussion 1:15 - 2:30 Lunch break 2:30 - 2:40 Digital Formats, Institutional Priorities, and Public Access: the Mellon Foundation Initiative in Conservation Documentation Alison Gilchrest Program Associate Museums and Art Conservation Program of The Andrew W. Mellon Foundation 2:40 - 2:55 The Raphael Research Resource - The National Gallery's Mellon Digital Documentation Project Mara Hofmann The National Gallery, London 2:55 - 3:10 The Rembrandt Database: An Inter-institutional Research Resource for Art Historical, Conservation and Technical Documentation on Rembrandt Paintings Wietske Donkersloot RKD, The Hague 3:10 - 3:25 The Andrew W. Mellon Pilot project on the Master of the Fogg Pieta: an international collaboration for creating a web-based research tool for sharing and consulting documentation and technical information A. Nevin, A. Burnstock, J. Cannon, C. Cambell The Courtauld Institute of Art, London 3:25 - 4:15 Questions / discussion / coffee break 4:15 - 4:30 ConservationSpace - Open Source Application Design and Development by and for the Conservation Community Joe Padfield The National Gallery, London 4:30 - 5:30 Panel presentations and open discussion Current developments and perspectives for conservation documentation in Collection Management Systems Bert Degenhart Drenth Director, Adlib Information Systems, Maarssen Jay Hoffmann Director, Gallery Systems, New York Marcel Zemp Director, Zetcom AG, Zug 5:30 Closing Remarks 5:40 End For registration please contact the coordinators by 30 July 2009: Tiarna Doherty J. Paul Getty Museum Los Angeles tdoherty [at] getty__edu Gunnar Heydenreich Restaurierungszentrum Dusseldorf Cologne/University of Applied Sciences gunnar.heydenreich [at] duesseldorf__de Note: There will be charge of 30 GBP for ICOM members and a charge of 40 GBP for non ICOM participants. Fees are to be paid in cash the day of the event. Location: The Wallace Collection Hertford House Manchester Square London W1U 3BN Gunnar Heydenreich ------------------------------ Date: 11 Jun 2009 From: Mehboob Mohamed Subject: Seminar on conservation of the Codex Sinaiticus--addendum Conservation of the Codex Sinaiticus Seminar Centre for Conservation, British Library Wednesday 8 July 2009 9:30-16:30 Full programme and registration is available at: **** Moderator's comments: The above URL has been wrapped for email. There should be no newline. Please note that the closing date for registration has been extended until 22 June 2009 Alison Faraday BLCC Training coordinator +44 207 412 7776 ------------------------------ Date: 9 Jun 2009 From: Joseph R. Swider Subject: Courses on microscopy The College of Microscopy is pleased to announce the following courses for the remainder of 2009 of interest to the conservation professional. Through generous support of FAIC/AIC many of our courses provide financial assistance to AIC members. See Sep 11, 2009 COM801: Laboratory Safety The course is designed to give a brief introduction to the potential hazards and risk involved in working in a laboratory, handling chemicals, and operating equipment, including how to prevent laboratory accidents, how to minimize exposure to potential hazards and how to safely dispose of materials. The course gives a brief overview of employee and employer responsibilities including documentation, personal protective equipment, and training. Due to the expansive nature of this topic, the course is not designed to encompass every facet of laboratory safety or replace any OSHA approved courses, but rather is intended to serve as a condensed introduction and hands-on application to laboratory safety for the non-scientist. Sep 14-18, 2009 COM420: Microscopical Identification of Pigments for Conservators The College of Microscopy is pleased to offer a Special Applications course in paint materials identification for conservation professionals in paintings and architecture. The focus of this course is the identification of pigments using polarized-light microscopy (PLM). A practical introduction to PLM methods is taught using many examples from the world of pigments. A more thorough treatment of PLM theory and principles is covered in the Polarized-Light Microscopy course. This course also introduces students to other analytical methods used as confirmatory methods; these include microchemical methods, elemental characterization using XRF or SEM/EDS, Raman, and infrared spectroscopy. The students examine and sample paintings and architectural artifacts, prepare specimens for analysis, perform PLM analysis, and direct or perform further confirmatory analyses. Methods for characterization of binding media and support canvas materials are also discussed. Sep 21-25, 2009 COM800: Chemistry for Conservators The College of Microscopy is pleased to offer a course in chemistry specifically for the conservation