Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. BAPCR Conference October 2026 - Forging Ahead - Metals in Paintings 2. conservation and history of ribbon bookmarks 3. RE: Schimanek Guillotine 4. RE: Topics for Plastic Predicament | Natural History Museum, London UK 5. CFP | 𝗖𝗿𝗶𝘁𝗶𝗰𝗮𝗹 𝗖𝗼𝗻𝘀𝗲𝗿𝘃𝗮𝘁𝗶𝗼𝗻 𝗔𝘀𝘀𝗲𝗺𝗯𝗹𝘆 #𝟭: 𝗖𝗼𝗺𝗺𝘂𝗻𝗶𝘁𝗶𝗲𝘀 𝗼𝗳 𝗣𝗿𝗮𝗰𝘁𝗶𝗰𝗲, 𝟯–𝟰 𝗗𝗲𝗰𝗲𝗺𝗯𝗲𝗿 𝟮𝟬𝟮𝟲 | Just a few days left to submit 6. Combined UV+Lux light meter 7. Job Opening: Conservator of Paintings at the Frick Collection ------------------------------------------------------------------------------------------------------------ 1.From: Polly Saltmarsh Posted: Friday June 26, 2026 5:49 AM Subject: BAPCR Conference October 2026 - Forging Ahead - Metals in Paintings Message: The British Association of Picture Conservators-Restorers (BAPCR) are delighted to announce their upcoming conference, Forging Ahead - Metals in Paintings, October 2026 at the British Library, London, UK. The talks have now been confirmed and includes an international list of speakers, promising to be a rich and fascinating day sharing research and ideas followed by a drinks reception. Tickets are now available from the website along with the list of speakers and further information: https://www.bapcr.org.uk/events/bapcr-conference-2026/ <https://www.bapcr.org.uk/events/bapcr-conference-2026/> Metals are among the most prolific elements on Earth. Since its prehistoric discovery, the use of metal ore has had a profound impact on societal development, as humans learned to exploit their physical properties for implements and artefacts. Precious metals have facilitated trade in coinage and currency. Metalworking has evolved to adapt metals to meet the needs of society, facilitating technology in weaponry and tools for farming. Metals used in jewellery and decorative functional objects reflect value and status. In what ways do they appear in paintings? How has our understanding of metals developed both culturally by the craftspeople that worked with them, and in the field of modern material science? Is the presence of metals in paintings a result of their existence as common inorganic materials and their intentional use by artists for their diverse properties? This conference aims to explore current research into metals in paintings, whether it be elemental and chemical, aesthetic and structural, depictive and decorative. It will bring together science and technical analysis, art history and contemporary artistic practice, broadening our understanding of the way metals are present in paintings and enhancing our appreciation of the cultural and art historical relevance of these materials, which are both ubiquitous and precious. ------------------------------ Polly Saltmarsh Paintings Conservator Cambridge United Kingdom ------------------------------ 2.From: Jonathan Kemp Posted: Friday June 26, 2026 5:50 AM Subject: conservation and history of ribbon bookmarks Message: posting on behalf of Professor Kiera Vaclavik, Director of the Centre for Childhood Cultures, Queen Mary University of London I'm trying to find out more about the practice of inserting ribbons into books (generally used to mark pages I think)? [Can anyone recommend any work] on the history of this practice? Or perhaps any conservators with particular interests and expertise in relation to it? I'd be so grateful for any thoughts or suggestions. please respond to Kiera directly at [email protected] best wishes Jonathan I acknowledge the Wurundjeri Peoples of the Kulin Nations as the Traditional Owners of the land on which I work and pay my respects to their Elders, past and present. Dr Jonathan Kemp FIIC (Jonathan or he/him/his) Senior Lecturer, Robert Cripps institute | Grimwade Centre for Cultural Materials Conservation The University of Melbourne T: +61 3 9035 6088 M: +61 413 845 648 https://arts.unimelb.edu.au/grimwade-centre-for-cultural-materials-conservation <https://arts.unimelb.edu.au/grimwade-centre-for-cultural-materials-conservation> Latest presentations/workshops Kemp, J, Ikeda, H. 2026. Disaster Preparedness: Risk Assessment & Stone Conservation workshops, Juming Museum, Taiwan Kemp, J, Ikeda, H. 2026. Archeaological ceramic conservation workshop, Xieng Khouang Provincial Museum, Lao PDR Kemp, J. 2025. 