Conservation DistList Instance: 23:22 Wednesday, December 23, 2009 Today's Subjects ------- -------- Invisible ink Digitizing film (2 msgs) Clip-N-Seal e_conservation magazine IPM Working Group ICOM joint interim working groups meeting Symposium on occupational health and safety Conference on digital continuity Symposium on climate CONSTGLASS conference Online course on restoration theories and methods Online course on conservation of globes Online class on museum microclimates Workshop on Winslow Homer watercolors Classes from LYRASIS Fellowships at Smithsonian Institution--addendum Fellowships at Smithsonian Institution Fellowship at Museum of Modern Art Internship at White Conservation Services Position at Buffalo State College Position at San Diego Museum of Man Position at Museum of Modern Art Positions at National Museums Liverpool Position at IIC Today's Queries ------- ------- Displaying medical specimens Magnesium oxide panels for painting Ivory animal figures Color scale Low energy emitting light sources Display lighting for ivory Air exchange rate in exhibition cases Odor in UV-curing inks Air conditioning Today's Messages: Date: 1 Dec 2009 From: Sonja P. Reid Subject: Invisible ink On behalf of a colleague Nicole Hayes writes > I was at a symposium recently and one of the speakers > recommended rare books be marked with invisible ink (visible > under UV light) so as to be traceable. He assured the audience > that these inks were archival, and called them "Identi-kits." Some of the commercial products I looked at were specifically designed for marking property permanently. It seems like a very unobtrusive method of marking, capable of giving a false confidence to the owner. The main limitation for conservation application is that exposure to light can cause the inks to stop fluorescing under UV light. Some of the basic experiments I performed for this research revealed that the optical brighteners in the ink could be almost entirely exhausted if exposed to sunlight for one day. So if a marked item was exposed to enough UV exciting light, it would look clean for resale. My testing did not address extended artificial aging to examine possible yellowing of the ink and substrate over time, but there is published research in optical brightening agents (OBA) and Dayglow paints showing the marks go a dull brown when the UV excitation is exhausted. So there is no long-term guarantee that these markings would stay invisible. Of course, we would presume that the light exposure of a page in a volume housed at a cultural institution would be far less than the exposure I mentioned above. Nevertheless, I think it's important to consider non-ideal situations when we are talking about theft, since "recovery" only happens after the item has been removed from our care and control. Regardless of the chosen marking method, a determined and informed thief could easily deface these markings and obscure the book's provenance. Personally, I do not think invisible ink has many advantages over other, more traditional, marking methods such as stamping, embossing, and plating. Sonja P. Reid ------------------------------ Date: 15 Dec 2009 From: Elizabeth Knazook Subject: Digitizing film Stephanie Gowler writes >... I am in the >process of surveying our library's motion picture film collections, >the vast majority of which are on cellulose acetate film base at >various stages of decay, in order to prioritize collections for >re-housing and reformatting, based on their condition. >... >For those of you who have undertaken film reformatting projects >recently: what deliverables did you request from the vendor(s)? Were >all films transferred to film base duplicates or were there >collections for which you only received a digital copy? > >Any information and experiences you can share on the pros and cons >of transferring the original acetate film directly to digital would >be greatly appreciated. If purchasing new copies are not an option (the words 'motion pictures' makes me think of Hollywood-produced works), my question for you is: How does your audience expect to be able to view these films? We have a number of professors in our Image Arts department who insist that the experience of watching a projected 16mm film is integral to the understanding of the film. You may want to survey your users and find out how important it is to them to be able to show the film as a film and not a digital copy. That said, using a digital copy as a master copy is not completely out of the question. A high resolution file can protect the original film from wear and tear and can produce multiple viewing copies for researchers. About 2 years ago our library received a donation of 35mm films that we believed to be of historical and cultural significance, and not available in any other format. The films were beginning to smell slightly of vinegar--a sign they were deteriorating and should not be projected any more. We could have copied them onto a polyester base, but we were able to argue that the content of these particular films was of primary importance and not the viewing experience. Most users would be those who booked appointments in our Special Collections reading room, and they prefer a digital copy for pausing and rewinding. The key is to make multiple copies at the highest possible quality the first time around--and of course, don't discard the original film element! Bag and freeze the films so they can be copied again if it should ever be required. We went with two digital masters--one on Panasonic HD/D5 digital videotape, which is a high-end broadcast quality tape that plays back at the original film's 23.98 fps (frames- per-second) instead of speeding up to videotape's usual 29.97 fps. We then converted the video signal to to an uncompressed digital file as a back-up, and for authoring DVDs for viewing. I think the key for this project, whether you go with analogue or digital, is to think of one copy as a preservation master and another as a viewing master. If you want a copy of the detailed report provided by our vendor, Preserving the Past in Rochester, NY- I'll give them a plug because we were happy with the service--I'd be glad to email you a copy directly. Beth Knazook