professional. The course is designed as a week-long intensive chemistry review for conservation professionals who would like to refresh their knowledge of chemical concepts, language, and applications or as an introduction to Chemistry for those individuals interested in pursuing a career in conservation. This course will introduce the student to theory and concepts basic to understanding chemical problems. These basics will be used as a foundation to build on chemical topics of particular interest to the conservation professional. Oct 1-2, 2009 COM311: Sample Preparation: Polymers, Paints, and Coatings Taught by McCrone Associates' Cleanroom staff, specialized techniques are demonstrated for isolating and mounting contaminants from real-world samples of polymers, paints and coatings. Students use an Olympus SZX10 stereomicroscope and specialized microtools. More than 50% of class time is spent practicing the techniques. This 2-day practical course is customized to meet the needs of each individual student. A maximum class size of 10 students allows the instructor(s) to provide individual attention. Prior to the course, each enrolled student is asked to fill out a questionnaire to ensure their individual needs are met. Students are also encouraged to bring samples with them to the class. In addition to using actual samples in the course, each student has access to the new online McCrone Atlas of Microscopic Particles. The Atlas contains PLM and SEM images, descriptions, and EDS, IR, and Raman spectra from over 100 fully-characterized microscopic materials. Oct 5-9, 2009 COM200: Scanning Electron Microscopy The College of Microscopy Scanning Electron Microscopy (SEM) course emphasizes hands-on learning. Using five SEM and EMA instruments, students have the opportunity to study their own samples, or test samples provided by our staff, under the direction of McCrone scientists with over 40 years of combined SEM/EDS/WDS experience. During the course, students learn through lecture, demonstration, and hands-on participation how to setup and operate SEM and EDS instruments, including low-vacuum and field-emission models. The final quarter of the course is devoted to student projects, where students are invited to analyze their own samples on a variety of SEM instruments: JEOL JSM-6460LV low vacuum SEM, JEOL JSM-6480LV low vacuum SEM, JEOL JSM-6301F field emission SEM, JEOL JXA-8900 combined EDS/WDS electron microprobe analyzer, and JEOL JXA-8200 combined EDS/WDS electron microprobe analyzer. This course provides a foundation for students new to SEM and EDS. At the end of the course, students with no prior experience are able to align an SEM, obtain secondary electron (SE) and backscatter electron (BE) micrographs, and perform EDS qualitative and quantitative analysis. For students with prior experience, we emphasize procedures to better utilize SEM and EDS to solve practical problems. The experience of our instructors allows them to offer insight on optimizing SEM and EDS analysis for a wide range of materials analysis questions. Oct 12-14, 2009 COM300: Microscopic Particle Handling: Particle Isolation, Manipulation, and Mounting This College of Microscopy course focuses on isolating, mounting, and handling 1-100um sized particles without the use of micromanipulators. Methods for isolating contaminants from liquids, solids or on surfaces are covered. Preparation methods for further analysis by PLM, IR, Raman, SEM and TEM are demonstrated and discussed. Students spend more than 50% of class time practicing these techniques under the supervision of the instructor. Some of the sample-handling supplies made in class are retained by the students for their own use. Each student will be supplied with a detailed laboratory manual for reference and work hands-on with an Olympus SZX10 stereomicroscope for use during class exercises. Olympus BX51 polarized light microscopes are also available for student use during the course. Nov 17-29, 2009 COM600: Infrared Microscopy The College of Microscopy course in Infrared Microscopy is designed to provide practical instruction in "real world" use of the FTIR microscope. The class utilizes demonstrations and laboratory exercises supplemented with lectures. Students are strongly encouraged to bring their own samples for analysis. Class size is limited to eight students to allow for maximum student participation. Four experienced McCrone analysts teach the class, and tailor the laboratory exercises and discussions to the skill level and interests of the students. This course assumes basic knowledge of infrared spectroscopy and operation of an FTIR microscope. There is a brief discussion of infrared theory, and a heavy emphasis on using FTIR microscopy in problem-solving applications. The emphasis is on student sample preparation exercises and the