Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. RE: Inquiry on consolidation of fragile silver gelatin prints 2. RE: Inquiry on consolidation of fragile silver gelatin prints 3. JOB OPPORTUNITY: Paintings Conservator, Museum of Fine Arts, Houston 4. Looking for technical specs/installation instructions for Willard light wall/map wall ------------------------------------------------------------------------------------------------------------ 1.From: Lucille Bonnier Posted: Tuesday April 28, 2026 9:07 AM Subject: RE: Inquiry on consolidation of fragile silver gelatin prints Message: Hi Helena, I am a freelance photograph conservator based in France. For my final year thesis at the Institut national du patrimoine (Paris), I worked on the consolidation of gelatin silver prints degraded by water damage. As part of that project, I conducted a study on the consolidation of degraded image layers - specifically areas of loss where the image layer was absent and the baryta was exposed, with the aim of stabilising those zones. I compared two cellulose ethers (Klucel G and Methocel A4C) applied with a nebulizer and/or with a spray, working exclusively with aerial application methods. In terms of concentration, I used fairly dilute adhesive solutions (0.25% or 0.5%), applied in successive passes. The results showed that both adhesives do consolidate effectively, however the nebulizer can prove insufficient when dealing with lifting or powdering (as it does not deliver enough adhesive), and the spray is not always suitable for every area to be treated, as it can cause localised gloss. The hydrolysed image layer exhibits significant porosity, which allows it to readily absorb the adhesive, whereas areas that are less degraded absorb it less easily and tend to leave it sitting at the surface. In practical terms, Klucel G in ethanol is very comfortable to handle, and the prints I treated responded very well to the treatment. Klucel G can also be applied by brush, though I am not certain this would be appropriate in cases of powdery emulsion. My thesis (in French, unfortunately) is available on the Inp website: https://mediatheque-numerique.inp.fr/documentation-oeuvres/memoires-diplome-restaurateurs-patrimoine/etude-conservation-restauration-photographies-sur-papier-gelatino-argentique-bettina-rheims-1979-lille-institut-pour-photographie-hauts. Please don't hesitate to get in touch if you would like any further information! My best, Lucille ------------------------------ Lucille Bonnier Photograph Conservator Freelance/Private Practice/Self-employed/Independent Paris France ------------------------------ ------------------------------------------- Original Message: Sent: 04-25-2026 05:14 From: Elena Álvarez Benet Subject: Inquiry on consolidation of fragile silver gelatin prints Dear all, My name is Elena, and I am currently working on my master's thesis on the conservation of photographic materials. During my practical work, I have come across several silver gelatin prints with very fragile, powdery emulsions. While researching appropriate treatments, I found that Klucel G (2–5% in ethanol) can be used as a consolidant. However, I was wondering whether anyone has encountered a similar issue and could share their experience or preferred treatment approach. Thank you very much in advance for your time. Best regards, Elena 2.From: Hernan Lopera Posted: Tuesday April 28, 2026 9:08 AM Subject: RE: Inquiry on consolidation of fragile silver gelatin prints Message: Dear Elena, I have used photographic grade gelatine dissolved in deionised water at 5% concentration as a consolidant for silver gelatine prints with very positive results. You can apply it with a brush of a size that fits the area being treated. I heva only used it for localised consolidation. The surface sheen will be almost identical and it will behave in the same manner suring variations of environmental conditions. I hope this helps you some how. Kind regards. ------------------------------ Hernan Lopera Audiovisual Conservation Coordinator National Film and Sound Archive Acton Australia ------------------------------ ------------------------------------------- Original Message: Sent: 04-25-2026 05:14 From: Elena Álvarez Benet Subject: Inquiry on consolidation of fragile silver gelatin prints Dear all, My name is Elena, and I am currently working on my master's thesis on the conservation of photographic materials. During my practical work, I have come across several silver gelatin prints with very fragile, powdery emulsions. While researching appropriate treatments, I found that Klucel G (2–5% in ethanol) can be used as a consolidant. However, I was wondering whether anyone has encountered a similar issue and could share their experience or preferred treatment approach. Thank you very much in advance for your time. Best regards, Elena 3.From: Per Knutås Posted: Tuesday April 28, 2026 1:27 PM Subject: JOB OPPORTUNITY: Paintings Conservator, Museum of Fine Arts, Houston Message: The Museum of Fine Arts, Houston (MFAH) seeks an Associate or Full Conservator of Paintings to join the Sarah Campbell Blaffer Foundation Center for Conservation. This is a full-time position within a collaborative, cross-disciplinary environment where conservation is integrated into broader museum practices, with an emphasis on preserving and expanding understanding of 5,000 years of global visual art creation. The MFAH holds an extensive and increasingly diverse collection, with ongoing growth in modern and contemporary art. The successful candidate will possess strong expertise in painting materials and techniques across various periods, with significant experience in modern and contemporary works strongly preferred. At MFAH, conservation is regarded as both a technical discipline and a form of cultural stewardship. We are dedicated to ethical practices, intellectual rigor, transparency in decision-making, and a workplace culture rooted in mutual