Photographic Specialist Ryerson University Library Special Collections 350 Victoria Street Toronto ON M5B 2K3 416-979-5000 x4996 ------------------------------ Date: 21 Dec 2009 From: Paul S. Storch Subject: Digitizing film Stephanie Gowler writes >Any information and experiences you can share on the pros and cons >of transferring the original acetate film directly to digital would >be greatly appreciated. I checked with an audio-visual collections curator that I know, and she suggested the following resource for information on this question. It is the website of the Association of Moving Image Archivists: Paul Storch Objects Conservator St. Paul, MN ------------------------------ Date: 15 Dec 2009 From: Jerry Shiner Subject: Clip-N-Seal Karl Knauer writes >We've been using Clip-N-Seal reusable, re-sealable bag closures for >almost three years now, and they are pretty great. The profile and design of the Clip-N-Seal device are very similar to the sealing clips provided by Mitsubishi Gas Chemical for their Escal products. I distribute and use the Mitsubishi clips. My observations and suggestions after using the Mitsubishi clips over more than a decade (abetted by stories from clients) are: Ensure that the bag is clean where it is to be clipped Ensure that the area to be clipped is completely wrinkle free Use a single clip Do not fold the bag under the seal (anyhow) If you are doing anoxia, add a little extra Ageless Given you take care, the Clip-N-Seal should work for temporary anoxic packaging, most of the time. Note that oxygen will migrate through a pressure clipped seal more quickly than through a heat seal. The best method is still to use a wide heat seal if you can (and the heat seal costs nothing). Jerry Shiner Keepsafe Microclimate Systems 416-703 4696 800-683 4696 ------------------------------ Date: 20 Dec 2009 From: Rui Miguel Azevedo Bordalo Subject: e_conservation magazine We are pleased to announce that issue no. 12 of e-conservation magazine is now online and available for free download or online at We hope you will enjoy the reading. Index Issue 12, December 2009 ISSN: 1646-9283 News and Views Let's Pin the 'Long Tail' on the Conservation Donkey By Daniel Cull Reviews I Symposium on Conservation-Restoration of Golden Woodcarving and Sculpture. Preserving the past, Securing the Future November 26-27, 2009, Porto, Portugal Review by Rui Bordalo COST Training School: Wood Science for Conservation of Cultural Heritage (WoodCultHer) March 16-20, 2009, Hamburg, Germany Review by Oana Chachula The 3rd Conservation-Restoration Workshop for the Artistic Components of Historic Monuments October 14-16, 2009, Bucharest, Romania Review by Anca Dina Events Upcoming Events and Call for Papers: January 2009 Projects Conservation in Action: Welcome to the "CSI Lab" By Virginie Ternisien Articles Examination of Some Inorganic Pigments and Plaster Layers from Excavations at Saqqara area, Egypt Optical Microscopy and SEM-EDS Microanalysis By Hussein Hassan M.H. Mahmoud Les dilemmes philosophiques de la conservation-restauration by Pierre Leveau ARP Proceedings Detached Mural Paintings in Portugal The Conservation-Restoration of the Fragments from the Alberto Sampaio Museum in Guimaraes By Maria Alice de Sousa Cotovio Mudejar Ceilings. Study, Conservation and Restoration By Carlos Jose Abreu da Silva Costa ------------------------------ Date: 23 Dec 2009 From: Rachael Perkins Arenstein Subject: IPM Working Group We are currently accepting requests for a spot at the 2010 IPM Working Group meeting to be held February 22-23, 2010 and hosted by the American Museum of Natural History in New York City. The IPM Working Group is a group of museum professionals from various disciplines dedicated to the development of pest management resources for the general museum community. The goal of the working group meeting is not to teach IPM, but rather to focus on developing resources to make IPM easier for museum staff. We recognize that every museum has similar challenges with regards to pest management. We hope that the working group can help solve problems while alleviating the need for every museum to come up with their own solutions. The resources developed by the group are all available for free on our website This year's meeting will focus on updates to the newly revised website as well as continued work on the long-term goals of the various sub-committees including: Pest identification aids, Data collection and visualization tools, and Pest treatment resources. As with the previous meetings, we want to stress that this is not a review of IPM and the purpose of the group is not to teach IPM, but to solve individual institutional challenges while developing resources for the museum community. You should expect to take an active role in discussing and setting goals, and to leave with an assignment. For more information on the working group please see If you would like to attend the meeting, please contact IPM Co-chair Rachael Perkins Arenstein . Please put "IPM Working Group RSVP" in the subject line of the email as messages without this subject line will not be opened. The IPM-WG gratefully acknowledges the following institutions and organizations for the financial support to develop the revised website: American Institute for Conservation Objects Specialty Group American Institute for Conservation Conservators in Private Practice Specialty Group American Institute for Conservation Wooden Artifacts Specialty Group American Institute for Conservation Book and Paper Specialty Group American Institute for Conservation Paintings Specialty Group The American Museum of Natural History Artex Fine Art Services Denver Museum of Nature and Science Insects Limited, Inc. Museum of Fine Arts Society for the Preservation of Natural History Collections Society for the Preservation of New England Antiquities (SPNEA) Zak Software Inc. Rachael Perkins Arenstein and Lisa Elkin IPM-Working Group Co-Chairs Rachael Perkins Arenstein IPM-WG Co-Chair A.M. Art Conservation, LLC Art Conservation, Preservation and Collection Management 917-796-1764 ------------------------------ Date: 17 Dec 2009 From: Kate Seymour Subject: ICOM joint interim working groups meeting Joint interim-meeting of five