Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. Sustainable Labs Community Meetup - March 2. Paintings Conservation Vacancy - National Galleries of Scotland 3. Vacancy - Conservation Technician, National Galleries of Scotland 4. Sourcing cyclododecane 5. RE: Cultural Heritage Destruction in Iran 6. Content and Engagement Specialist - Heritage Science Data Service Project (Maternity Cover) at The National Gallery, London 7. RE: Laropal A81 varnish for painting 8. Funding to do Research at the New York Public Library 9. RE: Cultural Heritage Destruction in Iran 10. Bookbinding Design Workshop at The London Archives ------------------------------------------------------------------------------------------------------------ 1.From: adrian hernandez Posted: Wednesday March 18, 2026 6:46 AM Subject: Sustainable Labs Community Meetup - March Message: Greetings all, Please join us for another Sustainable Labs Community Meetup next week on March 25 at 8am PT / 11am ET / 3pm BST! This will be a regular forum with no introductory speaker. Bring your questions and project ideas for us to consider together how we can promote more sustainable practices in conservation labs. Zoom link to join: https://us06web.zoom.us/j/81390610064?pwd=DoPjRzwfuY6j9UjpWOHpKx8BjlwSQO.1 <https://us06web.zoom.us/j/81390610064?pwd=DoPjRzwfuY6j9UjpWOHpKx8BjlwSQO.1> See you soon, AIC / Icon Sustainability Teams ------------------------------ adrian hernandez AIC Sustainability Committee Outreach Officer ------------------------------ 2.From: Lorraine Maule Posted: Wednesday March 18, 2026 9:34 AM Subject: Paintings Conservation Vacancy - National Galleries of Scotland Message: Vacancy - Paintings Conservator Touring Exhibitions Full-time and Fixed Term to 31 March 2030 Salary 37,614 - 41,138 per annum Plus generous benefits package On site with flexible working About the role We are delighted to announce a new opportunity for an experienced Paintings Conservator to join our Conservation Department at the National Galleries of Scotland. We are seeking a skilled and collaborative Conservator to help us share our collection with audiences around the world. To succeed in this post, you'll bring resourcefulness, enthusiasm, and excellent interpersonal skills along with a strong professional network. You will have evidence-based skills as Painting Conservator, and you will be confident in assessing and treating a wide range of materials and formats. Our extensive painting collection is often on the move. You'll be at the heart sharing this collection with the widest possible audience ensuring that works from our rich and varied painting collection travel safely, sustainably and look their very best when on display. Your work will play a vital role in delivering our wider strategy, supporting our Public Offer, equalities, and environmental priorities. You'll help preserve the collection while enabling us to deliver a generous lending programme from our diverse collections, also an ambitious number of exhibitions across our galleries. Through research and outreach, you will deepen knowledge of the collection and help attract new audiences to engage with it. This is more than just a conservation role. It is an opportunity to make a lasting difference to the way we care for, understand and share our collection. About the Touring Programme National Galleries of Scotland is launching an ambitious international touring programme contributing to our aim to make art work for everyone. This new initiative builds on past touring success and increases opportunities for the collection to be shared with audiences across the world. The touring programme is also part of our strategy to grow our income to ensure our future financial sustainability. Work has already begun and we are now recruiting a number of posts from May 2026 to support taking the touring programme forward. The programme will run initially to 31 March 2030. The success of the initiative will determine next steps for both the programme and the team supporting it. You will help to deliver this ambitious new initiative. This is an excellent opportunity for a results-driven individual to demonstrate their impact and contribute to shaping the success of the programme. The closing date for completed applications is 12 noon on Monday, 06 April 2026. For full details please visit the iRecruit portalhttps://ngs.ciphr-irecruit.com/Applicants/vacancy?m=0 <https://ngs.ciphr-irecruit.com/Applicants/vacancy?m=0> Lorraine Maule Senior Paintings Conservator Email/Teams: [email protected] Phone: 0131 624 6370 National Galleries Scotland | Yours to discover <http://www.nationalgalleries.org/> Registered Address: National Galleries Scotland, 73 Belford Road, Edinburgh, EH4 3DS National Galleries Scotland is a charity registered in Scotland (No. SC003728) 3.From: Lorraine Maule Posted: Wednesday March 18, 2026 9:34 AM Subject: Vacancy - Conservation Technician, National Galleries of Scotland Message: Vacancy - Conservation Technician Touring Exhibitions Full Time and Fixed Term to 31 March 2030 Salary 30,900 - 32,250 per annum Plus generous benefits package On site with flexible working About the role We are excited to have a new opportunity for a Conservation Technician to join our Conservation team. You may already be working as a Conservation Technician looking for a new opportunity or have relevant experience handling artworks and fitting works into frames. If so, we'd love to hear from you. In this specialist role you will work closely with Conservators and Senior Conservation Technicians to deliver high-quality technical solutions. You will provide bespoke framing and glass cutting, mounting, packing and transit solutions for a wide variety of objects. You'll work with both paintings and works on paper, in line with recognised industry standards. Your main focus will be ensuring that objects from our collection are displayed, stored, and transported safely and appropriately, particularly those travelling as part of our touring exhibitions. You will also contribute to the ongoing care and maintenance of collections on display and in storage. We are looking for someone with woodworking / machine shop skills, ideally gained in a museum, gallery or with clearly transferrable experience from a commercial setting. This is a practical, hands-on role, requiring confidence in working with tools and machinery, excellent manual dexterity, and a careful, methodical approach. Initially, the role will focus primarily on paintings, with some time spent supporting paper-based projects. With training and support, your responsibilities will develop to include a broader involvement in both paintings and paper conservation preparation and mounting. While training will be provided, some prior experience of working with either paintings or paper is preferred. This role offers an excellent opportunity for a skilled technician who enjoys problem-solving, working with their hands, and contributing directly to the care, movement and sharing of nationally important collections. About the Touring Programme National Galleries of Scotland is launching an ambitious international touring programme contributing to our aim to make art work for everyone. This new initiative builds on past touring success and increases opportunities for the collection to be shared with audiences across the world. The touring programme is also part of our strategy to grow our income to ensure our future financial sustainability. Work has already begun and we are now recruiting a number of posts from May 2026 to support taking the touring programme forward. The programme will run initially to 31 March 2030. The success of the initiative will determine next steps for both the programme and the team supporting it. You will help to deliver this ambitious new initiative. This is an excellent opportunity for a results-driven individual to demonstrate their impact and contribute to shaping the success of the programme. The closing date for completed applications is 12 noon on Monday, 06 April 2026. For full details please visit the iRecruit portalhttps://ngs.ciphr-irecruit.com/Applicants/vacancy?m=0 <https://ngs.ciphr-irecruit.com/Applicants/vacancy?m=0> Lorraine Maule Senior Paintings Conservator Email/Teams: [email protected] Phone: 0131 624 6370 National Galleries Scotland | Yours to discover <http://www.nationalgalleries.org/> Registered Address: National Galleries Scotland, 73 Belford Road, Edinburgh, EH4 3DS National Galleries Scotland is a charity registered in Scotland (No. SC003728) 4.From: Stephanie Whitehead Posted: Wednesday March 18, 2026 9:34 AM Subject: Sourcing cyclododecane Message: Hello, I was wondering if anyone had any resources for purchasing cyclododecane? I have been having a difficult time finding somewhere to order it from. Thank you in advance! ------------------------------ Stephanie Whitehead Conservator Historic St. Mary's City Commission ------------------------------ 5.From: Gali Beiner Posted: Wednesday March 18, 2026 5:50 PM Subject: RE: Cultural Heritage Destruction in Iran Message: Dear Dr. Oudbashi, I'll respond to your point re:sharing practical guidelines. My response is about to sound extremely simplistic, but sometimes simple is what the situation calls for. Basically, in terms of emergency planning, the point is determining what