Month: June 2017

45th Annual Meeting – Paintings Specialty Session, June 1, “The Conservation of Alexander Calder’s Last Work Mexico #3: The cross-disciplinary treatment supported by SEM and TEM paint cross section analysis using focus ion beam (FIB) sample preparation,” by Sara Wohler and Ralph Weigandt

Author Sara Wohler discussed the fascinating history of Alexander Calder’s airplane model, Mexico #3, the last work he completed before his death, and then presented the conservation treatment of the model. Author Ralph Weigandt then discussed the technical analysis of the paint film on the airplane.  This presentation served as a fun continuation of the painted airplane theme, following Lauren Horelick’s May 30th talk “When an Airplane Acts like a Painting: Applying Established Conservation Methodologies to Ephemeral Aircraft Materials.”

Background

Wohler described the beginning of Alexander Calder’s airplane-making career: In 1972, New York advertiser George Gordon approached Calder with the idea of painting an full-scale airplane.  Calder loved the idea, as it would combined his experience in kinetic art and his background in engineering.  Gordon paired Calder with Braniff International Airways, and Calder created the designs for two airplanes: Flying Colors of South America and Flying Colors of the United States. These were both tremendous public successes.

^Braniff International Airways employee ceremony, 1975, with Flying Colors of the United States.

The author then described the process in which Calder painted the planes: He began by experimenting with designs on several 1/25-scale Westway Aircraft Models.  The chosen design from the model was then scaled up using graph paper that was attached to the full-size airplane.  Calder and his team then used pounce wheels to poke holes through the design on the graph paper, and black spray paint was applied through the pounce holes.  The graph paper was removed, and the paint colors were spray applied by a Braniff team.  Calder supervised the entire process, and hand-painted the engine necelles during the spray process.

Then the author described the artistic process for the model Mexico #3. In 1976, Braniff commissioned a third plane from Calder, this one to celebrate the great relationship between the U.S. and Mexico.  The author provided amazing historic film footage of Calder painting the Mexico #3 model plane.  She noted that the plane itself was made of fiberglass, and Calder created his design using gouache. On November 11, 1976, Calder completed and signed the work, and tragically, passed away later that evening.  Although the design was completed, Mexico #3 was not transferred to an airplane, as Calder was no longer alive to approve of the final result.

^Calder painting the Mexico #3 model.

Treatment

The model airplane was brought to Kuneij Berry Associates, Chicago, for conservation treatment. Through examination, the author found that the fiberglass model airplane had two priming layers, blue and grey, and a final, even, white coating. Calder painted onto the proprietary white surface using gouache, possibly that he made himself. While the airplane was quite dirty and structurally had sustained a few losses, the treatment was relatively straightforward.

The plane was in poor aesthetic condition; it had previously been displayed in a planter with dirt and plants around it, exposing it to both dirt and moisture. Fortunately, the gouache paint layer was generally in good condition and intact, aside from a few abrasions.  The synthetic varnish layer, which had protected the gouache layer, was covered in surface dirt and grime.  The plane was first surface cleaned with deionized water and PVOH sponges, but a lot of the dirt remained embedded in the varnish.  The synthetic varnish was removed with aromatic solvents.  Care was taken to only thin the varnish on top of the gouache paints, as the paints were sensitive to aromatic solvents.

^Detail of the varnish removal, cleaned (left) and with remaining varnish (right).

Structurally, the plane had suffered a few chips to its wings and there were a few areas of flaking paint. The flaking paint was consolidated with Paraloid B72. To recreate the tips of the wings that had been chipped away, molds were made of Elastosil M4600 A/B and cast using Milliputti. The cast pieces were sanded and adhered to the wings using Paraloid B72.

Shallow losses in the white priming layer were filled and inpainted simultaneously with Golden MSA colors. Losses in the gouache colors were then inpainted with QoR watercolors.  The model was then sprayed with a few, light, protective layers of RegalRez 1094. After the successful treatment, it was recommended that the painting be displayed in a new, more environmentally stable location.

^Sara Wohler inpainting Mexico #3.

