Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. RE: question about conservation lab tours 2. Associate Paintings Conservator, Fine Art Conservation Group LLC, New York City 3. RE: Lead Exposure Hazard 4. RE: Lead Exposure Hazard 5. RE: question about conservation lab tours 6. RE: question about conservation lab tours 7. Journal of the Walters Art Museum- seeking submissions 8. Heritage Council Internship at Trinity College Library, Dublin 2026/2027 ------------------------------------------------------------------------------------------------------------ 1.From: Natalie Brown Posted: Thursday August 20, 2026 9:54 AM Subject: RE: question about conservation lab tours Message: Hi Susie, I work in the UK National Archives, and like @Beth Doyle <https://www.culturalheritage.org/people/beth-doyle>, I love talking about our work, so I'm biased in favour of tours. We're also fortunate to have two staff members in our team who specialise in engagement, and we lead the majority of tours so that bench conservators and scientists aren't overly burdened. We host a wide range of tours for different audiences, including members of the public, donors, conservators, archivists, VIPs, internal staff tours, and students, averaging around one tour per week. Other respondents have made some excellent suggestions already, and I agree that advance notice and careful scheduling are key. We also don't allow drop-in visits, both for security reasons and to minimise disruption to the team. I've seen conservation lab tours run very successfully with volunteers or other staff members leading the conservation component. This can be a great way to engage colleagues and volunteers with your work, while reducing the burden on conservation staff. It's often possible to create a relatively formulaic tour, with perhaps a brief stop at your bench, while the rest is handled by the tour leader. I've also found that not all tours deliver the same kind of value, which may be something to consider depending on the audiences. Public tours can be a great way to provide access and visibility, but if visitors only spend a short time in the lab as part of a larger visit, the engagement outcomes can sometimes be fairly limited. In my experience, some of the most tangible benefits to come from tours are with internal colleagues, leadership, and strategic partners. These audiences can become advocates for the work, and the understanding they gain can have a lasting impact on organisational relationships, collaboration, and support for conservation activities. One thing that may be helpful to understand is the reasoning behind the increase in tours. Is it part of a strategic priority to bring more people into these spaces? Is it intended to reach new audiences or support fundraising? Many archives and libraries are moving in this direction, positioning themselves as cultural destinations as well as information management organisations. If it is a strategic priority, then there should be a conversation about how workloads and expectations are adjusted to accommodate and support this activity, rather than it simply being added to existing responsibilities. If there isn't a clear strategic rationale, that may strengthen your position when discussing limits on the number of tours. Hope this is helpful, and very happy to chat further! All the best, Natalie ------------------------------ Dr Natalie Brown Head of Audiences - Collection Care The National Archives United Kingdom ------------------------------ ------------------------------------------- Original Message: Sent: 08-17-2026 08:50 From: Susan Cobbledick Subject: question about conservation lab tours Dear All-- I work in a library that has routinely given tours to the public, and these tours have included a stop inside the conservation lab where I talk about my work. In the past year, the number of tours has increased significantly from 1 or 2 per month to 4 or 6 per month. I have asked management to remove the lab from many of these tours, as they have started to disrupt the work of the lab. I am getting a lot of pushback. Would you all please let me know what the practices in your institutions are? Do you allow any tours through your labs? If so, how many? I have told my managers that it is unusual to allow tours at all, let along one or 2 per week. Thanks in advance! Susie Cobbledick Book Conservator Missouri Botanical Garden Library 2.From: Helen Im Posted: Thursday August 20, 2026 9:54 AM Subject: Associate Paintings Conservator, Fine Art Conservation Group LLC, New York City Message: Associate Paintings Conservator Employment: Full-time Location: New York City, NY - In person Compensation: $70,000–$80,000 annually, commensurate with experience, plus benefits Start Date: As early as September 2026, with flexibility About the Position Fine Art Conservation Group LLC is seeking an Associate Paintings Conservator to join our New York City studio. The Associate Conservator will be responsible for all aspects of conservation treatment, including photographic and written documentation, with a particular focus on modern and contemporary paintings and painted objects. Qualifications and Responsibilities Qualified candidates should have: Excellent inpainting skills using reversible materials Demonstrated experience treating modern and contemporary artworks Proficiency in a broad range of methods, including the structural treatment of canvas, surface cleaning of paint layers, removal of discolored coatings, compensation of losses, and consolidation of media Strong problem-solving skills and the ability to approach treatments creatively The ability to work independently while collaborating effectively with colleagues Excellent interpersonal and communication skills The