use of different spectral acquisition methods to obtain optimum results. Course registration can be completed online by visiting the Course Catalogue and choosing a course of interest. For additional information or offline registration for courses offered by the College of Microscopy, please contact: Lois Gelwicks Registrar College of Microscopy 850 Pasquinelli Drive Westmont, IL 60559-5539 630-887-7100 Fax: 630-887-7412 education [at] collegeofmicroscopy__com ------------------------------ Date: 11 Jun 2009 From: Jutta Keddies Subject: Bodleian handmade paper for sale **** Moderator's comments: Please respond directly to the author. I have 150 sheets of early Bodleian handmade paper and would like to find a buyer for it. It is watermarked 'J Green', has no date on it, but obviously re-dates the formation of Barcham Green. It is light toned, 32lb (115 gsm), 510 x 710 mm, first quality. Barcham Green Bodleian retails at over UKP11 per sheet here in London. I am willing to sell at 10 sheets for UKP60 or for the whole lot UKP850. Jutta Keddies Conservator +44 790 3257338 ------------------------------ Date: 9 Jun 2009 From: Aitziber Velasco Subject: Cy Twombly's painting supports **** Moderator's comments: Please respond directly to the author. I am doing some research into Cy Twombly's technique, especially focused on canvas fibre identification of his paintings supports. I have analyzed some samples of fibres and I found it is cotton but I know some other artworks are painted in linen. I would like to receive some more information by any other institution carrying related research about the fabrics used by the artist, or the fabric used by conservators for the strip lining. Many thanks in advance, ------------------------------ Date: 8 Jun 2009 From: Evangelia Kyriazi Subject: Prehistoric woodborers **** Moderator's comments: Please respond directly to the author. I am starting a new paper on prehistoric organisms that make holes on wood, particularly larvae and birds, and organisms that either eat leaves or make circular marks on their surface. I am currently studying some holes in silicified tree trunks, and imprints of angiosperm leaves on volcanic tuff that have both insect bites and circular marks that look like some kind of disease. Has anyone come across similar fossils? I am looking for any information that would help identify such animals that lived 20 million years ago. Evangelia Kyriazi Natural History Museum of the Lesvos Petrified Forest ------------------------------ Date: 10 Jun 2009 From: Kiffy Stainer-Hutchins Subject: ALUPV 250 or PP250L as a protective backing for paintings **** Moderator's comments: Please respond directly to the author. ALUPV 250, otherwise known as PP250L, and sold in the UK under the latter by Protective Packaging Ltd in Sale, Cheshire, is increasingly being used in paintings conservation, both institutionally and privately, as a protective thermal insulation backing for paintings hung in uncontrolled and potentially adverse environments. However, as far as I am aware, this use appears to have crept in without any notable testing or peer review publication as to its efficacy as a 'conservation grade' material. I understand it was developed in the packaging industry primarily for protection of sensitive electronics and for food where temperature fluctuations may be an issue. Its advantages in preventive paintings conservation are its notable insulation performance and ease to fix and remove quickly with no invasive or permanent intervention. It can be stapled or taped to the reverse of a frame and can accommodate uneven and difficult shapes and surfaces. ALUPV 250 /PP250L is a flexible, fairly thick and robust triple laminate of low density polythene (LDPE), aluminium foil and a white Polyester flock lining for insulation on the inner face. Communications with Protective Packaging state that "The LDPE, which is used as a sealing layer when manufacturing bags from this material, covers the outside of the aluminium. The aluminium is sandwiched between Polyester and LDPE. The adhesive used is a solvent based adhesive which is specially formulated for the lamination process. We would expect the foil to be stable for up to 20 years providing it is kept between -40 and +80 deg. C and of course it must be maintained in good condition." The effect of sunlight/UV on the polythene would dramatically decrease its longevity, but this should not be a problem when face-in to a wall on the back of a painting. Current thoughts are that a 20 year life is conservative, but that when degradation does occur it will be the polythene first and that at worst this might produce harmless paraffin derivatives. The technical data states: Construction 90 g/m2 Polyester Non Woven; 45 g/m2 LDPE Coating; 12 micron Aluminium Foil (32 g/m2); 3 g/m2 Adhesive; 73 