Technical Analysis

The technical analysis of Calder’s gouache paint was carried out by Ralph Weigandt, who is currently the primary researcher on the collaborative National Science Foundation (NSF-SCIART) grant with the University of Rochester’s Integrated Nanotechnology Center to advance the scientific understanding and preservation of daguerreotypes. The authors carried out technical analysis of the gouache paint in order to better understand Calder’s materials and techniques, potentially inform the conservation treatment, and to pioneer the use of Focus Ion Beam (FIB) milling for SEM-EDX analysis and PLM examination on paint films.  Through Transmission Electron Microscopy, SEM-FIB allows for the elemental analysis of paint layers at the nanometer scale!

Weigandt explained in depth about the sample preparation process, the Focus Ion Beam milling of the larger sample into the much smaller (~12 um x 0.5 um) cross-section, the comparison between traditional SEM-EDX spectroscopic elemental analysis and mapping vs. the Transmission Electron Microscopy and associated SEM-EDX elemental analysis and mapping capabilities.  In essence, the FIB milling and TEM allows for highly precise, high resolution elemental analysis and mapping, allowing scientists and conservators to see the inorganic composition of individual pigment particles.  A poster from University of Rochester graduate student So Youn Kim outlines the project with excellent photographs and illustrations.

In the end, the elemental analysis did not contribute greatly to the decision-making process of the treatment, but did provide excellent information about Calder’s painting techniques and materials for Mexico #3, which can inform a discussion about his art-making process for this piece and his art in general.  It is clear that this Focus Ion Beam technique coupled with Transmission Electron Microscopy and SEM-EDX elemental analysis is an exciting analytical technique that will be extremely useful in the precise identification of inorganic pigments, fillers, etc., in paint films. Furthermore, it is great to see yet another example of private conservators working with scientific departments at universities (or elsewhere) to investigate materials of cultural heritage objects!

45th Annual Meeting- Paintings Session, June 1, 2017- “Our Lady of Mercy: The discovery of a hanging scroll painting by José Gil de Castro, by Mónica Pérez”

Our Lady of Mercy with St. Peter Nolasco and St. Raymond Nonnatus. Oil on canvas. ca. 1814-1817, 74.8 x 53.3 cm. Image courtesy of Museo Nacional de Bellas Artes, Santiago de Chile.

Mónica Pérez, Paintings and Frames Conservator at the Centro Nacional de Conservación y Restauración in Santiago, Chile, introduced us to the painting Our Lady of Mercy with St. Peter Nolasco and St. Raymond Nonnatus, the painter José Gil de Castro, the independence movements of Chile and Argentina, and hanging scroll paintings. There is a lot of history, iconography, and treatment to unpack here. I was initially interested in blogging this presentation as I have a special interest in Spanish Colonial Art, and am currently research Our Lady of Mercy and the development of the devotion during the colonial period in South America. My interest was further peaked by the fact that it was a hanging scroll painting as many of these rarely survive in their original format.

José Gil de Castro was a Peruvian portrait painter who worked in Chile and Argentina in the first half of the 19th century. Gil de Castro started by signing his name in Latin and writing the date in numbers to show he was a cultured man. He progressed to writing out the date in letters, and later switched to writing in Spanish. Gil de Castro was involved in the liberation movement of Chile in the 19th century so his move towards writing and signing in Spanish could be seen as him adopting a more patriotic stance. He transitioned from painting Spanish leaders and royalty to painting military leaders, local aristocracy, and patriots, and is considered the father of Chilean national painting. Starting in 2008 a team of Latin American scholars conducted a six-year study on José Gil de Castro that resulted in the Getty supported publication Más allá de la imagen (Beyond the Image) as well as the colloquium Gil de Castro contemporáneo. El pintor en su tiempo y en el nuestro. I was not able to access the publication Beyond the Image online, but I did find a blogpost related to it in The Iris, the Getty’s blog. Unfortunately the existence of Our Lady of Mercy with St. Peter Nolasco and St. Raymond Nonnatus was unknown at the time and the painting was not included in the publications.