ICOM-CC working groups 23-26 March 2010 ICOM-CC and ISCR invite you to participate in the Joint interim-meeting of five ICOM-CC working groups Wood, Furniture, and Lacquer Textiles Sculpture, Polychromy, and Architectural Decoration Murals, Stone, and Rock Art Leather and Related Materials on the theme Multidisciplinary conservation: a holistic view for historic interiors to be held in Rome, Italy, Complesso Monumentale di San Michele a Ripa, sala dello Stenditoio Via di San Michele 22, I 00153 Rome 23-26 March 2010 Registration is now open: **** Moderator's comments: Kate Seymour MA Head of Education SRAL Postbus 1679 6201 BR Maastricht The Netherlands +31 43 321 8444 ------------------------------ Date: 15 Dec 2009 From: Grimaud Pamela Subject: Symposium on occupational health and safety Symposium Occupational Health and Safety in Heritage Conservation and Restoration Draguignan Complexe Saint-Exupery (place de la paix) France February 3-5, 2010 This symposium "Occupational Health and Safety in Heritage Conservation and Restoration", held by the Interregional Centre for Heritage Conservation and Restoration (CICRP, Marseille) and the Conservation, Restoration and Researches Laboratory (LCRR, Draguignan) is intended to be an international forum where all actors of Conservation-Restoration will discuss about occupational risks in the field of heritage restoration. Many topics will be addressed in the 20 guest lectures: Occupational risks and conservation-restoration Safety in the field/on building site Work premises (equipments, architecture and maintenance) Chemical products (solvents...) / dangerous products (transport, evacuation...) Information and training about safety Prevention plan - Risk valuation Rules - legal sides For more information (detailed program of lectures and subscription), please visit: Proceedings of the "Occupational Health and Safety in Heritage Conservation and Restoration" symposium will be available at autumn 2010 on line, free. Pamela Grimaud Documentation - communication CICRP Belle de Mai 21 rue Guibal 13003 Marseille +33 04 91 08 63 05 +33 06 77 00 61 00 ------------------------------ Date: 21 Dec 2009 From: Jennifer Koerner Subject: Conference on digital continuity The following is posted on behalf of Stephen Clarke, Senior Advisor, Digital Continuity, Archives New Zealand. Future Perfect: Digital Continuity Conference 2010 The Wellington Convention Centre Wellington New Zealand 3-5 May, 2010 Archives New Zealand is pleased to announce the Southern Hemisphere's premier conference dedicated to the theme of digital continuity, preservation and long-term public sector information issues. Archives New Zealand is coordinating this exciting opportunity for all information professionals impacted by the emerging information risk and longevity issues, and those who just wish to find out more. These escalating digital challenges will impact on all of our lives both personally and in our workplaces. Come along to hear what the key issues are, and who is developing answers both globally and locally. The Future Perfect 2010 conference will feature internationally renowned experts from Australasia, North America and Europe presenting on a range of aspects in the digital preservation and information continuity fields. As we have some of the world's leading digital preservation experts in New Zealand for the first time we are running workshops and master-classes. Don't miss this unique opportunity. The conference also includes a BarCamp 'unconference' day with a more technical outlook. The conference will interest both information technologists and information managers from CIOs and developers to records and knowledge managers and enterprise content architects. This event is for those with an interest in: open source, open standards and open (Government) data, digital preservation, digital business continuity, public sector information and technology management, and web content management and archiving. It will also be of interest to tertiary educators and the GLAM (Galleries, Libraries, Archives and Museums) sector or just for those who want to learn and engage with the broader information community about this key emerging issue in the digital environment. We look forward to welcoming you at this year's Future Perfect conference in Wellington Further information on the programme and registration will follow soon: **** Moderator's comments: The above URL has been wrapped for email. There should be no newline. Stephen Clarke Senior Advisor Digital Continuity Archives New Zealand Te Rua Mahara o te Kawanatanga 10 Mulgrave St PO Box 12050 Wellington, New Zealand +64 4 894 6030 Fax: +64 4 495 6210 Jennifer Koerner Conservator, Preservation Services Archives New Zealand Te Rua Mahara o te Kawanatanga PO Box 12 050 Wellington New Zealand +64 4 496 1398 Fax: +64 4 495 6210 ------------------------------ Date: 18 Dec 2009 From: Jorgen Wadum Subject: Symposium on climate International Symposium on the future of Museum Climate seen in the context of Global Climate Change and Energy Priority National Gallery of Denmark Solvgade 48-50 Copenhagen Monday March 1, 2010 Program 9:15 Welcome by Dr. Jorgen Wadum Keeper of Conservation 9:30 Session one: Museum climate: a choice The Minister for Climate and Energy, opening speech Stefan Michalski Senior Conservation Scientist at CCI-ICC, Canada Decision models for the protection of collections. Sarah Staniforth Historic Properties Director National Trust, UK Climate changes and museum practices 10:30 Discussion/summing up Dr. David Saunders British Museum, UK 11:00 Coffee/tea 11:30 Session two: Air quality Michael K. Hansen Head of Security and Maintenance, SMK Going green--challenges and possibilities Dr. Morten Ryhl Svendsen Nationalmuseet, Denmark Energy consumption vs. quality of indoor climate 12:10 Discussion/summing up Dr. Tor Brostrom Gotland University, Sweden 12:30 Lunch at SMK 14:00 Session three: NI-regulations and EU standards Dr. Susanna Pettersson Director of Development, Finnish National Gallery EU-ambitions for Collections Mobility Dr. David Saunders Keeper of Conservation British Museum, UK Challenges and possibilities 14:40 Discussion/summing up Rasmus Vestergaard Director SNYK and of