the risks are. Here in Israel, during the first "iran war" ( just 9 months ago, when the Islamic Republic opted to barrage all of Israel indiscriminately with missiles), the main risk at hand was of course not flooding or even fire - it was shock waves from missiles. The main lesson learnt (notably from the case of a private conservation studio situated within a civilan apartment building) was - you'd be surprised how well plain boxing with bubble wrap can do in terms of saving extremely fragile objects such as glass and ceramics from missile shock. If moving underground is not possible, packing or wrapping objects pretty much as you would do for salvaging finds from excavations is a direction of thought for which much information already exists in the internet, complete with illustrations (eg various types of enclosing for block lifting). Packing guidelines for specific institutions or collections can be formulated based on these. There are, of course, many other aspects of dealing with wartime situations, from potential looting to moving objects into storage, from specific protocols for salvaging specific groups of objects (eg paper) after damage to considering how to manage staff and volunteers. I'm currently just offering my two cents based on us here in Israel quite simply packing whatever can be packed and moving whatever can be moved to lower levels. With best hopes for a friendlier future for both people and cultural property, Gali ------------------------------ Gali Beiner, MA, ACR Conservator National Natural History Collections (NNHC) at the Hebrew University of Jerusalem (HUJ) Jerusalem, Israel [email protected] https://en-nnhc.huji.ac.il/ https://www.facebook.com/nationalnaturalhistorycollections/ ------------------------------ ------------------------------------------- Original Message: Sent: 03-17-2026 06:05 From: Omid Oudbashi Subject: Cultural Heritage Destruction in Iran Dear All, Thank you very much for your responses and for your attention to the situation in Iran. I would like to clarify that I am strongly opposed to any form of conflict, as well as any damage to cultural heritage-even when it occurs unintentionally. The harm caused to cultural heritage during conflicts is often irreversible and unacceptable, regardless of how or why it happens. My main concern is that much of the information circulating in the media-even from well-known news agencies-can be inaccurate or biased due to political orientations. For example, I was surprised to see claims in a recent post stating that thousands of people have been killed by the US and Israel, especially given the current lack of reliable information due to internet shutdowns. I am unsure how such figures were obtained and worry that they may be exaggerated. I am also confused about why demonstrations are sometimes organized selectively, rather than consistently in response to urgent situations. It increasingly feels as though issues such as human rights and cultural heritage are, at times, used as tools for political agendas or propaganda, rather than being addressed with genuine concern. As a conservator and conservation scientist who has worked extensively in Iranian museums and heritage sites, I believe that many cultural heritage institutions in Iran are not adequately equipped for times of conflict. While my colleagues are highly educated and experienced, they often lack access to essential tools and resources. I believe that we, as a professional community, can play a constructive role in supporting colleagues in Iran and in other regions facing or at risk of conflict. Some possible actions include: Developing and sharing practical, accessible guidelines for cultural heritage protection, particularly for regions with limited resources. First-aid measures and preventive strategies could be especially valuable. Engaging with policymakers and administrative authorities in our respective countries to emphasize the importance of safeguarding cultural heritage during conflicts and to encourage more proactive measures. Focusing our efforts on meaningful, practical contributions grounded in our scientific and professional expertise, rather than on assigning blame based on potentially unreliable or politicized information. In my view, our primary responsibility is not to determine who is at fault in a conflict, but to take concrete, informed actions to support the protection of cultural heritage worldwide during times of crisis. Kind regards, Omid ------------------------------ Omid Oudbashi Senior Lecturer University of Gothenburg, Department of Conservation Göteborgs Sweden ------------------------------ Original Message: Sent: 03-12-2026 