Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. In Memoriam: Ted Stanley, Princeton University Paper Conservator 2. Ring binder repair question 3. IAPesp Virtual seminar: Impresiones y copias del siglo XX. Identificación, conservación y restauración 4. We are hiring! Come and Join Us as the Conservation Laboratory Manager for the MSc Conservation of Contemporary Art and Media UCL 5. RE: 3D printers Bambu Lab H2D Systems 6. Vacancy for Objects Conservator (Public Art) - O'Sullivan Conservation, Australia ------------------------------------------------------------------------------------------------------------ 1.From: Linda Blaser Posted: Monday May 11, 2026 11:07 AM Subject: In Memoriam: Ted Stanley, Princeton University Paper Conservator Message: Ted Stanley, friend to many and frequent AIC conference speaker, passed away suddenly on Friday, May 1, 2026. Before working at Princeton University, Ted was a paper conservator at the Library of Congress. Ted was one of the original Library of Congress (LoC) Conservation Trainees. The trainers included Peter Waters, Don Etherington, Chris Clarkson and Bob McComb. The LoC program was a 5-year on-the-job program consisting of formal chemistry classes, bookbinding, papermaking, design, art on paper techniques, art and papermaking histories, field trips, and photography. Recently a group of those trainees, including Ted were able to get together for lunch and reminiscing. I think Ted, more than anyone, kept the group together with routine emails and lunch invitations. He will be sadly missed. More information is available here: https://www.mjmurphy.org/obituaries/Theodore-Stanley?obId=48294039 <https://www.mjmurphy.org/obituaries/Theodore-Stanley?obId=48294039> Sent from Linda Blaser 2.From: Jordan Tanner Posted: Monday May 11, 2026 1:40 PM Subject: Ring binder repair question Message: Hello! I am writing to see what others might have done with poly-style binders with broken hinges? This item is in our special collections, and the goal is to maintain the binder for several reasons. The inner joint is broken, but the outer joint is mostly in tack, though a small tear has begun. This item isn't a heavy use item, so part of me is debating about just leaving it. If it were a circulating item perhaps some linen library repair tape would be fine, but due to it being a special collections item, I don't want to do that here. My knowledge and experience with plastics is extremely limited, so I am just curious what approach others might take. I could make a linen hinge and use some kind of adhesive, but I am unsure of what would actually stick. Lascaux? Thanks so much! ------------------------------ Jay Tanner He/Him/They Conservator, Special Collections and Archives University of Nevada, Las Vegas United States [email protected] ------------------------------ 3.From: James Black Posted: Monday May 11, 2026 2:10 PM Subject: IAPesp Virtual seminar: Impresiones y copias del siglo XX. Identificación, conservación y restauración Message: Impresiones y copias del siglo XX. Identificación, conservación y restauración Date: 26th May Tutor: Sara Ruiz de Diego Price: from £15.00 Platform: Zoom Language: Spanish Time: Madrid: 5pm Buenos Aires/ Santiago de Chile: 12pm (midday) Lima: 10am Mexico City: 9am Habrá una presentación de 55 minutos seguida por una discusión de 15 minutos. Por favor regístrarse en Humanitix <https://events.humanitix.com/impresiones-y-copias-del-siglo-xx-identificacion-conservacion-y-restauracion/tickets?widget=popup> Los procesos de impresión y copia de documentos existentes en el siglo XX son múltiples y complejos: desde cianotipias y diazotipias, frecuentes en arquitectura, hasta máquinas de escribir, impresoras matriciales, fotocopias o impresiones por inyección de tinta. La mayor parte de la documentación generada en el siglo XX ha sido producida con alguno de estos procesos, y con menor frecuencia también los encontramos en las colecciones de arte contemporáneo. Aunque el aspecto de estas impresiones puede parecer similar a primera vista, sus materiales constituyentes difieren notablemente y, en consecuencia, también sus mecanismos de deterioro. Por ello, la correcta identificación de las técnicas es fundamental para su adecuada conservación. El seminario ofrecerá una visión general de los principales procesos de impresión de copia de documentos, con especial atención a las pautas de