ability to work efficiently in the fast-paced environment of a private conservation studio and meet strict deadlines A minimum of three years of professional experience A graduate degree or equivalent training from a recognized art conservation program Authorization to work in the United States Fluency in English About us Fine Art Conservation Group LLC is a privately owned and operated conservation studio in New York City specializing in the conservation of modern and contemporary paintings, painted objects, and works on paper. Founded in 2000 by senior paintings conservators Helen Im and Suyeon Kim, the studio works with a diverse range of clients, including private galleries and art dealers, artist estates and foundations, museums, collectors, auction houses, and public institutions. In addition to conservation treatment, our services include collection surveys, condition and treatment reports, maintenance recommendations, and consultations related to the installation. Our studio practices and professional philosophy adhere to the Code of Ethics of the American Institute for Conservation of Historic & Artistic Works (AIC). Benefits: 10 days of paid vacation to start (to be used after 6 months of employment) 5 days of paid sick leave Paid major holidays Health insurance 401(k) with matching contributions Application Process Please submit a statement of interest, CV, and two professional references to [email protected], with "Associate Paintings Conservator" in the subject line. Qualified applicants will be contacted for an interview. We look forward to hearing from candidates who are passionate about the conservation of modern and contemporary art and interested in contributing to the work of our studio. ------------------------------ Helen Im Partner Fine Art Conservation Group New York United States ------------------------------ 3.From: Maickel van Bellegem Posted: Thursday August 20, 2026 9:55 AM Subject: RE: Lead Exposure Hazard Message: Hello Heather, as a metals conservator having worked with lead and corroded lead objects. It is my understanding that metallic lead or lead corrosion does not directly penetrate through the skin. For children this may be different(?), or there would likely be a higher chance of ingestion through transfer via their hands. I would not say covering lead in polycarbonate is a protocol as such, and depending on the object and display design, various options may be considered to form a barrier with the aim to prevent visitors touching objects. Hope that might help in the decisionmaking. Best, maickel. ------------------------------ Maickel van Bellegem ACR Conservator (freelance) Sluis (NL) and London UK +31 648775052 / +44 7890628526 [email protected] ------------------------------ ------------------------------------------- Original Message: Sent: 08-17-2026 16:00 From: Heather Jackson Subject: Lead Exposure Hazard Good Afternoon, I was forwarded an email from a patron regarding a large stained glass window (creation date 1957) that is on permanent display in our galleries. They are concerned with the possiblity of lead exposure to children with this piece, as it is 115.5" in height, children can easily touch this piece as they walk by. This patron being an Industrial Hygenist is aware of certain risks and statistics pertaining to lead exposure for children and are recommending that we cover the piece in polycarbonate. Is this a common protocol, covering lead in polycarbonate? Does anyone have experience dealing with similar lead issues within a collection? Any information or suggestions would be welcome. Thank you, Heather ------------------------------ Heather Jackson Collections Manager Flint Institute of Arts Flint United States ------------------------------ 4.From: Roberto Rosa Posted: Thursday August 20, 2026 9:55 AM Subject: RE: Lead Exposure Hazard Message: Hello Heather, >From a stained glass conservator's perspective: Lead exposure in the workplace is a serious concern, and we must take all necessary precautions. The risks, however, are quite different when stained and leaded glass windows are installed in a public setting. Lead exposure occurs primarily through ingestion or inhalation. With an intact stained glass window installed in a church, museum, or similar public setting, the primary concern would be direct contact with the lead matrix, particularly if a child could easily reach the window, touch the lead, and then inadvertently put their fingers in their mouth. It would therefore be prudent to install a barrier in front of the window on display to prevent visitors, especially children, from touching the lead matrix. It is not necessary, however, to cover the entire window. The barrier only needs to extend high enough to prevent the leaded glass from being readily accessible. Hope this helps. If you have any further questions, feel free to contact me. Sincerely, Roberto Roberto Rosa, ACR, FMGP, FAIC, APT-RP President, Serpentino Stained Glass 21 Highland Circle Needham, MA 02494 Mobile: (781) 760-7602 [email protected] www.serpentinostainedglass.com ------------------------------ Roberto Rosa, FAIC, ACR, APT-RP, President Serpentino Stained Glass, Inc. 21 Highland Circle Needham, MA 02494 Mobile: (781) 760-7602 [email protected] http://www.serpentinostainedglass.com/ ------------------------------ ------------------------------------------- Original Message: Sent: 08-17-2026 16:00 From: Heather Jackson Subject: Lead Exposure Hazard Good Afternoon, I was forwarded an email from a patron regarding a large stained glass window (creation date 1957) that is on permanent display in our galleries. They are concerned with the possiblity of lead exposure to children with this piece, as it is 115.5" in height, children can easily touch