23:40 From: Aisha Wahab Subject: Cultural Heritage Destruction in Iran For anyone that has missed the latest calls and warnings from our cultural heritage sector about the deliberate destruction of cultural heritage in Iran by the United States and Israel, UNESCO <https://www.unesco.org/en/articles/unesco-expresses-concern-over-protection-cultural-heritage-sites-amidst-escalating-violence-middle>, ICOM <https://icom.museum/en/news/icom-calls-for-protection-of-museums-and-cultural-heritage-amid-conflict-in-iran-the-gulf-region-and-the-eastern-mediterranean/>, Museum Associations <https://www.museumsassociation.org/museums-journal/news/2026/03/blue-shield-warns-of-potential-war-crimes-against-irans-cultural-sites/>, ICOMOS <https://www.icomos.org/actualite/icomos-statement-middle-east/>, and USCBS <https://uscbs.org/statement-iran-conflict-cultural-heritage-march-2026/> have all posted about the concern for Iranian cultural heritage, the warning of potential war crimes against Iran's cultural sites, and the call for protection of cultural heritage in Iran. We are currently witnessing the deliberate destruction of cultural heritage, the loss of civilian life, and harm to our planet with this current war on Iran. The deliberate destruction of cultural heritage is against our code of ethics, against what we stand for as cultural heritage protectors, it violates the Geneva Conventions' Additional Protocols, the 1954 Hague Convention, and it violates international law. In less than 2 weeks of war, thousands of civilians have been killed or injured, toxic rain from bombed oil depots threatens the planet and people's health, and it has been reported that several UNESCO World Heritage sites have been damaged in Iran including the Golestan Palace, the Chehel Sotoon, the Masjed e-Jameh of Isfahan, Ali Qapu palace, several mosques around Nash e-Jahan Square, and prehistoric sites of the Khorrambad Valley. I fell in love with Iranian art and architecture prior to my career in conservation, when I was interning at the LA County Museum of Art under the Art of the Middle East Curator, Linda Komaroff, who showed me a world of magnificent beauty, craftsmanship and culture. A year and a half ago I fell in love all over again when I finally got the opportunity to visit Iran and witness in-person it's beauty, the kindness and hospitality of its people, and it's rich culture and history. I visited most of these World Heritage sites that have been damaged. It is heart breaking to witness such historical, cultural, and human loss and to know that my government is responsible, and my taxes are contributing to it. Please continue to stay informed, call your representatives, and use your voice to speak out against unethical wars, the deaths of civilians, and the destruction of cultural heritage.For further articles on the issue:https://www.theartnewspaper.com/2026/03/10/unesco-sites-in-iranian-city-of-isfahan-and-others-across-countrydamaged-by-us-israel-strikes <https://www.theartnewspaper.com/2026/03/10/unesco-sites-in-iranian-city-of-isfahan-and-others-across-countrydamaged-by-us-israel-strikes>https://www.theguardian.com/world/2026/mar/12/dismay-as-ancient-heritage-sites-across-iran-damaged-in-us-israel-bombing <https://www.theguardian.com/world/2026/mar/12/dismay-as-ancient-heritage-sites-across-iran-damaged-in-us-israel-bombing>https://www.nytimes.com/2026/03/11/world/middleeast/iran-heritage-sites-damaged.html <https://www.nytimes.com/2026/03/11/world/middleeast/iran-heritage-sites-damaged.html> ------------------------------ Aisha Wahab (she/her) Paper Conservator Stanford Libraries ------------------------------ 6.From: Catherine Higgitt Posted: Wednesday March 18, 2026 5:50 PM Subject: Content and Engagement Specialist - Heritage Science Data Service Project (Maternity Cover) at The National Gallery, London Message: The National Gallery is seeking a Content and Engagement Specialist to drive collaboration and innovation in the Heritage Science Data Service <https://hsds.ac.uk> (HSDS) project, a groundbreaking initiative to transform access to heritage science data across the UK's GLAM sector. Working with project partners, you'll help develop a UK-wide data catalogue, test digital platforms, and create workflows to make heritage science data more accessible and reusable. You will lead engagement with GLAM institutions, design user scenarios, and organise workshops and surveys to promote FAIR (Findable, Accessible, Interoperable, Reusable) data practices. Please note: This is not a practical conservation role but focuses on managing, organising, and presenting heritage science data. It offers valuable experience for those in