g/m2 LDPE Film Technical Values / Performance Total Weight (g/m2) approximately 243 gsm EN 22 286; Tensile Strength MD 250 N/50 mm ISO 527-3; CD 150 N/50 mm ISO 527-3; Tear Strength MD 67N DIN 53 363; CD 93N DIN 53 363; Elongation MD 50% ISO 527-3; CD 70% ISO 527-3; Sealing Conditions 200 deg. C / 2 bar / 2 secs; Water Vapour Permeability <0.04gms / m2 / 24hrs; Temperature Range -40 deg. C to + 80 deg. C Classification MIL-PRF-131 J Class 1; DEF STAN 81-75-2 Type 1; TL 8135-0003 Application Material has a non-woven polyester for mechanical and thermal protection and is recommended for use on large items where a robust liner is required. This information is given in good faith but must not be regarded as forming a specification. An early instance of its use with paintings has been at the Tate (Rica Jones) where it has been used from time to time since 1995 as a short term, protective, lightweight, flexible backboard for loan-in paintings and for paintings hung in difficult environments (including one particular sea facing wall at Tate St Ives). It is also used at the V&A (Nicola Costaras) for backing large paintings where a backboard would be impractical, either too heavy or too bulky, for instance where large oil on canvas paintings are being inserted into niches in the fabric of a building or against an outside wall. I have also been in communication with Hugh Phibbs of the National Gallery of Art Washington DC who uses a version of it (again mostly for short term use for loans in and out), Mitsubishi PE/AL/PE/PET, which is a quadruple laminate of polythene, aluminium foil, polythene and polyester film. The polythene is used as the thermoplastic adhesive (i.e. no additional adhesive is required). He also uses a similar Marvelseal 360 with polyamide outer layer or 1311 with a cotton outer layer, and another called RIBS MVTR. Hugh has carried out a considerable amount of testing and research in connection with temporary micro-climate chambers on which he and Mervin Richard have published, but we know of no specific publication about this material and its longevity as yet. Does anyone have any direct experience of this product or similar alternatives? Has anyone carried out tests relating to its use in the conservation profession and particularly its longevity as a longer term solution for the protective backing of paintings in say, for example, a church environment? Is anyone intending to publish any related conservation data? I would be grateful for any comments, general or otherwise. Kiffy Stainer-Hutchins Kiffy Stainer Hutchins and Co Conservation and Restoration of Fine Paintings and Associated Works Houghton Conservation Studios Houghton Norfolk PE31 6TY United Kingdom +44 1485 528 667 ------------------------------ Date: 9 Jun 2009 From: Simon Gillespie Subject: Digital microscope **** Moderator's comments: Please respond directly to the author. We are looking to purchase a digital microscope which allows us to view and save images on the computer. Could anyone recommend a good model? Jacqueline Simon Gillespie Studio 51a Cleveland Street London W1T 4JH +44 207 580 0010 Fax: +44 20 7580 0040 ------------------------------ Date: 10 Jun 2009 From: Kiffy Stainer-Hutchins Subject: Flugger acrylic putty **** Moderator's comments: Please respond directly to the author. The widespread use of the commercial product Flugger Acrylic Putty amongst the conservation community worldwide is becoming increasingly apparent. However, as far as I am aware, this use appears to have crept in without any notable testing or peer review publication as to its efficacy as a 'conservation grade' material. In many leading institutional conservation departments and the private sector, it is used as a filler and for fine surface finishing of small losses and chips etc, as well as larger missing areas on traditional and contemporary paintings, sculpture, ceramics and other artifacts. Its attraction is both its convenience and that it shows less shrinkage than many commonly used commercial and 'in-house' made alternatives. A fine acrylic paste stabilized in water and composed of butyl methacrylate and calcium carbonate, 'Flugger' may be thinned or cleaned up during application using water, it may be polished to a very smooth finish, it takes a caste or moulded surface texture well, it may be tinted using acrylic paints or dry pigments, and it is quick drying. Whilst it has been primarily marketed as an artists' material by its Danish manufacturers, it is for example excellent for matching glassy smooth finishes on thick household paint surfaces in the restoration of many contemporary paint films. In the UK, the suppliers Conservation Resources Ltd market it as follows: ... An excellent bonding and filling acrylate filler which, after grinding and dusting, can be painted with aqueous or alkyd