'Fukushima Daiichi Retcon', The Australian Centre for Architectural History, Urban and Cultural Heritage (ACAHUCH) Toxic Heritage Symposium, University of Melbourne. Kemp, J. 2025. 'Writing for Conservation Journals', 'From Masters to Publication' conference, Arts Humanities Research Council & Historic England. Kemp, J. 2025. 'Taking Care of Things', 100th Anniversary of the National Palace Museum Collections Management and Conservation Forum, Taipei, Taiwan Latest publications Kemp, J. Editor, Hlia Maral Guest Editor, 2025. Conservation and Care, special issue of the Journal of the Institute of Conservation October 2025 https://www.tandfonline.com/toc/rcon20/48/3 <https://www.tandfonline.com/toc/rcon20/48/3> Ying, W, Khoshelham, K, Kemp, J. 2025. ISPRS Digital Construction- Annals, 'Assessment of Rock and Stone Decay in Heritage Sites Using Machine Learning'. https://isprs-annals.copernicus.org/articles/X-G-2025/1019/2025/isprs-annals-X-G-2025-1019-2025.pdf <https://isprs-annals.copernicus.org/articles/X-G-2025/1019/2025/isprs-annals-X-G-2025-1019-2025.pdf> Ishiwata, M, Kemp, J. 2025. 'The Use of Textured Japanese Paper as a Filler for Leather Conservation: Exploring an Alternative to BEVA371', AICCM Bulletin https://www.tandfonline.com/doi/full/10.1080/10344233.2025.2458946 <https://www.tandfonline.com/doi/full/10.1080/10344233.2025.2458946> #OpenAccess Kemp, J. 2025. 'Conservation as Version Control: a quasi-licence for participatory practice', Urban Futures - Cultural Pasts, Architecture Media Politics Society Proceedings 40.3, pp. 586-597 https://amps-research.com/wp-content/uploads/2025/03/Amps-Proceedings-Series_40.3.pdf <https://amps-research.com/wp-content/uploads/2025/03/Amps-Proceedings-Series_40.3.pdf> #OpenAccess Loo, I, Black, J, Price, G, Kemp, J, 2025. 'Micro-CT Evaluation of Calcite In Situ Precipitation System (CIPS) in the Consolidation of Earthen Cultural Materials', Terra 2022: Proceedings of the 13th World Congress on Earthen Architectural Heritage, Getty Publications https://www.getty.edu/publications/resources/virtuallibrary/9781606069158.pdf <https://www.getty.edu/publications/resources/virtuallibrary/9781606069158.pdf> <https://www.getty.edu/publications/resources/virtuallibrary/9781606069158.pdf> Kemp, J. 2024. 'Conservators, Creativity, and Control', Studies in Conservation https://www.tandfonline.com/doi/full/10.1080/00393630.2023.2241246 <https://www.tandfonline.com/doi/full/10.1080/00393630.2023.2241246> #OpenAccess 3.From: Dermot Cox-Kearns Posted: Friday June 26, 2026 5:51 AM Subject: RE: Schimanek Guillotine Message: https://ratchford.co.uk/product/caste-iron-board-cutter/ Ratchford have this board chopper for sale. ------------------------------ Dermot Cox-Kearns Owner On The Edge Ashford - Wicklow Ireland ------------------------------ ------------------------------------------- Original Message: Sent: 06-25-2026 04:44 From: Tanya Millard Subject: Schimanek Guillotine Dear all, I write on the off-chance that someone looking to sell a Schimanek Guillotine / Board Chopper in good working order within the UK. Please be in touch if so. Many thanks and best wishes, Tanya Millard ------------------------------ Tanya Millard Paper Conservatior ------------------------------ 4.From: Simon Moore Posted: Friday June 26, 2026 5:51 AM Subject: RE: Topics for Plastic Predicament | Natural History Museum, London UK Message: Thanks Laura for this and a most interesting and useful topic! Will this also be covering how polyurethane degrades as well? This is particularly relevant to those of us who repair degraded taxidermy - foxes with wobbly legs, only supported by their wire armatures, because the polyurethane ‘form’ inside has been reduced to powder. With all good wishes, Simon Simon Moore MIScT, RSci, FLS, ACR Conservator of Natural Sciences and Cutlery Historian. www.natural-history-conservation.com ------------------------------------------- Original Message: Sent: 6/25/2026 4:20:00 AM From: Laura Chaillie Subject: Topics for Plastic Predicament | Natural History Museum, London UK Plastic Predicament | London 12 November 2026 The exact schedule is still under construction, but we are delighted to share some of the day's key discussions. It is filled to the brim with rigorous analysis and interesting observations, including: Analytical studies into the ageing behaviours of common storage materials, from rigid polypropylene to spun polyester. Case studies exploring how specific materials, such as mineral specimens or preserving fluids, can affect the stability of the containers that house them. Organisational approaches to the long-term management of storage materials themselves. Barrier films, weeping cabinet seals, and many other good and gooey things as well. Tickets only £10-15. Please note: The symposium will be in person only, with neither recorded nor hybrid options available. However, following the event the organising committee will be circulating the collected abstracts with contact information for consenting authors. That will be announced here on the Dist List as well. Any questions to the iconmodernmaterials at gmail and event information is available through the ICON website <https://www.icon.org.uk/events/plastic-predicament-our-complicated-relationship-with-polymers-for-storage-of-collections.html>. Book now! ------------------------------ Laura Chaillie Objects Conservator London Museum London United Kingdom ------------------------------ 5.From: Hanna Holling Posted: Friday June 26, 2026 11:21 AM Subject: CFP | 𝗖𝗿𝗶𝘁𝗶𝗰𝗮𝗹 𝗖𝗼𝗻𝘀𝗲𝗿𝘃𝗮𝘁𝗶𝗼𝗻 𝗔𝘀𝘀𝗲𝗺𝗯𝗹𝘆 #𝟭: 𝗖𝗼𝗺𝗺𝘂𝗻𝗶𝘁𝗶𝗲𝘀 𝗼𝗳 𝗣𝗿𝗮𝗰𝘁𝗶𝗰𝗲, 𝟯–𝟰 𝗗𝗲𝗰𝗲𝗺𝗯𝗲𝗿 𝟮𝟬𝟮𝟲 | Just a few days left to submit Message: ⏳ Just a few days left to submit! There are only a few days remaining to submit proposals for the 𝗖𝗿𝗶𝘁𝗶𝗰𝗮𝗹 𝗖𝗼𝗻𝘀𝗲𝗿𝘃𝗮𝘁𝗶𝗼𝗻 𝗔𝘀𝘀𝗲𝗺𝗯𝗹𝘆 #𝟭: 𝗖𝗼𝗺𝗺𝘂𝗻𝗶𝘁𝗶𝗲𝘀 𝗼𝗳 𝗣𝗿𝗮𝗰𝘁𝗶𝗰𝗲, taking place 𝟯–𝟰 𝗗𝗲𝗰𝗲𝗺𝗯𝗲𝗿 𝟮𝟬𝟮𝟲 at the Bern Academy of the Arts (HKB) and hybridly. We warmly invite 𝙨𝙘𝙝𝙤𝙡𝙖𝙧𝙨, 𝙖𝙧𝙩𝙞𝙨𝙩𝙨, 𝙘𝙤𝙣𝙨𝙚𝙧𝙫𝙖𝙩𝙤𝙧𝙨, 𝙄𝙣𝙙𝙞𝙜𝙚𝙣𝙤𝙪𝙨 𝙠𝙣𝙤𝙬𝙡𝙚𝙙𝙜𝙚 𝙝𝙤𝙡𝙙𝙚𝙧𝙨, 𝙘𝙧𝙖𝙛𝙩𝙨𝙥𝙚𝙤𝙥𝙡𝙚, 𝙘𝙪𝙧𝙖𝙩𝙤𝙧𝙨, 𝙘𝙤𝙢𝙢𝙪𝙣𝙞𝙩𝙮 𝙥𝙧𝙖𝙘𝙩𝙞𝙩𝙞𝙤𝙣𝙚𝙧𝙨, 𝙖𝙘𝙩𝙞𝙫𝙞𝙨𝙩𝙨, 𝙖𝙣𝙙 𝙤𝙩𝙝𝙚𝙧𝙨 working across disciplines to join us in rethinking conservation as a relational, pluricultural, and political practice. We especially welcome contributions that challenge object-centred paradigms and explore conservation through care, renewal, transmission, storytelling, performance, maintenance, and collective practice. 📅 𝗦𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻 𝗱𝗲𝗮𝗱𝗹𝗶𝗻𝗲: 𝟯𝟬 𝗝𝘂𝗻𝗲 𝟮𝟬𝟮𝟲 Please read the call details here: https://centerforcriticalconservation.com/wp-content/uploads/2026/03/call-for-papers-conference-poster-1.pdf We look forward to receiving your proposals and to welcoming you to our Critical Conservation community this December. #CriticalConservation <https://www.linkedin.com/search/results/all/?keywords=%23criticalconservation&origin=HASH_TAG_FROM_FEED> #CommunitiesOfPractice <https://www.linkedin.com/search/results/all/?keywords=%23communitiesofpractice&origin=HASH_TAG_FROM_FEED> #ConservationAfterPermanence <https://www.linkedin.com/search/results/all/?keywords=%23conservationafterpermanence&origin=HASH_TAG_FROM_FEED> #Naturecultures <https://www.linkedin.com/search/results/all/?keywords=%23naturecultures&origin=HASH_TAG_FROM_FEED> #PluralKnowledges <https://www.linkedin.com/search/results/all/?keywords=%23pluralknowledges&origin=HASH_TAG_FROM_FEED> #DecolonizingConservation <https://www.linkedin.com/search/results/all/?keywords=%23decolonizingconservation&origin=HASH_TAG_FROM_FEED> #CarePractices <https://www.linkedin.com/search/results/all/?keywords=%23carepractices&origin=HASH_TAG_FROM_FEED> #LivingHeritage <https://www.linkedin.com/search/results/all/?keywords=%23livingheritage&origin=HASH_TAG_FROM_FEED> #MaterialAgency <https://www.linkedin.com/search/results/all/?keywords=%23materialagency&origin=HASH_TAG_FROM_FEED> #HeritageFutures <https://www.linkedin.com/search/results/all/?keywords=%23heritagefutures&origin=HASH_TAG_FROM_FEED> #EnvironmentalHumanities <https://www.linkedin.com/search/results/all/?keywords=%23environmentalhumanities&origin=HASH_TAG_FROM_FEED> #CallForPapers <https://www.linkedin.com/search/results/all/?keywords=%23callforpapers&origin=HASH_TAG_FROM_FEED> ------------------------------ Dr. Hanna B. Hölling, Research Professor, HKB Bern Senior Fellow, Collegium Helveticum, ETH Zurich Natureculture Lab | Center for Critical Conservation ------------------------------ 6.From: Charlotte Ameringer Posted: Friday June 26, 2026 11:22 AM Subject: Combined UV+Lux light meter Message: Dear colleagues, We're looking to replace our aging Elsec light meter and have run into a snag: the current model (7650) appears to be experiencing global stock issues and is sold out or "backordered" through the usual suppliers, including Elsec's website. My research has identified two UV/Lux meters that look promising: the Hagner PR-200X and the Hanwell ULM, both appear to be available only through European suppliers. Does anyone have experience with either of these models, or can you recommend other alternatives? I've contacted Littlemore Scientific to ask about restock timing for the Elsec 7650 and will share any information I receive. I've also read Ashley's 2025 post on this topic. Thanks in advance for any suggestions! ------------------------------ Charlotte Seifen Ameringer Chief Conservator Portland Art Museum 503-276-4216 | direct portlandartmuseum.org My pronouns are she/her ------------------------------ 7.From: Lucia Cimarusti Posted: Friday June 26, 2026 9:01 PM Subject: Job Opening: Conservator of Paintings at the Frick Collection Message: Hi all, Please see below for a new job listing from the Frick Collection for a part-time paintings conservator. Here is the link to apply. <https://recruiting.paylocity.com/Recruiting/Jobs/Details/4279354> _______________________________________________________________________________________________________ Description Part-time, Nonexempt, 21 hours/week, $59.52/hour Background Internationally recognized as a premier museum and research center, The Frick Collection is known for its distinguished Old Master paintings and outstanding examples of European sculpture and decorative arts. The collection originated with Henry Clay Frick (1849–1919), who bequeathed his home, paintings, sculptures, and decorative arts to the public for their enjoyment. The museum's holdings-which encompass masterworks from the Renaissance through the nineteenth century-have grown over the decades, more than doubling in size since the opening of the museum in 1935. A critical component of the institution is the Frick Art Research Library, founded in 1920 by Helen Clay Frick, daughter of the museum's founder. One of the world's top art history research centers, it has served students, scholars, and members of the public free of charge for generations. Between 2020 and early 2024, the Frick underwent a comprehensive renovation, during which time it was open in a temporary home, Frick