the Danish Museum Organisation (ODM) 14:50 Coffee/tea 15:15 Session four: The museum as part of the green movement Dr. May Cassar UCL London, UK From a Low Carbon Past to a Low Carbon Future: What can Building Retrofit Policy learn from Museums Martin Fluri Director EPEA Kopenhagen, Denmark Going beyond green: Cradle to Cradle, a strategy for quality and total beauty 15:50 Final panel discussion Dr. Tim Padfield Freelance consultant in preventive conservation, UK 16:30 Reception and visit to the special SMK exhibition Nature Strikes Back and RETHINK Relations, the National Gallery of Denmark contribution to the multi-venue exhibition RETHINK Contemporary Art and Climate Change. **** Moderator's comments: The above URL has been wrapped for email. There should be no newline. The seminar is organised by the National Gallery of Denmark in collaboration with The Association of Danish Museums (ODM) Reservations for eventual last minute changes: on-line booking facilities will be available from January 2010 at ------------------------------ Date: 16 Dec 2009 From: Paul Bellendorf Subject: CONSTGLASS conference Invitation to the CONSTGLASS international conference. The consortium of the EU CONSTGLASS project is pleased to inform you about the international conference which will be held May 27-28, 2010 at the Vitromusee Romont (Switzerland). The European 3-year research project CONSTGLASS "Conservation Materials for Stained Glass Windows--Assessment of Treatments, Studies on Reversibility, and Performance of Innovative Restoration Strategies and Products" began in 2007, with the participation of 11 partners from 7 countries. The research activities deal with the evaluation of conservation treatments performed in the last five decades on outstanding European stained glass windows from the cathedrals of Cologne, Canterbury, Chartres, Le Mans and Bourges, complemented by studies of glass in museum and other locations. Studies document the degradation behavior of conservation materials, in particular coatings, consolidants and adhesives as well as their impact on the works of art. Object studies and advanced analytical and imaging techniques are being integrated into a newly-developed documentation scheme. Deterioration effects are being investigated by nano-computed tomography (CT), phase-contrast CT, Raman spectroscopy, infrared spectroscopy and other methods. The threat of microbial impact to glass and conservation materials is being determined. Risk assessments, reversibility and re-treatability trials investigate the future behavior of these conservation materials. New inorganic consolidants for stabilization of internally fractured glass or fragile glass paint are being evaluated. The results and conclusions of the project will be presented and discussed at the upcoming conference. For the program of the seminar and additional information about registration fee, contact details, deadlines or to acquire our leaflet, please visit Registrations will be accepted on a first come, first served basis. The CONSTLGASS consortium looks forward to hearing from you soon. On behalf of the CONSTLGASS Consortium, Gerhard Schottner, CONSTLGASS Project Coordinator Paul Bellendorf Fraunhofer-Institut fur Silicatforschung Kompetenzfeldleiter Umweltmonitoring und Kulturguterschutz Bronnbach 28 97877 Wertheim-Bronnbach +49 9342 9221 711 ------------------------------ Date: 15 Dec 2009 From: Angela Weyer Subject: Online course on restoration theories and methods Online course on Restoration Theories and Methods Jan 18 - Apr 4, 2010 The course focuses on the history of restoration as explained through the different restoration theories and their practical application in Italy and elsewhere since the late 1940s. The course also deals with color theory in order to better understand the practical application of retouch methods that will be introduced in great detail. **** Moderator's comments: The above URL has been wrapped for email. There should be no newline. Dr. Angela Weyer Director University of Applied Sciences and Arts Hildesheim Holzminden Gottigen Faculty Preservation of Cultural Heritage Hornemann Institute Kardinal-Bertram-Strasse 36 D - 31134 Hildesheim Germany +49 5121 408179 Fax: +49 5121 408185 ------------------------------ Date: 15 Dec 2009 From: Angela Weyer Subject: Online course on conservation of globes Online course on Conservation of Globes Jan 25 - Mar 22, 2010 The main chapters deal with specific suggestions for conservators concerning concrete practical conservation requests including the preparation of some materials. Dr. Angela Weyer Director University of Applied Sciences and Arts Hildesheim Holzminden Gottigen Faculty Preservation of Cultural Heritage Hornemann Institute Kardinal-Bertram-Strasse 36 D - 31134 Hildesheim Germany +49 5121 408179 Fax: +49 5121 408185 ------------------------------ Date: 15 Dec 2009 From: Helen Alten Subject: Online class on museum microclimates MS242: Museum Microclimates Dates: Jan 4-29, 2010 Price: $475 Instructor: Jerry Shiner Description: A microclimate is the environment immediately surrounding an artifact. Microclimates designed for optimum storage, display, or treatment conditions can be created and maintained in showcases, storage cabinets, rooms, or plastic bags. This course covers the basics of creating and maintaining microclimates, including discussions of suitable enclosures and appropriate means of controlling humidity, temperature, pollution, and oxygen. Learn what constitutes a microclimate, how to use silica gel and other environmental control materials, how to reduce internally generated pollutants, and techniques for monitoring the microclimate you have created. Course Outline: Introduction to Microclimates and History of Microclimates Components of a Microclimate Microclimate Enclosures Passive Environmental Controls Active Environmental Controls, Pollution, Case Leakage Monitoring a Microclimate Logistics: Participants in Museum Microclimates work through sections on their own. Materials and resources include online literature, slide lectures and dialog between students and the instructor through online forums. Museum Microclimates runs four weeks. To reserve a spot in the course, please pay at If you