paint. It is suitable for spot filling and for finishing filling of primed woodwork, plaster, concrete, anti-corrosion iron and metal as well as previously painted surfaces. It can also be applied in a relatively thick layer without cracking. Wood conservators and framers use Flugger to fill missing areas, and it can be sanded when it is dry. Pigments can be added to colour Flugger, and it is also used to build up missing areas on acrylic and other media paintings. Solids weight 77%; volume 59%; density 1.8 kilo/litre; layer thickness maximum 2 mm; particle size max 0.01 mm; adhesion 12kp / cm2 Thin or clean it using water. Drying time at 68 deg. F (20 deg. C) 60%RH is approximately 1/2 hour (dry to the touch). Re-coating interval is approximately 1 hour; the finished product is fully cured in several days. Referenced by Koob, S.P. "Restoration skill or deceit: manufactured replacement fragments on a Seljuk lustre-glazed ewer", in The Conservation of Glass and Ceramics; Research, Practice and Training Norman H. Tennent (ed), James and James Ltd., London, 1999, p.157. It has been recently reported to me that Flugger has the potential to be affected by fungal activity. Whilst I and my studio have been using it successfully for a number of years without problem, I have experienced mold growth in half used tubes in 2004, during my tenure as Head of Conservation at the City and Guilds of London Art School. This same problem appears to be found by some other conservators whilst others have had no problem at all. So far as I know, no mold growth has been found on finished surface fills to damages which would normally be sealed between layers of methacrylate or polycyclohexanone varnishes anyway (certainly in paintings). Some tests have been carried out by at least one conservation department but this was on colour stability (which was ok) not fungal issues. As we use such small amounts at any one time, these tubes can often be stored in the studio for quite a while. The tubes are quite large and stiff so that when they are half full the rest of the tube has trapped warm (room temperature) air when the lid is on and it seems more likely that a trapped contaminant is going moldy rather than the paste itself. I therefore queried the manufacturers which produced the following rather meagre response: "As this product does not contain any fungicide we can not guarantee that no growth will occur on surfaces filled with this Filler." Consequently I sent the following reply: Would you therefore: Advise we store the tubes in a fridge? Advise we add a fungicide to each tiny amount taken out of the tube to use? If so what fungicide would you advise we use? Consider manufacturing and supplying a modified version with you own fungicide added? Consider manufacturing and supplying a modified version in a smaller squeezable tube that you can roll up the end (like a toothpaste tube) ensuring that all air is expelled before replacing the cap? (This last option might be very popular) I am still waiting to hear back from them. Meanwhile, it has been suggested that we might decant new tubes into smaller sterilised, air tight containers and refrigerate, discarding any part used container on the first sign of any problems? Does anyone else have any direct experience of mold problems with Flugger? Should we stop using it? Whilst 'as is' it obviously has a limited shelf life, but is it okay to use when new and no mold is apparent? Does anyone have any other thoughts on how this might be caused and whether this might be an inherent problem with the product itself? Has anyone carried out tests relating to this issue /its use in the conservation profession, and has anyone published (or is intending to publish) any conservation data on the use of Flugger as a conservation grade filler? I would be grateful for any comments, general or otherwise. Kiffy Stainer-Hutchins Kiffy Stainer Hutchins and Co Conservation and Restoration of Fine Paintings and Associated Works Houghton Conservation Studios Houghton Norfolk PE31 6TY United Kingdom +44 1485 528 667 ------------------------------ Date: 9 Jun 2009 From: Cihat Uzun Subject: Periodic care of object **** Moderator's comments: Please respond directly to the author. I am working in a palace museum at the department of object conservation manager. We are trying to prepare instructions for period care and maintenance of objects. I wonder how other institutions handle this. Can you give me some information or examples about object care and maintenance instructions (forms, etc.) Omer Uzun Dolmabahce Palace, Istanbul ------------------------------ Date: 11 Jun 2009 From: Lynn Grant Subject: Conservation policy **** Moderator's comments: Please respond directly to the author. We are in the process of updating our institutional Conservation Policy and are interested in