this piece as they walk by. This patron being an Industrial Hygenist is aware of certain risks and statistics pertaining to lead exposure for children and are recommending that we cover the piece in polycarbonate. Is this a common protocol, covering lead in polycarbonate? Does anyone have experience dealing with similar lead issues within a collection? Any information or suggestions would be welcome. Thank you, Heather ------------------------------ Heather Jackson Collections Manager Flint Institute of Arts Flint United States ------------------------------ 5.From: Cristiana Acerbi Ginatta Posted: Thursday August 20, 2026 9:56 AM Subject: RE: question about conservation lab tours Message: Good morning Susie! Aren't your visitors lucky to hear you talking about your work!! Where can I sign up for a tour?? I agree that the interruption is not just for the time of the tour, and that it affects your day (or at least half of it), however... it is such a wonderful opportunity for the public to hear from you about conservation. You are the best advocate for stewardship of the collection, and I'm sure visitors leave your lab with a better understanding of the importance of conservation and appreciation for what conservators do. A suggestion could be to try to schedule the tours at the beginning of the day, or before or after lunch, and not in the middle of the morning or in the middle of the afternoon. If you could involve and train the people that lead the tours to start talking about conservation before they enter the lab, that could save some time. Thank you for all you are doing! Cristiana ------------------------------ Cristiana Acerbi Ginatta Conservator of Paintings Arte Viva LLC Dallas TX ------------------------------ ------------------------------------------- Original Message: Sent: 08-17-2026 08:50 From: Susan Cobbledick Subject: question about conservation lab tours Dear All--I work in a library that has routinely given tours to the public, and these tours have included a stop inside the conservation lab where I talk about my work. In the past year, the number of tours has increased significantly from 1 or 2 per month to 4 or 6 per month.I have asked management to remove the lab from many of these tours, as they have started to disrupt the work of the lab. I am getting a lot of pushback.Would you all please let me know what the practices in your institutions are? Do you allow any tours through your labs? If so, how many?I have told my managers that it is unusual to allow tours at all, let along one or 2 per week.Thanks in advance!Susie CobbledickBook ConservatorMissouri Botanical Garden Library 6.From: Holly Witchey Posted: Thursday August 20, 2026 11:55 AM Subject: RE: question about conservation lab tours Message: Hi, ICA-Art Conservation is a small nonprofit institution, because education and demystification of conservation is part of our mission (and supported with funds from State and County) we regularly give tours knowing we are a critical part of the cultural heritage infrastructure in this part of the United States. ICA serves all those institutions that don't have in-house conservators (aka as the vast majority). We have a regular, once a month public tour on a Thursday morning, which is scheduled for an hour and rotates through all four labs, based upon what is on the bench. Nonprofit institutions and other clients free consultation also get a tour from whichever conservation department is involved, all of the conservators can talk generally about what is going on in the other labs. Other groups by special request, although we also offer a free program in the community that can be requested by any institution, book group, garden club, libraries, etc. We have found this is a good way to get the word out about caring for cultural heritage--and, in cases of large groups it is almost always a better option. I suppose it all depends on what the intended outcome is for the visit, and when and where to best use the conservators' time, for example, though neither of us are conservators, both I and ICA's director of conservation are art historians and we can give a tour of the lab without requesting specific conservators to speak if they are busy on something. Holly ------------------------------ Holly Witchey Executive Director ICA-Art Conservation Cleveland United States ------------------------------ ------------------------------------------- Original Message: Sent: 08-19-2026 08:37 From: Valinda Carroll Subject: question about conservation lab tours Hi Susie, I have worked in a few labs that had a wide range of tour options. Like Beth Doyle, I always view it as a great opportunity to raise the profile of the conservation profession. There are times when it can be disruptive, but most colleagues are respectful about scheduling tours in advance. One institution had weekly "behind-the-scenes" tours; these were scheduled for a specific day and time, so the lab would plan its activities around the tour that day. There were occasional tours outside of that schedule, such as Elderhostel, but there was always advance notice for those programs. The lab was in a separate facility a short distance from the historic area. At another large institution, conservation did not enjoy such a high profile; the lab was in an off-site storage facility outside of DC, so lab tours were infrequent. Sometimes, the small onsite swing space in the museum would be included in tours, and that could be disruptive to our onsite work, while also not being very informative (because it was a bare-bones space compared to the "real" lab). At another institution, the lab was designed for public interpretation. In practice, this meant being on display all the time through glass walls. Tours could take