conservation, heritage science, or digital data management. Salary: 41,623 GBP per annum Closing date for applications is 12th April 2026 Please see the following link for more information and application details: https://ce0838li.webitrent.com/ce0838li_webrecruitment/wrd/run/etrec179gf.open?WVID=7102672HeH&LANG=USA&VACANCY_ID=5093474IuP <https://ce0838li.webitrent.com/ce0838li_webrecruitment/wrd/run/etrec179gf.open?WVID=7102672HeH&LANG=USA&VACANCY_ID=5093474IuP> ------------------------------ Catherine Higgitt Principal Scientist The National Gallery London [email protected] ------------------------------ 7.From: Robert Proctor Posted: Wednesday March 18, 2026 5:51 PM Subject: RE: Laropal A81 varnish for painting Message: Please excuse my mistake. Anywhere I referred to Shell D38 I should have said Shell D40. (Shell used to market D38 in North America and D40 in Europe.) Shell has radically changed their product lines leaving us to find alternatives. (If interested in this subject please refer to my paper titled "On Picture Varnishes and their solvents for the 21st C." Published in The 2012 AIC Painting Specialty Group Postprints vol.25) In the U.S. the best replacement for Shellsol D38 That I have found is:Solvent 300-360, product #E3011-128.Distributed by: Museum Services Corp., St. Paul, MN. Tel 651 450 8954 ------------------------------------------- Original Message: Sent: 3/17/2026 3:07:00 AM From: Valeria Cocchetti Subject: RE: Laropal A81 varnish for painting Dear Robert, The information you gave me is very useful; unfortunately, the solvents you used are not available here. Shell products are not distributed in Europe due to very strict regulations. IBIB has a purity of 97%. Shellsol D40 Kremer is the only solvent available. Therefore, we have to work with what the market can supply. I certainly have a lot to learn and no scientific institution supporting my studies. I will make sure to mention your name whenever I can, and I hope you will be able to come to Italy to give a course. I believe the main problem is the availability of your solvents. Kind regards, Valeria ------------------------------------------- Original Message: Sent: 3/16/2026 7:23:00 PM From: Robert Proctor Subject: RE: Laropal A81 varnish for painting Dear Valeria,Don't be sorry for the questions! Because both IBIB and n-pentyl propionate are each made of a single "Species" they should have a singular B.P. (The fact that the IBIB you are getting has a B.P. range suggests that it is not very pure, even from Sigma?). D38 is made of a mix of hydrocarbons (different species). Shell did this on purpose to create a "broad cut". They also blended different hydrocarbons rather than just creating the solvent through simple distillation. This is what gave their D38 more cycloparaffins and thus more solvency power as well as have less impurities. While it is probably not necessary, we mix the 2 esters to match this range of B.P.s.I would appreciate if this info is used in a presentation that I be credited. Also, I would consider giving my WAAC PowerPoint presentation virtually to the proper audience. I hope this helps.Best Rob ------------------------------------------- Original Message: Sent: 3/16/2026 4:09:00 PM From: Valeria Cocchetti Subject: RE: Laropal A81 varnish for painting Thank you Rob, very useful information. We have only studied IBIB from the company Sigma (boiling range 145–152 °C). Sorry for the question: if the parameters of n-pentyl propionate are similar to Shellsol D40, why don't you use only that and eliminate IBIB? And please, make sure to leave some successors before you retire! Valeria ------------------------------------------- Original Message: Sent: 3/16/2026 2:47:00 PM From: Robert Proctor Subject: RE: Laropal A81 varnish for painting The nBuAc evaporation rate of Shell D-40 is 0.2. and B.P. range 140- 205c. IBIB has An nBuAc of 0.4 an a B.P. of 148c. The nBuAc for n pentylpropionate is 0.2, the same as Shell D-40 the B.P. is 165c. We mix the 2 to better match the broader evaporation rate of D-40. Because D40 is essencially a non solvent for A81 there is a risk that the varnish may not dry quite as clear if only mixing the D40 with IBIB as the IBIB will evaporate out before the D40. I had a bit of extra time on my hands during the pandemic to research alternatives to the aromatics we commonly use and did many solubility tests with the esters and a couple of others. Dispite their different Hansen parameters, I found that they acted almost identical to the corresponding aromatics for many of the resins we commonly use excepting waxes and (to a far lesser degree) aquazol. N Butyl acetate of course has an nBuAc of 1.0 