seeing examples from similar institutions. If you would be willing to share your institution's policy, I'd really appreciate seeing it. Lynn A. Grant Interim Head of Conservation University of Pennsylvania Museum of Archaeology and Anthropology 3260 South St. Philadelphia PA 19104 215-898-2787 ------------------------------ Date: 11 Jun 2009 From: Aitziber Velasco Subject: Oversize paintings and drawings **** Moderator's comments: Please respond directly to the author. I would thank anyone who could suggest any Bibliography on Conservation, Handling, Storage and Packing of Oversize Paintings and Drawings. ------------------------------ Date: 9 Jun 2009 From: Lea Wegwitz Subject: Questionnaire on brass paints **** Moderator's comments: Please respond directly to the author. As a final year student at the Institut National du Patrimoine (INP, Paris, France) in furniture conservation, my MA research will focus on restoration procedures undertaken on objects presenting bronze paints/brass paints. Your experience in this field will most certainly help me to specify the orientations and objectives of my scientific study, and thus allow me to concentrate on areas most likely to be of interest in the conservation/restoration sphere. I would be most grateful if you could spend a few minutes of your time answering the following questionnaire and send it back to All answers to this questionnaire will remain strictly confidential and anonymous. Many thanks in advance, Please state your area of expertise: Have you already worked with objects presenting paints/brass paints? Is it something you come across frequently? (never, some time to time, frequently, consistently) Was the bronze paint/brass paint an original design or a restoration? What was the nature of the underlying layer Do you know the nature of the binging medium used with the bronze paints/brass paints that you were working on? (please specify) Did you notice any deterioration of the bronze paints/brass paints? (Please specify) Were you required to remove bronze paints/brass paints? If yes, did the operation pose problems? What did you use to remove the bronze paints/brass paints? What information would you find useful to be included in a study conducted on bronze paints/brass paints? Lea Wegwitz INP, departement des restaurateurs 150 avenue du President Wilson 93210 Saint Denis La Plaine France +33 6 72 38 96 74 ------------------------------ Date: 11 Jun 2009 From: Michelle Taube Subject: Survey on corrosion-monitoring needs in cultural heritage institutions **** Moderator's comments: Please respond directly to the author. We are beginning a 7th Framework EU project called MUSECORR--Protection of cultural heritage by real-time corrosion monitoring The aim of the project is to finalize development of loggers for continuous measurement of corrosion of selected metals in atmospheric conditions, both indoor and outdoor. The prototype electronic unit measures and registers the changes in the electrical resistance over time of a thin metal track applied on an insulating substrate. If the metal corrodes, the cross-sectional area of the track decreases and electrical resistance increases. The logger monitors air corrosivity, is fully independent, on-line and real-time. Collected and stored data can be transferred to a computer via a non-contact inductive data reader, even through the showcase glass. In addition, the sensors can be made with metal tracks with a composition similar to objects of interest. As part of the project, we ask for your help in determining corrosion-monitoring requirements in cultural institutions. The information you provide will allow us to define appropriate technical goals for the project. To that end, we have developed a short survey. It should be possible to complete online and email the answers. It takes about 10 minutes to complete. The survey can be found at: (If you have trouble using the interactive form, a non-interactive version is at: **** Moderator's comments: The above URLs have been wrapped for email. There should be no newlines. You can add your answers with the comments function in Reader and send the file by email or just send a list of responses, such as 1a, 2b, etc.) Please complete the survey by June 25, 2009. Thank you for your time. (Remember, the end product can help us protect our objects.) Michelle Taube Conservation Scientist National Museum of Denmark ------------------------------ Date: 8 Jun 2009 From: Kristin Ramsholt Subject: Position at National Archives of Norway Paper conservator Unit for digitalisation and conservation The National Archives, Norway Permanent position available The unit for digitalisation and conservation is responsible for conservation in the National Archives and the Regional State Archive of Oslo, for digitalisation of material currently on paper