have trouble please contact Helen Alten at helen [at] collectioncare__org The Instructor: Jerry Shiner has been providing consultant services for environmental control of museum display and storage applications for almost twenty years. Mr. Shiner has extensive expertise in both active and passive methods of mitigating and controlling humidity, temperature, pollution, and oxygen levels for display and storage enclosures. His experience includes working with architects, engineers, and conservators to design both local and central systems for large museums. As founder of Keepsafe Microclimate Systems he has provided hundreds of active and passive solutions for low oxygen treatment and storage (anoxia), and showcase humidity and temperature control. Mr. Shiner is author of numerous articles on microclimate storage and display. His clients include museums in the US and Europe. When not working on microclimates, Mr. Shiner can bang out a passable version of "Lady of Spain" on the accordion. ------------------------------ Date: 17 Dec 2009 From: Rebecca A. Rushfield Subject: Workshop on Winslow Homer watercolors On Thursday February 11, 2010 between 12:45 and 1:45pm, a workshop on Winslow Homer's watercolors and gouaches will take place in the print study room of the Jean and Steven Goldman Study Center of the Art Institute of Chicago, 111 South Michigan Avenue, Chicago IL. This workshop is part of the "Learning to Look" workshop series organized by the American Institute for Conservation in conjunction with the annual meeting of the College Art Association. First organized in 2002, "Learning to Look" workshops bring together art historians, conservators, and artists to discuss works of art. Led by a curator and a conservator, each workshop focuses on the material aspects of one type of object. Past workshops have focused on Classical art, Abstract Expressionist paintings, Rodin sculptures, and early photographs. This year's workshop will be led by Martha Tedeschi, Curator of Prints and Drawings and Kristi Daum, Assistant Conservator of Prints and Drawings. The workshop will be limited to twelve participants. Pre-registration is required. For reservations of further information, contact Rebecca Rushfield ------------------------------ Date: 14 Dec 2009 From: Jessica Leming Subject: Classes from LYRASIS Did you know we're on Facebook? Join our Lyrasis Preservation Services Facebook page and/or our Educational Services Blog Stay in touch and up to date in the field and current Lyrasis happenings. We like you so much that we will give you $25.00 off any of our classes through June 30, 2010. Just enter promotional code PFB2010 when registering. So sign up, get informed, and get social. ------------------------------ Date: 15 Dec 2009 From: Tara Kennedy Subject: Displaying medical specimens I have come across a situation concerning the permanent display of medical specimens: specifically organs in wet specimen jars. I know that there are museums (like the Mutter for example) that do this, but I was curious if there were any studies on the long-term effects of having medical wet specimens on display, whether temporary or permanent? Tara D. Kennedy Preservation Field Services Librarian Preservation Department Yale University Sterling Memorial Library 130 Wall Street New Haven, CT 06511 203-432-4335 Fax: 203-432-9900 ------------------------------ Date: 21 Dec 2009 From: Mark Gottsegen Subject: Magnesium oxide panels for painting One of our AMIEN Users came across a product that seems too good to be true. See: I realize it's a construction material, but so are plenty of other materials used by artists. If anyone has any experience with this product, would you please post it? Mark Gottsegen Materials Research Director Intermuseum Conservation Association 2915 Detroit Avenue Cleveland OH 44113 216-658-8700 Mobile: 330-977-0334 ------------------------------ Date: 18 Dec 2009 From: Susan White Subject: Ivory animal figures I received two ancient ivory animal figures, probably from a Mesopotamian tomb. They are in poor condition as well with staining accretions (partially removed by myself to reveal the exquisite carving. I believe the accretions are intentional ritual applications made before burial, iron being a major component, either as iron oxide or blood. I'm inclined to believe the latter because of the characteristic splatter marks that liquids make. I have sent photos of these pieces to scholars at the Met in the Egyptian Department, as well as to other scholars in the field of near and middle eastern art with the hopes of clarification of identity. One scholar seems to think they may have been carved in Egypt for Mesopotamian tombs, but there is more of a story here. It is a genuine mystery as I've not yet found anyone who can give me any authoritative information on them. I suspect a date of about 2000 BC based on the condition, but that's a fairly wild guess. If anyone would like to see images and hazard a guess as to their original provenance, I'd be most appreciative. I can send you photos. Susan White ------------------------------ Date: 22 Dec 2009 From: Anna Veronika Subject: Color scale I am looking for a color scale which I can use in transmitted light. I know the IT 8 targets but I prefer a scale which only has the primary colors. How are you documenting objects in transmitted light, such as slides? Anna Veronika Juester Hochschule fur Technik und Wirtschaft Restaurierung Audiovisuelles und Fotografisches Kulturgut Wilhelminenhofstrasse 75A D- 12459 Berlin +49 030 5019 3505 Mobil: +49 0176 52274618 ------------------------------ Date: 17 Dec 2009 From: Luisa Casella Subject: Low energy emitting light sources I would like to know if anyone is using low energy emitting light tables such as flexible light panels by CeeLite or Konica or others for exhibiting paper negatives or other transparent media. I am interested in learning about the spectral curve of these lights and if they provide accurate color rendition for transparencies placed over them; if no heat is generated; and if these devices provide sufficient illumination to observe the objects. Any information would be appreciated. Luisa Casella Research Scholar in Photograph Conservation The