that is 5X as fast as Shellsol D40 Just a note, Shell has not produced Shellsol D40 for several years now, and many of the "equivalents" that are being produced called "D40" that are being sold do not have quite the "strength" of the original Shell product. This, and because the solubility of different batches of Laropal A 81 can differ slightly, is why we recommend a 40/60 blend. We discovered this when doing a workshop in Portugal many years ago. We had ordered Shell D40 from Kremmer and we were having trouble getting a clear solution. We asked Kremmer to for the data sheet for the D40 and found that it was not produced by Shell and had a smaller percentage of cycloparaffins thus reducing it's solvency power. I reported on these findings at two Varnish workshops at SRAL in Maastricht in 2020 and at the WAAC annual meeting in 2023 but have unfortunately been remiss at publishing my work. Jill and I are well on our way to retirement, but would consider offering another workshop in Italy if the opportunity presented itself! Hope this helps, Rob ------------------------------------------- Original Message: Sent: 3/16/2026 12:25:00 PM From: Valeria Cocchetti Subject: RE: Laropal A81 varnish for painting Hi Robert In Italy we have Shellsol D40 (from the German company Kremer) which has evaporation parameters similar to IBIB, so we use a mixture of Shellsol D40 (65%) + IBIB (35%). The paint film shows excellent performance and Teas solubility parameters that help attempt to avoid leaching. Why do you use n-pentyl propionate and not n-butyl propionate? The latter solvent is used as an alternative to aromatics and it also has parameters close to our Shellsol D40. Thank you for your reply. Valeria I am attaching our study. ------------------------------------------- Original Message: Sent: 3/16/2026 11:32:00 AM From: Robert Proctor Subject: RE: Laropal A81 varnish for painting We have been using Isobutyl Isobutarate as a replacement for xylene and n-pentylpropionate for Shellsol A 100 for all of our varnishes, except ones that include wax, since 2020 with great success. They can be used in the exact same proportions as you would use the aromatics. Because we have noticed subtle differences in the solubility of Laropal A81 from batch to batch, we tend to recommend 20mL IBIB+20mL N-pentyl propionate+60mL D38 for a total of 100mL of solvent. The reason for mixing the 2 esters is so their evpoation characteristics will match those of Shellsol D38 more closely. While these solvents offer great benifits over aromatics as they are both far less dangerous to the user and for the environment, I must warn you that they have very strong odors. (Also, when making varnishes with Laropal A81 please don't forget to add Tinuvin 292!) Please let me know your experiences! Rob ------------------------------ Robert Proctor Co-Director Whitten & Proctor Fine Art Conservation Houston United States ------------------------------ ------------------------------------------- Original Message: Sent: 03-15-2026 05:17 From: Valeria Cocchetti Subject: Laropal A81 varnish for painting I am looking for painting conservators who use resin Laropal A81 dissolvesse in Shellsol D40 + the ester Isobutyl Isobutyrate (IBI) or another ester. If any conservator/restorer uses this solvent mixture to solubilize the resin in granules, I would be interested in knowing the proportions of the solvents and the positive/negative effects they observe. Thanks to everyone who can help me. Valeria Cocchetti Painting Conservator Florence Italy 8.From: Denise Stockman Posted: Wednesday March 18, 2026 5:51 PM Subject: Funding to do Research at the New York Public Library Message: The New York Public Library is pleased to offer Short-Term Research Fellowships <https://www.nypl.org/short-term-research-fellowships> to support scholars based outside the New York metropolitan area engaged in graduate-level, post-doctoral, professional, and independent research in the arts and humanities. This fellowship is intended to support projects that would significantly benefit from research drawing on collections accessible at one of our three research centers: the Library for the Performing Arts, the Schomburg Center for Research in Black Culture, and the Stephen A. Schwarzman Building. Learn more <https://www.nypl.org/short-term-research-fellowships> and apply by March 31. (More information on the Librarys fellowship programs is available at nypl.org/fellowships <http://nypl.org/fellowships>.) -- Denise Stockman Senior Paper Conservator 9.From: Kris Cnossen Posted: Wednesday March 18, 2026 5:52 PM Subject: RE: Cultural Heritage Destruction in Iran Message: Dear Omid Oudbashi, Thank you