and other analogue media for publishing online, and for photo services. There are a total of four positions in our conservation group, one of which we are looking to fill immediately. The National Archives currently keep approximately 120 000 meters of documents. Our oldest documents are about a thousand years old. The conservation group work closely with the other conservation units in the National Archival Services of Norway (Arkivverket), and in the position of conservationist you will take part in the task of preserving unique and valuable cultural heritage. The person who is employed will work with preventive and active conservation of archive material; mainly documents on paper, but work with other archive media could also be assigned. Other conservation-related tasks could also be included in the responsibilities. Necessary qualifications are minimum three years of university level education within conservation (bachelor's degree), specializing in paper and related media. Work experience is necessary, preferably from archives. Applicants must be result oriented, accurate, flexible and cooperative. The salary range will be NOK 384-900-435.700, depending on the applicants' qualifications.There will be a six-month period of probation. The state administration's workforce should reflect the population, and according to the personnel policy of the National Archive Services of Norway we also wish to have a balanced workforce. We therefore encourage all qualified persons to apply, regardless of age, gender, functional disabilities, nationality or ethnic background. Please note that information about the applicants can be made public, even if the applicant has requested not to be listed, according to Offentleglova 25. For further information, please contact, head of conservation Kristin Ramsholt +47 22 02 27 21, or director of the unit of conservation and digitalization Kristian Hunskaar +47 22 02 27 69. Deadline 26 June 2009 Please use the electronic application form that can be found at ------------------------------ Date: 9 Jun 2009 From: Sacha Seraydarian Subject: Position at Guggenheim Museum Media Arts Specialist The Solomon R. Guggenheim Museum The Solomon R. Guggenheim Museum is seeking a Media Arts Specialist. As a member of the Conservation Department, the Media Arts Specialist will report directly to the Chief Conservator and will also take direction from the Director, Exhibition Planning and Implementation New York. The Media Arts Specialist specializes in the installation and preservation of artworks that employ video, audio, film, computers, and all other types of electronic media. Primary responsibility is overseeing the successful installation and proper maintenance of all multi-media artworks installed at the Solomon R. Guggenheim Museum, New York. Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, architecture, and other manifestations of visual culture, primarily of the modern and contemporary periods. The Guggenheim realizes this mission through exceptional exhibitions, education programs, research initiatives, and publications. The Guggenheim strives to engage and educate an increasingly diverse international audience through its unique network of museums and partnerships. With nearly three million annual visitors worldwide, the Guggenheim and its network is one of the most visited cultural institutions in the world. Supervisory Responsibilities: Will oversee temporary employees for this area. Key Responsibilities: Consult on the installation of multi-media works for all Guggenheim-organized exhibitions, providing curators, exhibition designers, registrars, conservators and other members of the exhibition team with information needed to develop exhibition plans. Actively collaborate with conservators, curators, and registrars to archive media works in the collection, to document future media acquisitions, and to develop long-term strategies for preserving multi-media artworks, including creating installation documentation in the museum's collection database (TMS). Oversee the installation, deinstallation, and maintenance of media artworks for all exhibitions at 1071, including but not limited to: creating and managing multi-media budgets; directing temporary staff; and specifying and purchasing equipment. Must be hands on regarding these needs. Oversee the installation and deinstallation of media artworks at other international venues as assigned, traveling as needed to ensure all artwork and equipment is properly handled. Work with conservators on loan evaluations and preparation of artworks to be lent to other institutions, including specification of equipment, formats, and budgets to ensure appropriate presentation of media works. Travel as courier when required. Manage inventory of multi-media equipment Qualifications and Requirements: 5 years