Metropolitan Museum of Art, New York ------------------------------ Date: 15 Dec 2009 From: Chao-Chun Lu Subject: Display lighting for ivory Many articles have mentioned that illumination of ivory should be kept below 150 lux, and 50 lux for dyed ivory. Can this standard also be used in permanent exhibition or it need to be stricter? Chao-Chun Lu Department of Registration and Conservation National Palace Museum No.221, Chih-shan Rd., Sec. 2, Shih-lin District Taipei, R.O.C. (Taiwan) +886 2 2881 2021 ext.2135 Fax: +886 2 2881 8534 ------------------------------ Date: 15 Dec 2009 From: Chao-Chun Lu Subject: Air exchange rate in exhibition cases When purchasing exhibition case, should air exchange rate always be take into account or only considered special uses, such as nitrogen-filled cases. What level of the air exchange rate would be best? Chao-Chun Lu Department of Registration and Conservation National Palace Museum No.221, Chih-shan Rd., Sec. 2, Shih-lin District, Taipei, R.O.C. (Taiwan) +886 2 2881 2021 ext.2135 Fax: +886 2 2881 8534 ------------------------------ Date: 15 Dec 2009 From: Grace Terdich Subject: Odor in UV-curing inks I am a student at the Center for Cultural Materials Conservation I am currently working on my thesis on smelly UV curing inks. I want to know if anyone else has encountered graphic books printed with UV curing inks that had a strong odour that seems to affect the black ink more then other colours. The Odour smells organic, rather then the acrylic smell that the literature on UV curing inks speaks about. I wanted to know if anyone has encountered this smell and if they found a way to remove the smell from the book using a non invasive method. Grace Terdich University of Melbourne CCMC ------------------------------ Date: 18 Dec 2009 From: Leonie Gartner Subject: Air conditioning Planning a new building for our museum, the architects propose a displacement ventilation system for the exhibition areas. The system will work with set points for temperature and RH, gradually fluctuating in connection to the seasons. I would be very grateful for any information from museums that have installed such systems or have had experience with such a system. It would be of much help if you could answer (some of) the following questions. Is your air conditioning system working with mixed ventilation or displacement ventilation? Why has this system been selected? Do you use set points, varying over the course of the year, or do you stick to the same temperature and RH values all year long? Does your air-conditioning system usually manage to comply with these values? What is the air exit velocity? What are your experiences concerning the formation of dust and its distribution in the exhibition areas? Displacement ventilation causes air layers of different temperature and RH to occur, in our opinion this may result in causing problems, especially for large, compact objects made of organic materials. How big a problem do you think this is, do you have any experience with this effect? Any type of information, tips and suggestions on this issue are greatly welcome. Please do not hesitate to contact me for further information. Leonie Gartner Conservator (Oceania) Ethnologisches Museum Staatliche Museen zu Berlin Arnimallee 27 14195 Berlin Germany +49 30 8301 338 Fax: +49 30 8301 500 ------------------------------ Date: 15 Dec 2009 From: Ann N'Gadi Subject: Fellowships at Smithsonian Institution--addendum Postgraduate Fellowships in Conservation of Museum Collections Smithsonian Ed Vicenzi, Research Scientist (microchemistry/microscopy) 301-238-1215 vicenzie [at] si__edu has been added to the MCI listing of people for Postgraduate Fellowships. **** Moderator's comments: Please see original posting in Conservation DistList Instance: 23:20 Sunday, December 6, 2009 ------------------------------ Date: 18 Dec 2009 From: Ann N'Gadi Subject: Fellowships at Smithsonian Institution Postdoctoral Fellowship in Stable Isotope Biogeochemistry Smithsonian Institution The Office of the Undersecretary of Science at the Smithsonian Institution is offering an Interdisciplinary Postdoctoral Fellowship in the area of stable isotope biogeochemistry. Research proposals must integrate the use of stable isotopes (2H/1H, 13C/12C, 15N/14N, and 18O/16O) into their specific research questions. Isotope analyses will be conducted at one of the two Pan-Institutional isotope facilities (OUSS/MCI Stable Isotope Mass Spectrometry Facility in Suitland, MD or at the Smithsonian Tropical Research Institute, Panama City, Panama). Applicants interested in this fellowship are strongly encouraged to contact potential advisors/hosts at any of the Smithsonian's various Museums and Research Units prior to proposal preparation and submission. Please consult the research staff listed for the Museum, Research Units, and Offices at the links to Smithsonian Opportunities for Research and Study' below. Applicants must propose to conduct research in-residence for a period of 12 to 24 months. Please note that each applicant should start their Title with Stable Isotope Postdoc. Applicants must have completed or be near completion of the Ph.D. Recipients who have not completed the Ph.D. at the time of application must provide proof of completion of the degree before the fellowship begins. Please go to for details on how to apply. Applications must be received by Jan 15, 2010. ------------------------------ Date: 15 Dec 2009 From: Karl D. Buchberg Subject: Fellowship at Museum of Modern Art Mellon Fellowship in Paper Conservation The Museum of Modern Art, New York City The Museum of Modern Art offers a one-year renewable advanced fellowship in the conservation of works of art on paper beginning in September 2010. The applicant should be a graduate of a recognized conservation training program. The Paper Conservation Department works closely with many curatorial departments: Prints and Illustrated Books, Drawings, Architecture and Design and Film . The candidate will work on a wide range of modern and contemporary works and participate in all departmental activities including analysis and treatment of collection materials, preparation of works for exhibition and loan, and courier responsibilities. The