for your reminder about the importance of care when sharing information, and for your thoughtful suggestions about the constructive roles cultural heritage caretakers can play. I did want to gently note one point of clarification regarding the original post. As written, it does not say that "thousands of people have been killed by the US and Israel," but rather that "thousands of civilians have been killed or injured." It also attributes these circumstances to the war, rather than assigning responsibility to specific parties. I very much agree with the importance of reading media carefully and interpreting language with care. In this case, the inclusion of "injured," as well as the phrasing used in the post, feels important to acknowledge. Thank you again for your time and for sharing your perspective. Dear Brian Castriota, Thank you for sharing your thoughts and additional context regarding moderation. I agree with the value of free, open, and civil discourse. If changes in the moderation guidelines were ever proposed, I would hope they would be shared with the full AIC membership for review and vote, consistent with how other organizational changes have been handled. Thank you all, Kris ------------------------------ Kris Cnossen (they, them, theirs) Textile Conservator in Private Practice Midwest Textile Conservation, LLC kriscnossen.com [email protected] #Blacklivesmatter #Museumsarenotneutral ------------------------------ ------------------------------------------- Original Message: Sent: 03-17-2026 06:05 From: Omid Oudbashi Subject: Cultural Heritage Destruction in Iran Dear All, Thank you very much for your responses and for your attention to the situation in Iran. I would like to clarify that I am strongly opposed to any form of conflict, as well as any damage to cultural heritage-even when it occurs unintentionally. The harm caused to cultural heritage during conflicts is often irreversible and unacceptable, regardless of how or why it happens. My main concern is that much of the information circulating in the media-even from well-known news agencies-can be inaccurate or biased due to political orientations. For example, I was surprised to see claims in a recent post stating that thousands of people have been killed by the US and Israel, especially given the current lack of reliable information due to internet shutdowns. I am unsure how such figures were obtained and worry that they may be exaggerated. I am also confused about why demonstrations are sometimes organized selectively, rather than consistently in response to urgent situations. It increasingly feels as though issues such as human rights and cultural heritage are, at times, used as tools for political agendas or propaganda, rather than being addressed with genuine concern. As a conservator and conservation scientist who has worked extensively in Iranian museums and heritage sites, I believe that many cultural heritage institutions in Iran are not adequately equipped for times of conflict. While my colleagues are highly educated and experienced, they often lack access to essential tools and resources. I believe that we, as a professional community, can play a constructive role in supporting colleagues in Iran and in other regions facing or at risk of conflict. Some possible actions include: Developing and sharing practical, accessible guidelines for cultural heritage protection, particularly for regions with limited resources. First-aid measures and preventive strategies could be especially valuable. Engaging with policymakers and administrative authorities in our respective countries to emphasize the importance of safeguarding cultural heritage during conflicts and to encourage more proactive measures. Focusing our efforts on meaningful, practical contributions grounded in our scientific and professional expertise, rather than on assigning blame based on potentially unreliable or politicized information. In my view, our primary responsibility is not to determine who is at fault in a conflict, but to take concrete, informed actions to support the protection of cultural heritage worldwide during times of crisis. Kind regards, Omid ------------------------------ Omid Oudbashi Senior Lecturer University of Gothenburg, Department of Conservation Göteborgs Sweden ------------------------------ Original Message: Sent: 03-12-2026 23:40 From: Aisha Wahab Subject: Cultural Heritage Destruction in Iran For anyone that has missed the latest calls and warnings from our cultural heritage sector about the deliberate destruction of cultural heritage in Iran by the United States and Israel, UNESCO <https://www.unesco.org/en/articles/unesco-expresses-concern-over-protection-cultural-heritage-sites-amidst-escalating-violence-middle>, ICOM <https://icom.museum/en/news/icom-calls-for-protection-of-museums-and-cultural-heritage-amid-conflict-in-iran-the-gulf-region-and-the-eastern-mediterranean/>, Museum Associations <https://www.museumsassociation.org/museums-journal/news/2026/03/blue-shield-warns-of-potential-war-crimes-against-irans-cultural-sites/>, ICOMOS <https://www.icomos.org/actualite/icomos-statement-middle-east/>, and USCBS <https://uscbs.org/statement-iran-conflict-cultural-heritage-march-2026/> have all posted about the concern for Iranian cultural heritage, the warning of potential war crimes against Iran's cultural sites, and the call for protection of cultural heritage in Iran. We are currently witnessing the deliberate destruction of cultural heritage, the loss of civilian life, and harm to our planet with this current war on Iran. The deliberate destruction of cultural heritage is against our code of ethics, against what we stand for as cultural heritage protectors, it violates the Geneva Conventions' Additional Protocols, the 1954 Hague Convention, and it violates international law. In less than 2 weeks of war, thousands of civilians have been killed or injured, toxic rain from bombed oil depots threatens the planet and people's health, and it has been reported that several UNESCO World Heritage sites have been damaged in Iran including the Golestan Palace, the Chehel Sotoon, the Masjed e-Jameh of Isfahan, Ali Qapu palace, several mosques around Nash e-Jahan Square, and prehistoric sites of the Khorrambad Valley. I fell in love with Iranian art and architecture prior to my career in conservation, when I was interning at the LA County Museum of Art under the Art of the Middle East Curator, Linda Komaroff, who showed me a world of magnificent beauty, craftsmanship and culture. A year and a half ago I fell in love all over again when I finally got the opportunity to visit Iran and witness in-person it's beauty, the kindness and hospitality of its people, and it's rich culture and history. I visited most of these World Heritage sites that have been damaged. It is heart breaking to witness such historical, cultural, and human loss and to know that my government is responsible, and my taxes are contributing to it. Please continue to stay informed, call your representatives, and use your voice to speak out against unethical wars, the deaths of civilians, and the destruction of cultural heritage.For further articles on the issue:https://www.theartnewspaper.com/2026/03/10/unesco-sites-in-iranian-city-of-isfahan-and-others-across-countrydamaged-by-us-israel-strikes <https://www.theartnewspaper.com/2026/03/10/unesco-sites-in-iranian-city-of-isfahan-and-others-across-countrydamaged-by-us-israel-strikes>https://www.theguardian.com/world/2026/mar/12/dismay-as-ancient-heritage-sites-across-iran-damaged-in-us-israel-bombing <https://www.theguardian.com/world/2026/mar/12/dismay-as-ancient-heritage-sites-across-iran-damaged-in-us-israel-bombing>https://www.nytimes.com/2026/03/11/world/middleeast/iran-heritage-sites-damaged.html <https://www.nytimes.com/2026/03/11/world/middleeast/iran-heritage-sites-damaged.html> ------------------------------ Aisha Wahab (she/her) Paper Conservator Stanford Libraries ------------------------------ 10.From: Wanda Robins Posted: Wednesday March 18, 2026 5:52 PM Subject: Bookbinding Design Workshop at The London Archives Message: The London Archives is hosting a workshop in a collaboration with West Dean College and the London & South region of The Society of Bookbinders. This IN-PERSON, two-day workshop will introduce design concepts for bookbinding, open to practiced bookbinders as well as anyone interested in the world of design binding, the highest form of bookbinding, where the binding reflects an artistic response to the text within the book. Event Dates: Thursday and Friday, 16-17 April 2026, London For more Information and booking: https://www.eventbrite.co.uk/e/bookbinding-design-workshop-at-the-london-archives-tickets-1983968205309?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl <https://www.eventbrite.co.uk/e/bookbinding-design-workshop-at-the-london-archives-tickets-1983968205309?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl> ------------------------------ Wanda Robins Book Conservator The London Archives London United Kingdom ------------------------------ You are subscribed to "Global Conservation Forum (ConsDistList)" as [email protected]. To change your subscriptions, go to http://community.culturalheritage.org/preferences?section=Subscriptions. 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