Madison. The museum and library reopened to the public in April 2025. In addition to special exhibition galleries and education spaces, enhanced visitor amenities and accessible spaces have been added. Workplace Culture At the Frick, we pride ourselves on promoting an open and welcoming workplace culture that supports a work-life balance. The Frick strives to provide its employees with competitive salaries and exceptional benefits in a beautiful and pleasant work setting, while offering an excellent opportunity to appreciate some of the world's finest works of art. The Frick Collection provides equal opportunity to all employees and applicants for employment without regard to personal characteristics such as race, color, religion, sex, age, national origin, disability, pregnancy, genetic information, military or veteran status, sexual orientation, gender, gender identity or expression, marital and civil partnership/union status, alienage or citizenship status, creed, genetic predisposition or carrier status, unemployment status, familial status, domestic violence, sexual violence or stalking victim status, caregiver status, or other characteristics protected by law. This policy applies to all terms and conditions of employment, including, but not limited to, hiring, placement, promotion, termination, layoff, recall, transfer, leaves of absence, compensation, and training. Qualified candidates of diverse backgrounds are encouraged to apply for vacant positions at all levels. Position Summary The Frick Collection seeks a part-time Conservator of Paintings to join the Conservation Department. This is an inaugural position in the newly renovated museum. Candidates should have expertise in the conservation of European paintings from the 15th to early 20th century. Knowledge in the treatment of panel paintings is also desired. Experience in the installation of contemporary paintings for temporary exhibitions is helpful. The applicant must demonstrate a firm grasp of theoretical principles in traditional painting techniques and historical restoration practices. The Conservator of Paintings will work under the supervision of the Chief Conservator in carrying out treatments, conducting technical studies, assisting with exhibition preparation and installation, preparing loan evaluations, making acquisition assessments, and conducting materials research. The candidate should be well versed in appropriate conservation documentation and preventative measures and adept at advising on framing, packing, and storage. As an important member of the team, the Conservator of Paintings will participate in engagement activities that raise the profile of the department for patrons and the general public and will carry out research for presentation and publication. The Conservator of Paintings will work with all members of the Conservation Department and with colleagues across the museum and library, including curatorial, registration, education, facilities, media production, and database management. This position requires a collaborative colleague to assist in other wide-ranging responsibilities, among them, proficiency in the use of analytical techniques (including XRF, radiography, and microscopy), contributing to museum policies and procedures, and supporting the preservation of the historic Frick mansion. Requirements We recognize that people come with a wealth of experience and talent beyond just the technical requirements of a job. If your experience is close to what you see listed here, please still consider applying. The education and/or experience requirements listed below are generally representative of the knowledge, skill, and ability to successfully perform the essential duties of this position. Master's degree in Art Conservation with a focus in paintings