relevant museum work experience Demonstrated technical skills in programming, fabrication, electronics, film and video Familiarity with preservation issues surrounding multi-media artworks Excellent communication skills Management experience The Guggenheim offers a competitive salary and excellent medical, dental, life, disability and pension plan coverage. Our staff also enjoys generous vacation, sick leave and personal days, access to a variety of cultural institutions, discounts to museum stores and a stimulating and collegial work environment. Qualified applicants please send your resume and cover letter, including salary expectations, to employment [at] guggenheim__org. Indicate the job title "Media Arts Specialist" in the subject line. Only those applicants who meet our requirements for this position will be contacted. The Solomon R. Guggenheim Foundation is an equal opportunity employer. ------------------------------ Date: 10 Jun 2009 From: Helene Telford Subject: Position at National Museums Scotland Assistant Conservator, Artefacts (2 posts) National Museums Scotland UKP20,495 - UKP24,184 per annum plus membership of Civil Service pension scheme These are full time, temporary posts until 30 June 2011, to provide essential support to the wide range of activities in the Artefact Conservation section, making a key contribution to the Royal Museum Project through conserving artefacts and facilitating and assisting in the re-installation of the National Museums collections. You will have a recognised professional conservation qualification, or knowledge from relevant experience, as well as proven relevant work experience in a museum or similar environment. An able, practical conservator with good documentation and reporting skills, you will have a good understanding of materials and treatments and should be able to show evidence of expanding your knowledge of these. Aware of professional conservation issues and best practice, you will be adept at problem solving, able to manage your time and work, alone or with others, to meet deadlines, and will have good communication and ICT skills. For further information and an application pack, please visit , telephone +44 131 247 4094 (answerphone) or email applications [at] nms__ac__uk, stating reference NMS09/30. Closing date for completed applications is Friday 3 July 2009. Interviews will take place in July 2009. National Museums Scotland is committed to being an Equal Opportunities Employer. Helene Telford Human Resources Manager National Museums Scotland Chambers Street Edinburgh EH1 1JF +44 131 247 4223 Fax: +44 131 247 4314 ------------------------------ Date: 11 Jun 2009 From: Rob Sloyan Subject: Position at Tru Vue Fine Art Market Sales Manager Tru Vue Salary: 70,000-90,000 +commission/bonus Location: Flexible Benefits: Medical, dental, 401K, life, company car Tru Vue, a leader and innovator in the protection and conservation of all things framed and displayed, is seeking a Fine Art Market Sales Manager. This position will work with the museum community to provide specialty glazing solutions. A successful candidate will develop a deep understanding of our processes, capabilities and parameters. He or she will partner with conservators and designers to ensure that art and other valuables are properly displayed and protected. Applicants must possess: Ability to comprehend and communicate technical specifications and product attributes Appreciation of, respect for, and ability to relate with both technical and non-technical audiences who are passionate about their callings Ability to effectively network within various professional communities Experience selling to, or working with architects, designers, and museums Ability solve problems and recognize opportunities Strong verbal and written communication skills Ability to interact effectively within various levels of an organization Results orientation For more information or to apply, please see Tru Vue is an Equal Opportunity/Affirmative Action Employer Robert M. Sloyan Vice President of Human Resources Tru Vue 9400 West 55th Street McCook IL 60525 ------------------------------ Administrivia: DistList postings are for informational purposes only and do not imply endorsement by AIC Instructions for DistList postings are at http://palimpsest.stanford.edu/byform/mailing-lists/cdl/instruct.shtml Mail submissions to consdistlist [at] lists__stanford__edu Administrative matters (file requests, subscription requests, etc) to request [at] cool__stanford__edu DistList Archives: All instances of the DistList are available (both for browsing by whole items and searching for individual messages): http://palimpsest.stanford.edu/byform/mailing-lists/cdl/ The ConsDir is available at http://palimpsest.stanford.edu/misc/people ----------------- End Cons DistList -----------------