Mellon Fellow functions as an integral part of the department dealing with conservation, curatorial and administrative responsibilities as needed. There will also be opportunities for research and technical analysis in areas of interest in modern/contemporary art. The closing date for applications is Feb. 15, 2010. Salary is $40,000.00 plus generous benefits, including four weeks paid vacation. Applicants should send a resume with a list of references to: James Coddington Agnes Gund Chief Conservator The Museum of Modern Art 11 W. 53rd St. New York NY 10019 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. Karl D. Buchberg Senior Conservator The Museum of Modern Art 11 West 53rd Street New York City, New York 10019-5497 212-708-9416 ------------------------------ Date: 18 Dec 2009 From: Susan White Subject: Internship at White Conservation Services I was recently given a 16th century lacquered Japanese suit of armour. It is in very poor shape. I'm considering taking on one or two interns who would like to gain experience in this area, preferably pre-graduate school candidates looking for in the world experience. I've done considerable research on the piece and lacquer restoration in general and I'd like to put a call out for any one who knows of a student wishing to get experience. I can't pay much, if anything, but if the candidates skills are of a high level, I will gladly compensate the intern. Susan White ------------------------------ Date: 15 Dec 2009 From: Meredeth Lavelle Subject: Position at Buffalo State College Mellon Conservation Science Professor Art Conservation Buffalo State College The Art Conservation Department, Buffalo State College, invites applications for the recently endowed Andrew W. Mellon Professorship in Conservation Science. The full-time appointment will be at an academic rank determined by qualifications. Responsibilities: Teach graduate lecture and laboratory subjects in conservation science and participate in development of science curriculum. Mentor students on scientific aspects of conservation treatment and guide student research projects. Assume overall responsibility for maintaining department laboratories. Develop and maintain active research program on conservation of art and other objects of material culture. Required Qualifications: Ph.D. in a physical science; a well established research and publication record; effective communication skills; willingness to commit to the Buffalo State College mission, vision and core values. Preferred Qualifications: Specialization in chemistry especially organic chemistry; postgraduate professional experience in science; doctoral and/or postdoctoral experience in conservation science research or research immediately relevant to conservation of art and other objects of material culture; evidence of a high level of commitment to and excellence in teaching at graduate level; experience carrying out successful research projects in collaboration with other scientists and/or conservators. The Art Conservation Department offers an internationally recognized graduate program in art conservation. Buffalo State is the largest comprehensive college in the State University of New York (SUNY) system. The campus is located in the museum district of Buffalo, the second largest city in New York State. The area offers a variety of cultural and recreational activities. Review of applications will begin February 15, 2010 and continue until the position is filled. Applicants should electronically submit: 1) cover letter that explains how credentials apply to required and preferred qualifications; 2) Curriculum Vitae; 3) statement of teaching philosophy; 4) names and contact information of three references. Apply at Contact Professor Jonathan Thornton for more information. Buffalo State is an affirmative action/equal opportunity employer and encourages applications from women, racial/ethnic minorities, persons with disabilities, and veterans. Meredeth Lavelle Senior Staff Assistant Art Conservation Department Buffalo State College 1300 Elmwood Avenue Rockwell Hall 230 Buffalo, NY 14222-1095 716-878-3757 Fax: 716-878-5039 ------------------------------ Date: 17 Dec 2009 From: Molly Gleeson Subject: Position at San Diego Museum of Man Photographic Collection Project Manager San Diego Museum of Man The San Diego Museum of Man seeks a photographic collection project manager to join the staff of the Collections Resource Center. The Photographic Collection Project Manager will be part of a dynamic and highly motivated department dedicated to building, preserving, promoting and providing maximum access both physically and virtually to the Museum's photographic collection. Under the supervision of the Collections Resource Center Project Manager, this position will renovate, catalog, preserve, interpret, communicate the contents of the collection, be involved in the process of any new acquisitions as well as, be responsible for the creation of an illustrated online catalog and cross-referenced database. Graduate degree in museum studies, photography with an emphasis on collections management or conservation or relative experience with photographic material is required. This position is contingent upon grant funding. The Museum is currently seeking funding with some applications pending. Applications will be accepted through December 28, 2009. Qualified candidates can email their cover letter and resume to eharm [at] museumofman__org Posted on behalf of Erin Harm Collections Resource Center Project Manager, San Diego Museum of Man ------------------------------ Date: 15 Dec 2009 From: Lee Ann Daffner Subject: Position at Museum of Modern Art Thomas Walther Project Assistant Conservator The Museum of Modern Art New York With the generous support of The Andrew W. Mellon Foundation, The Museum of Modern Art (MoMA) will conduct an unprecedented, four year, collaborative investigation of the Museum's Thomas Walther Collection of modernist photography, significantly advancing the record of knowledge on each of the works in this collection and how they were made. The Conservation Department announces a three-year project assistant conservator position to work on the conservation of photographic materials