Our Lady of Mercy with St. Peter Nolasco and St. Raymond Nonnatus (1817) is in the collection of the Museo O’Higginiano y de Bellas Artes de Talca, Talca, Chile. The painting, measuring 74.8cm x 53.3cm, is a typical depiction of the Virgin Mary as the crowned Virgin of Mercy wearing the white habit typical of the Mercedarian order and with arms wide open. In one hand she holds the Mercedarian scapular and in the other a yoke, symbol of the order’s original dedication to the ransoming of Christians taken captive by the Moors. In the lower part of the painting are St. Peter Nolasco on the left and St. Raymund Nonnatus on the right. At the very bottom of the painting is a banner with an inscription that indicates it was commissioned by María del Carmen Ruiz Tagle from Santiago, Chile, in 1817 and signed “Fecit me Josephus Gil”. In terms of the iconography, Mónica Pérez talked about how devotion to Our Lady of Mercy was transferred to Our Lady of Mount Carmel, who became the patron of the liberation and was adopted as the patroness of Chile in the 19th century. This information, couple with what we learned about the evolution of the artist’s signature, could be used to place the work within the context of Gil de Castro’s shift from vice regal to patriotic painter.

Our Lady of Mercy before treatment. Image courtesy of Centro Argentino
de Investigadores de Arte.

Interest in the painting and its subsequent 2015 treatment at the National Center for Conservation and Restoration was motivated by its inclusion in the then upcoming exhibition José Gil de Castro, Artist of Liberators at the National Fine Arts Museum in Santiago, Chile. The painting as well as its frame were in need of repairs. The painted canvas was nailed to a plank of wood. Although it is common for Spanish Colonial paintings to be nailed or glued to the front of a strainer, paintings nailed to a full board are not. There were horizontal distortions and tears, particularly towards the bottom of the canvas. There were losses to the paint layer and overpaint over the text at the bottom of the composition which made it hard to read, all topped by a yellowed varnish. These are all common condition issues found in paintings and as such, they proceeded with a treatment proposal typical for an easel painting which included removal of the discolored varnish, removal of planar deformations, lining, and compensation for loss. If you read the title of the presentation then you know they were in for a big surprise!

 

Detail of ribbon around the edge of the painting. Image courtesy of Centro Argentino de Investigadores de Arte.

Upon unframing the painting, they came across signs that this was not a typical easel painting. There was a silk ribbon hand stitched around the perimeter of the canvas which combined with the horizontal cracks and distortions, suggested this was a hanging scroll painting. The scroll format and a note containing a prayer suggested the painting was used for private devotion. The painting would have initially be composed of the extant canvas with a rod and case attached at either end, all together making a single unit. Study of other paintings by Gil de Castro shed further light into his use of the scroll format. Displayed on the wall behind two other sitters that the artist painted were hanging scroll painting of Our Lady of Mercy. Paintings within paintings! In addition to this, IRR analysis revealed that the artist modified the date at the bottom of the painting. It was initially painted in 1814, that same year Gil de Castro made two other versions with similar iconography of Our Lady of Mercy. Pérez did not venture to guess why the change of date.

Detail of portrait of José Manuel de Lecaros Alcalde (1814) by Gil de Castro. Notice the hanging scroll painting of Our Lady of Mercy on the back wall. A more close up detail on the image to the right. Image courtesy of Centro Nacional de Conservación y Restauración and Centro Argentino
de Investigadores de Arte.

 

In light of this new discovery, the team of conservators in conjunction with a team of curators, art historians, and the painting’s owners decided to re-evaluate the initially proposed treatment. They wanted to preserve the evidence of the original format and history of use of the painting which meant limiting themselves to addressing issues that affected the interpretation of the image. Although cracks affected the visual appreciation of the painting, they attested to its intended use. They removed the painting from the board, removed the yellowed varnish, relaxed the planar deformations, carried out tear mending with the application of welded stitches, did some visual reintegration, revarnishing, and placed a Crepeline ribbon over the edges to protect the original ribbon. The painting was then mounted like a hanging textile. The treatment provided a new interpretation and context for the painting, and added to the understanding of Gil de Castro’s materials and techniques.

You can read more about the treatment of this painting at the Centro Nacional de Conservación y Restauración’s website, including images of the painting’s original condition and examination. The National Fine Arts Museum’s website also has some online resources related to the exhibition José Gil de Castro, Artist of Liberators as well as the catalogue in pdf form . Most of the resources are in Spanish so time to brush up on it!

Welcome 2017-18 ECPN Officers!