place in the adjacent conservation gallery without entering the lab at all. If the tour was arranged through the librarians or curators, then I always had advance notice of lab tours. A few times per year, there would be a museum studies class or archives class that arranged the tour with me specifically to see the conservation lab (rather than the lab being one of many things to see behind the scenes). Interns and technicians from other labs the region would also schedule their tours directly with the conservator. That said, there were other people (really only one person) who would show up unannounced in the lab with disruptive popup tours. There was a pull-out elastic stanchion in part of the lab that could be used to prevent people from getting in the way of treatment work, but the person leading the tour would not necessarily pull it out. We have giant windows to look into the Indiana State Library lab, without the conservation gallery for interpretation. If I don't have advance notice, the group will stand in front of the windows outside the lab for their tour. If I'm able to stop my work for the tour, then I will invite them into the lab (these are often VIPs). There's no set tour schedule at the moment, but there was a set schedule during the State Library's bicentennial program last year. In the past, we have had specific programs for homeschoolers and Girl Scouts (advance notice), as well as tours for various state agencies. With advance notice, I can usually tailor the tour to the needs of the group; larger group tours must be arranged in advance to ensure that there are staff covering public service desks during the tour (tours are led by our librarians). As with other labs, there will be a small number of tours arranged directly with the conservator (or the Rare Book and Manuscript Division) for museum studies and archives classes from local universities. Without knowing the layout of your lab, I can only recommend that you work with the people arranging the tours to create a schedule of set days of the week or times of day; then you can plan your work around the tour schedule. If it's possible for visitors to look into the lab from the outside, then "talking points" for tour leaders will allow them to discuss your work without interrupting you. I would emphasize that advance notice to enter the lab is also required for the safety of visitors. You would not want to risk their being exposed to conservation lab hazards, such as fine particulates, harmful solvents, toxic pigments, or mold. Valinda Carroll Conservator Indiana State Library 140 N. Senate Ave., Rm. 432 Indianapolis, IN 46204 [email protected] <[email protected]> 317-447-1951 7.From: Gregory Bailey Posted: Thursday August 20, 2026 11:55 AM Subject: Journal of the Walters Art Museum- seeking submissions Message: The Journal of the Walters Art Museum (JWAM), an annual, peer reviewed, open-access online journal seeks submissions for its 80th volume https://journal.thewalters.org/ <https://nam12.safelinks.protection.outlook.com/?url=https%3A%2F%2Fjournal.thewalters.org%2F&data=05%7C02%7Cgbailey%40thewalters.org%7C1b38e75285fb4c33c9b508defd52adda%7C33df449c0fe243da9214e39af0f15175%7C0%7C0%7C639226728706055570%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&sdata=eqTJnD3aQM3qENVONEFrZl3yxyWHwESzLnPAIufR6Ws%3D&reserved=0> . The Walters Art Museum welcomes contributions on all aspects of art history related to the museum's collections. Articles must be based on original research and the careful analysis of primary-source materials or archives. Manuscripts submitted to the Walters should not have been published elsewhere in any language. We welcome essays of up to 7,500 words (including endnotes); and notes of up to 2,500 words (including endnotes). Generally, essays can accommodate up to fifteen illustrations; notes are limited to eight illustrations. All manuscripts must be submitted electronically, preferably in Microsoft Word. All submissions should include a list of desired illustrations with complete information (artist, title, date, medium, dimensions, location/source) and low-res images for reference. The Walters Art Museum will be responsible for securing high-res images and permissions. The Journal's preferred language is English, but contributions in other languages will be considered. Articles in languages other than English must be accompanied by an English-language summary that describes the arguments and evidence presented. Please check with the managing editor as to the compatibility of systems and fonts if you are using non-Western characters. Include on a separate sheet your name, home address, telephone, and email. Submissions received by October 31, 2026 will be considered for JWAM Volume 80. Send submissions, prepared according to the above instructions, to Managing Editor The Walters Art Museum 600 North Charles Street Baltimore, MD 21201 [email protected] <[email protected]> All submissions will be reviewed by the editorial committee and by a Walters curator within a month of receipt. If endorsed by the committee and curator, essays will subsequently be sent to anonymous reviewers with expertise in the subject areas relevant to the manuscript. ------------------------------ Gregory Bailey Senior Objects Conservator The Walters Art Museum Baltimore MD ------------------------------ 8.From: Clodagh Neligan Posted: Thursday August 20, 2026 11:55 AM Subject: Heritage Council Internship at Trinity College Library, Dublin 2026/2027 Message: ------------------------------ Clodagh Neligan Senior Paper Conservator Trinity College Dublin Library Dublin Ireland ------------------------------ 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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