in the collection as well as undertaking material and historical research. The candidate will work with a wide range of photographic materials, with a focus on the characterization of the Thomas Walther Collection of photographs in the Museum's Department of Photographs. In addition, the candidate will participate in a broad range of routine conservation departmental activities including treatment, loan preparation, courier responsibilities, travel, and all aspects of collection care. It is desirable that the candidate should demonstrate a willingness to learn or adapt existing expertise with evolving documentation and imaging systems. Applicants should be graduates of a recognized graduate-level program in conservation or be able to demonstrate the acquisition of equivalent skills and knowledge through work experience. Two years work-related experience required. Applicants should have a demonstrated commitment to the profession of conservation and scholarly advancement. Record keeping and strong organizational skills are required. This is a fully integrated position at MoMA, working under the supervision of the Museum's Andrew W. Mellon Conservator of Photographs and in close collaboration with the Sally and Michael Gordon Scientist, Associate Scientist, Museum conservators and curators, conservation advisors, other members of the project team, and administrative personnel as needed. The salary is $60,000 per year with full benefits. Travel associated with the project will be encouraged and supported. The deadline for completed application materials is February 15, 2010. Please send curriculum vitae, references, and one-page summary outlining your background and interests in technical and conservation scholarship of the Museum's photography holdings to James Coddington Agnes Gund Chief Conservator The Museum of Modern Art 11 West 53 Street New York NY 10019 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. Lee Ann Daffner Andrew W. Mellon Foundation Conservator of Photographs Conservation Department The Museum of Modern Art leeann_daffner [at] moma__org 212-708-9559 Fax: 212-333-1244 ------------------------------ Date: 23 Dec 2009 From: Jenny Thomas Subject: Positions at National Museums Liverpool Conservators (3 positions) National Conservation Centre, Liverpool Metals Conservator Ref: 9065 12 month fixed term contract, to start immediately Paper Conservator Ref: 9066 11 month fixed term contract to start 5 April 2010 Textiles Conservator Ref: 9067 12 month fixed term contract to start 5 April 2010 National Conservation Centre, Liverpool Salary for all posts is UKP19,465 pa (pay band 4) The National Conservation Centre has opportunities for a metals, a paper and a textiles conservator (3 posts in total) to undertake practical conservation work on a wide range of materials for our new Museum of Liverpool. Working with senior conservators, you will assist in the preparation of objects for display. Successful candidates may be required to work with a range of materials, so a knowledge of materials other than those from specialist areas would be an advantage . A recognised conservation qualification and knowledge of current conservation practises and methods is essential. Museum and installation experience is desirable. For further details and an application pack please email your name, address and reference number of the post to: humanresources [at] liverpoolmuseums__org__uk Alternatively you may download details direct from our website below or request information from 127 Dale Street, Liverpool L2 2JH Closing Date: Thursday 21 January 2010 at noon. National Museums Liverpool is committed to diversity and we encourage applications from people currently under-represented in the workplace. This includes people from black and racial minorities and people with disabilities. Jenny Thomas Human Resources Advisor National Museums Liverpool +44 151 478 4771 Fax: +44 151 478 4672 ------------------------------ Date: 21 Dec 2009 From: Graham Voce Subject: Position at IIC Due to study-time requirements, Lucy Wrapson, the editor of News in Conservation, is standing down from this position. IIC is therefore looking for a new Editor, to take up the work as soon as possible. The lively, colourful conservation newspaper that is News in Conservation, has quickly established itself as a primary focus for news and information throughout the international conservation community. We invite expressions of interest from conservators and others with excellent skills in the use of UK English and preferably at least one other language, the journalistic ability to source news worldwide and ready access to fast electronic communications. Experience and good contacts in the international world of conservation will be an advantage. This will be a paid, part-time, free-lance position which will take up 2 days per week on average. Whilst proximity to the office in London would be an advantage for occasional meetings, it is not essential, and the work could be done from anywhere in the world with group telephone discussions instead of any face-to-face meetings. If you are interested, please send a CV and expression of interest to iic [at] iiconservation__org by 22 January 2008. A Job Description is available. Please draw this position to the attention of others. Graham Voce Executive Secretary International Institute for Conservation of Historic and Artistic Works (IIC) 6 Buckingham Street London WC2N 6BA UK +44 20 7839 5975 Fax: +44 20 7976 1564 ------------------------------ Administrivia: DistList postings are for informational purposes only and do not imply endorsement by AIC Instructions for DistList postings are at http://cool.conservation-us.org/byform/mailing-lists/cdl/instruct.shtml Mail submissions to consdistlist [at] cool__conservation-us__org Administrative matters (file requests, subscription requests, etc) to request [at] cool__conservation-us__org DistList Archives: All instances of the DistList are available (both for browsing by whole items and searching for individual messages): http://cool.conservation-us.org/byform/mailing-lists/cdl/ The ConsDir is available at http://cool.conservation-us.org/misc/people ----------------- End Cons DistList -----------------