We are happy to introduce the officers of Emerging Conservation Professionals Network for the 2017-2018 term! We are grateful for the dedication and service of ECPN’s outgoing officers Jessica Walthew, Kimi Taira, and Alexa Beller; our AIC Board Liaison Stephanie Lussier; and our Regional, Graduate Program, Specialty Group, and Committee liaisons; and our outgoing Chair, Michelle Sullivan. We wish you all the best and hope to see you involved in future AIC and ECPN initiatives!

 

2016-17 and 2017-18 ECPN Officers at the 2017 Annual Meeting in Chicago

Back row (left to right): Caitlin Richeson, Jen Munch, Eve Mayberger, Michelle Sullivan, Kat Fanning, and Stephanie Lussier (AIC Board Liaison)
Front row (left to right): Kimi Taira, Alexa Beller, Jessica Walthew, Rebecca Gridley, and Kari Rayner

 

Meet the 2017-2018 ECPN Officers:

Rebecca Gridley, Chair
Rebecca holds a BA in Art History from Yale University, and an MS in Conservation and MA in Art History & Archaeology from the Conservation Center, The Institute of Fine Arts, NYU. She is currently an Assistant Conservator in the Objects Conservation Department at The Metropolitan Museum of Art, where she completed her internship year placement. She has also held graduate internships at The Brooklyn Museum, The Museum of Modern Art, The Frick Collection, and the American Museum of Natural History. Before graduate school she worked in private practices in Chicago and New York. She previously served for ECPN as Vice Chair (2016-17) and Communications Co-Officer (2015-16).

Kari Rayner, Vice Chair
Kari graduated with a BA in Art History and a second major in Art Theory and Practice from Northwestern University. She holds an MA in Art History and Advanced Certificate in Art Conservation with a specialization in paintings conservation from the Conservation Center, the Institute of Fine Arts, New York University. Kari interned during her graduate studies at the National Gallery of Art, Washington, D.C.; the Wallraf-Richartz-Museum in Cologne, Germany; and Modern Art Conservation in New York, NY. She completed a post-graduate internship at the Hamilton Kerr Institute, Cambridge University from 2015-2016 and has since returned to the National Gallery of Art as a Mellon Fellow in Paintings Conservation. This is Kari’s second year serving ECPN.

Emma Schmitt, Professional Education and Training Co-Officer
Emma Schmitt graduated from the College of Wooster in 2010 with a BA in Archaeology. She attended the Centre for Textile Conservation and Technical Art History at the University of Glasgow (2012-2014). During this time she interned at the Pitt Rivers Museum, Oxford UK, The Cleveland Museum of Art, Glasgow Museums, and the Victoria and Albert Museum. Upon returning to the US, she worked for Windsor Conservation and was The Andrew W Mellon Fellow in Textile Conservation at The Denver Art Museum (2015-2017). This is Emma’s second year serving ECPN.

Kat Fanning, Professional Education and Training Co-Officer
Kat is currently a Preservation Associate at the Center for Jewish History. She holds a BA in Art History with a minor in Chemistry from Southern Connecticut State University. In 2011, she was a pre-program intern in the Guggenheim’s Conservation Lab. Kat is in the process of completing her MSLIS with certification in Conservation and Digital Curation from Pratt Institute’s School of Information. She recently completed a Conservation and Digital Curation Fellowship in the library department of the American Museum of Natural History (2016/2017). She also volunteers in the New Jersey Room at the Jersey City Free Public Library. This will be Kat’s first year serving ECPN.

Jen Munch, Webinar Coordinator
Jen is a second year graduate fellow at Buffalo State College, focusing on the conservation of paintings. This past summer, Jen completed a summer paintings conservation internship at The Phillips Collection in Washington, D.C. Prior to graduate school, Jen gained conservation experience at the Isabella Stewart Gardner Museum, the Peabody Museum of Archaeology and Ethnology at Harvard University, the private practice Rika Smith-McNally and Associates and the Conservation & Maintenance Program of the Cambridge, MA Arts Council. Previously, Jen served as an ECPN Regional Liaison to Boston (2015-16).