identificación, los materiales constituyentes y las particularidades de cada uno en relación con los factores de deterioro y las estrategias de conservación y restauración. Sara Ruiz de Diego: Restauradora de documento gráfico. Es licenciada en Historia y diplomada en Conservación y Restauración de Bienes Culturales. Desde 2021 trabaja como restauradora en el Departamento de Conservación y Restauración del Patrimonio Bibliográfico, Documental y Obra Gráfica del Instituto de Patrimonio Cultural de España. De su trayectoria profesional como restauradora destaca su paso por el Archivo General de Tolosa y la biblioteca de la Universidad de Stanford, California (EEUU). Además, ha sido docente en la Escuela de Conservación y Restauración de Bienes Culturales de Madrid e impartido cursos y seminarios sobre Restauración y Conservación de Fondo Bibliográfico y Documental en la Facultad de Documentación (UCM) y la Fundación Santa María de Albarracín, Teruel. ------------------------------------------- ------------------------------ James Black Co-ordinator International Academic Projects London www.academicprojects.co.uk ------------------------------ 4.From: Pip Laurenson Posted: Monday May 11, 2026 9:55 PM Subject: We are hiring! Come and Join Us as the Conservation Laboratory Manager for the MSc Conservation of Contemporary Art and Media UCL Message: We are seeking to appoint a part-time Conservation Laboratory Manager to oversee the Conservation Laboratory and support the delivery of the MSc in the Conservation of Contemporary Art and Media and staff and students (both MSc and Doctoral Students) in their conservation teaching and projects, including some continuing professional development for those in the field. The postholder is key to supporting and enhancing learning, teaching and research associated with the MSc in the Conservation of Contemporary Art and Media and will work closely with members of the programme's dynamic teaching team. About you The successful candidate will have excellent knowledge of a range of analytical techniques relevant to the conservation of art. They will have experience of safely handling artworks and design objects and of the procurement, installation, management, operation and maintenance of analytical and specialist conservation equipment. They will also be creative in their thinking and approach. Any questions please do not hesitate to contact Pip Laurenson on [email protected] Sadly as this is a part time role applicants will need the right to work in the UK. Apply Here <https://www.ucl.ac.uk/work-at-ucl/search-ucl-jobs/details?jobId=43720&jobTitle=Conservation+Laboratory+Manager+-+0.5FTE> ------------------------------ Pip Laurenson Professor of Conservation, Director MSc Conservation of Contemporary Art and Media UCL Postgraduate Programme in the Conservation of Contemporary Art and Media London United Kingdom ------------------------------ 5.From: Steven Prins Posted: Monday May 11, 2026 9:56 PM Subject: RE: 3D printers Bambu Lab H2D Systems Message: Hello all, I also have experience with a Bambu Lab P1P printer, and Ender 3s before that. After my Enders the Bambu was a big step up and is generally a fast and reliable printer. Very easy to learn and use. I print things all the time for use in the studio. Although I limit my use for mount-making. In addition to the chemical limitations of the materials already mentioned the physical limitations of the printing process must also be taken into consideration. The additive printing process results in inherent cleavage planes in printed objects. Failure can occur along those planes if a model is exposed to the wrong kind of external forces. Print orientation must be a consideration. Sometimes it may be advantageous to combine printed parts that cross laminate rather than printing a single piece. The printed models are also plastic, that is they deform without elasticity. And will do so under pressure and elevated heat. Granted, I am in sunny Santa Fe, but I have had models deform on my car seat from overheating. Fatigue may be an issue with clamping. Parts should be tested before deployment in mission critical situations. Having said that, I cannot imagine work in my studio without a 3D printer anymore. They are a lot of fun and extremely useful. Just be mindful of their limitations. Cheers! ------------------------------ Steven Prins Santa Fe, NM ------------------------------ ------------------------------------------- Original Message: Sent: 05-08-2026 05:40 From: Emilio Cano Subject: 3D printers Bambu Lab H2D Systems Hi, I have experience with a couple of Bambu Lab printers, and it is good. They are reliable and fast machines, easy to use and with huge community of users. In my opinion, the main problems for use of 3D printed parts in conservation/museum uses is not the printer but the durability and pollutant emissions from the filaments. Several works have recently studied this application of 3D printing materials in conservation. Just to mention one I know well -I am coauthor- M. Higueras et al, " The Oddy test applied to the study of fused deposition modelling additive manufacturing materials", J. Cult. Herit. 2025 https://doi.org/10.1016/j.culher.2025.10.007 <https://doi.org/10.1016/j.culher.2025.10.007> In that paper we show that the performance of the different filaments with the same polymer base and 3d printing parameters could be very different, depending on fillers and other additives. Some of them release highly corrosive pollutants, and others undergo themselves a severe degradation upon artificial ageing. Regards, -- Emilio Cano Heritage Scienctist CENIM-CSIC Original Message: Sent: 5/6/2026 6:13:00 PM From: Ewout Koek Subject: 3D printers Bambu Lab H2D Systems Dear all, We are looking into the possibilities of potentially using Bambu Lab H2D Systems 3D printers within conservation and mountmaking. I was wondering if anyone has experience using these printers and if there are any comments or considerations. Any information will be much appreciated. Feel free to write to me directly or to post it here. Thanks and best wishes, Ewout ------------------------------ Ewout Koek Associate Conservator of Antiquities J. Paul Getty Museum Los Angeles United States ------------------------------ 6.From: Eoin O Suilleabhain Posted: Monday May 11, 2026 9:56 PM Subject: Vacancy for Objects Conservator (Public Art) - O'Sullivan Conservation, Australia Message: O'Sullivan Conservation is seeking a mid- to senior-career level Objects Conservator, who is highly organised and motivated, with public art experience, to join their team in an ongoing full-time role. This role offers a wide variety of studio and site-based conservation treatments (predominantly Sydney-based sites), combined with bench and office work in our facility in Somersby, NSW, Australia. · Work with a diverse team of individuals · Great company culture with a supportive working environment · Opportunity to develop and grow professionally · Excellent benefits including professional development and workplace flexibility If you love what you do and bring a unique perspective to your work, we want to hear from you. Links to apply (deadline 12th June 2026) are as follows: https://au.seek.com/job/92046596?ref=hirer-jobs-list <https://au.seek.com/job/92046596?ref=hirer-jobs-list> O'Sullivan Conservation hiring Objects Conservator in Greater Sydney Area | LinkedIn <https://www.linkedin.com/jobs/view/4413192114/> Objects Conservator - O'Sullivan Conservation <https://osullivanconservation.com.au/jobs/objects-conservator/> O'Sullivan Conservation remove preview <https://osullivanconservation.com.au/jobs/objects-conservator/> Objects Conservator - O'Sullivan Conservation O'Sullivan Conservation is seeking an experienced Objects Conservator for a full-time, permanent role involving both studio and site-based work across NSW. This position offers a competitive salary ($75-100K AUD + super), professional development opportunities, and access to a new purpose-built workshop in Somersby. A company phone, laptop, and a supportive, expert team environment are also included. View this on O'Sullivan Conservation > <https://osullivanconservation.com.au/jobs/objects-conservator/> Linkedin remove preview O'Sullivan Conservation hiring Objects Conservator in Greater Sydney Area | LinkedIn Posted 12:20:18 AM. Objects ConservatorObjects Conservator - Full-Time. ongoing | Somersby, NSWSalary: $75,000-$100,000...See this and similar jobs on LinkedIn. View this on Linkedin > <https://www.linkedin.com/jobs/view/4413192114/> ------------------------------ Eoin O Suilleabhain Owner O'Sullivan Conservation Somersby Australia ------------------------------ 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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