conservation. Minimum of 7 years of post-graduate experience in paintings conservation. Excellent hand skills. Knowledge of collection databases, imaging techniques, and documentation methodologies. Strong art historical background in European painting from the 15th to 20th century. Excellent verbal and written communication skills, including the ability to write technical reports and conservation documentation in English. Strong organizational and time-management skills. Flexibility and the ability to adapt to changing priorities. Attention to detail with the ability to prioritize while handling multiple projects in a fast-paced environment. Ability to be proactive, use independent judgment, and take initiative. Physical Requirements The candidate must be able to perform the essential functions of the position. If requested, reasonable accommodations can be made to enable employees with disabilities to perform the essential functions of their job, absent undue hardship. Physical requirements are comparable to most office roles. In addition the Paintings Conservator must have the ability to: interact in-person with colleagues, vendors, and visitors. use common office tools and machines (computer, phone). transport and operate equipment. traverse and navigate throughout the offices, building(s) in- and out-doors, galleries, different levels of the building, and storage areas to complete tasks (includes climbing steps, ladders, and scaffolding; lifting objects and containers up to 40 lbs.). travel domestically and internationally. Adhere to appropriate safety protocols when working with hazardous materials. Employment Status and Compensation This is a part-time nonexempt role. Compensation: $59.52/hour. Twenty-one hours typically reflects a three-day work week. Annual nonexempt base salary is up to $65,000. The institution engages vendors/contractors for large scale conservation and maintenance projects and art moves which may be scheduled outside of the regular business day. The Conservator of Paintings may be needed to provide in-person support of these activities and may be called upon to work onsite outside of regular business hours. Generally, there is no remote work option for this role except on a very occasional basis. Benefits in Employment with the Frick Collection Sick time: part-time employees accrue sick leave up to 56 hours/year in accordance with the New York City Earned Sick Time Act. Paid Holidays: part-time employees receive paid time-off when they would normally be scheduled to work on holidays the museum is closed to the public. These include New Year's Day, Juneteenth, Labor Day, Martin Luther King Day, Thanksgiving and Christmas Day. Retirement: The Frick supports all employees and interns in planning for retirement by offering participation in a Tax Deferred Savings Plan – 403(b). Wellness Programs at the Frick include an Employee Assistance Plan, a discount on Citi Bike memberships and a discount on bike helmets. Meal and Museum Shop discount: The Frick maintains a Seamless/GrubHub Corporate Account for all in-office food ordering. Employees working on-site may access an $8/day discount toward meal delivery from Seamless. This benefit is per employee per shift and is not transferable. All employees may access a discount on Museum Shop purchases and in our onsite café and restaurant during opening hours. Application Process Please include detailed cover letter and résumé. Apply here or send cover letter and résumé to: Chief Conservator The Frick Collection 1 East 70th Street New York, NY 10021 ------------------------------ Lucia Cimarusti Conservation Assistant The Frick Collection New York United States ------------------------------ 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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