respect and professional responsibility. We seek a conservator who: Demonstrates advanced knowledge of painting materials and techniques across historical and contemporary practice. Brings (Associate: substantial, Full: comprehensive) treatment experience and sound judgment in complex decision-making. Works effectively within interdisciplinary museum teams while maintaining independence and accountability in their work. Recognizes the ethical and cultural dimensions of conservation, including the evolving role of museums in serving diverse publics. Communicates clearly and respectfully, contributing to a professional environment grounded in trust, transparency, and shared responsibility. Is committed to ongoing learning, reflection, and engagement with current discourse in the field. Bring collegiality and thoughtfulness to work where trust and support are at the core of personal growth and institutional advancement. Qualifications Graduate degree in Conservation from a recognized program, or equivalent education and professional training. Minimum five years (Associate) or ten years (Full) of post-graduate experience in painting conservation. Comprehensive knowledge of museum standards, collections care protocols, and ethical guidelines. Demonstrated record of professional achievement, including significant treatment projects and scholarly contributions. Experience with modern and contemporary paintings strongly preferred. Excellent written and verbal communication skills in English. Strong organizational and documentation skills; proficiency with museum databases, imaging systems, and standard software. Ability to manage a complex workload and meet institutional deadlines. Legal eligibility to work in the United States. For appointment at the Full Conservator level, candidates should demonstrate sustained professional commitment, an established record of scholarship, and experience guiding complex projects or mentoring colleagues. Compensation & Benefits Associate Conservator: $65,000 - $75,000 Full Conservator: $75,000 - $90,000 Comprehensive medical, dental, and vision insurance Paid time off, holidays, and volunteer leave Retirement plan with employer contribution Professional development support and museum membership Relocation assistance and research-related travel funds may be available About the Conservation Environment at MFAH The Sarah Campbell Blaffer Foundation Center for Conservation is home to a team of 21 conservation professionals specializing in paintings, works on paper, photographic materials, sculpture and objects, textiles, time-based media art, and conservation science, supported by imaging specialists, technicians, fellows, and interns. The team cares for an encyclopedic collection of nearly 80,000 objects spanning 5,000 years. Our work is grounded in interdisciplinary collaboration, material research, and responsible stewardship. We prioritize mentorship, open dialogue, and equitable professional development. The Center is one of the most diverse conservation laboratories in the United States. We recognize that the diversity of experience, perspectives, and backgrounds strengthens our practice and enriches our engagement with the public. More information can be found here and a link to apply: bit.ly/MFAHPtgs <https://bit.ly/MFAHPtgs> Application deadline: June 1, 2026 Per Knutås Chairman, Department of Conservation Sarah Campbell Blaffer Foundation Center for Conservation MFAH | The Museum of Fine Arts, Houston P.O. Box 6826 Houston, TX 77265 Tel: +1 (713) 639-7736 | [email protected] <[email protected]> Per Knutås Chairman, Department of Conservation Sarah Campbell Blaffer Foundation Center for Conservation MFAH | The Museum of Fine Arts, Houston P.O. Box 6826 Houston, TX 77265 Tel: +1 (713) 639-7736 | [email protected] <[email protected]> 4.From: Jennifer Koerner Cauchi Posted: Tuesday April 28, 2026 10:01 PM Subject: Looking for technical specs/installation instructions for Willard light wall/map wall Message: The new conservation facility at the National Library and Archives New Zealand purchased several pieces of equipment prior to the closure of Willard Conservation International which were then impacted by their closure. While we weren't able to take delivery of all of the items due to the unfortunate circumstances, we did receive a partly finished light wall which is a large-scale vertically mounted light box (without the glazing). The equipment didn't come with any installation instructions or other information. I am hoping that there may be another institution out there (I believe the Tate may have one and will try to contact them) who has one of these and might be willing to share some of the installation/technical information? We are also still deciding on whether to use glass or acrylic as glazing and would be interested in any thoughts/experiences related to the choice of glazing as well. You can email me directly at [email protected] <[email protected]> or respond to this thread. Thank you very much! Jennifer Cauchi (She/Her)| Kaitauwhiro Matua | Team Leader, Conservation Alexander Turnbull Library | National Library of New Zealand Te Puna Mtauranga o Aotearoa and Archives New Zealand Te Rua Mahara o te Kwanatanga Direct Dial: +64 | 2 Aitken Street, Thorndon, Wellington PO Box 12349, Thorndon, Wellington 6144, New Zealand | http://natlib.govt.nz/ <http://natlib.govt.nz/> Archives Library is part of the Department of Internal Affairs In the Office = Working from home = WFH MON TUE WED THU FRI WFH WFH You are subscribed to "Global Conservation Forum (ConsDistList)" as [email protected]. To change your subscriptions, go to http://community.culturalheritage.org/preferences?section=Subscriptions. To unsubscribe from this community discussion, go to https://community.culturalheritage.org/HigherLogic/eGroups/Unsubscribe.aspx?UserKey=d16eaa87-0f69-494b-9f2f-303dbc1222e1&sKey=fab9aa4f27a04c5d876e&GroupKey=757a8f16-505f-4323-8e74-e376757aa9f7.