Evelyn (Eve) Mayberger, Outreach Co-Officer
Eve holds a B.A. in Art History with a concentration in Asian Art from Wesleyan University (2010). In 2016, Eve graduated with a M.A. and M.S. degrees in art history and conservation at the Institute of Fine Arts, New York University where she specialized in objects conservation. She has worked in the conservation departments of the Olin Library at Wesleyan University, Smithsonian American Art Museum, Historic Odessa Foundation, Small Collections Library at the University of Virginia, National Museum of the American Indian, Worcester Art Museum, and the University of Pennsylvania Museum of Archaeology and Anthropology (fourth-year internship). In addition to museum work, Eve has participated in excavations at Sardis (Turkey), Selinunte (Sicily), and Abydos (Egypt). Currently, Eve is the Mellon fellowship at the Museum of Fine Arts in Boston. This is Eve’s second year serving ECPN.

Caitlin Richeson, Outreach Co-Officer
Caitlin holds a BFA in Art History, Theory, and Criticism from the Maryland Institute College of Art (2012). She is currently a graduate fellow in the Winterthur/University of Delaware Program in Art Conservation, majoring in objects conservation with a minor in preventive conservation. She has completed internships or contracting work with the Hirshhorn Museum and Sculpture Garden, American Museum of Natural History, Smithsonian American Art Museum, and the Navel History and Heritage Command’s Archaeology and Conservation Lab. This summer she will be in Potomac, Maryland interning with Glenstone. This is Caitlin’s first year serving as the Outreach Co-officer.

Alyssa Rina, Communications Co-Officer
Alyssa graduated with a B.F.A. in Visual and Critical Studies from the School of Visual Arts (2013) and worked at Jim Kempner Fine Art in Chelsea before discovering art conservation and becoming a pre-program student. Since then, she has studied Chemistry, French, and additional studio courses in ceramics, mold making, three-dimensional printing, and book binding. Alyssa has completed pre-program jobs and internships at Linda Francavilla Paper Conservation, The Better Image, Cultural Preservation and Restoration, The Museum of Fine Arts, Boston, and The Historical Society of Pennsylvania. Alyssa will begin two pre-program summer internships at The Historic Odessa Foundation and in the paintings lab at Winterthur. Alyssa is most interested in object conservation, but continues to seek opportunities that will diversify her experience across most conservation specialties. This is Alyssa’s second year serving ECPN.

James Riley Cruttenden, Communications Co-Officer
Riley is an MLitt candidate and a US-UK Fulbright Award recipient in the Technical Art History program at the University of Glasgow. Riley received a BFA in sculpture from the Ohio State University where he later returned for studies in chemistry and for a pre-program internship with the university’s Library Conservation Unit. He has contributed to research on mass spectrometry with Ohio State University’s Badu Research Group and recently researched historic molds and plaster casts in the Archives and Collections of the Glasgow School of Art. He is currently conducting a technical examination of four British-made, 19th century ship models at the Rijksmuseum and will begin a six-month pre-program conservation internship at the Smithsonian’s National Museum of the American Indian in the fall of 2017. Riley is especially interested in the conservation of objects and in analytic methods for cultural heritage research, and he looks forward to applying to graduate programs in conservation in the near future. This is Riley’s first year serving ECPN.

ECPN would like to congratulate Molly Gleeson, a former ECPN Chair, on her election to the AIC Board of Directors. In this role, Molly will serve as ECPN’s Board Liaison.

Molly Gleeson, AIC Board Director for Professional Education
Molly is the Schwartz Project Conservator at the Penn Museum. Since 2012 Molly has worked in the museum’s open conservation lab, which was recently renamed “The Artifact Lab: Conservation in Action.” In the Artifact Lab, she treats artifacts in full public view, interacts with museum visitors daily, blogs about the ongoing work in the lab, and regularly gives presentations about conservation. Prior to the Penn Museum, Molly worked on contract in Southern California and as a Research Associate on the UCLA and Getty Conservation Institute feather research project. She completed her M.A. in 2008 at the UCLA/Getty Master’s Program in the Conservation of Archaeological and Ethnographic Materials. Molly is a Professional Associate member of AIC and is the current co-chair of the Archaeological Discussion Group (ADG). She previously served for 2 years as the Chair of the Emerging Conservation Professionals Network (ECPN).

Once again, we would like to thank those who have dedicated their time and efforts to working on ECPN projects this past term! In looking forward to the 2017-18 term, we hope that our ongoing projects and new initiatives will continue to provide valuable resources for pre-program candidates, graduate students, and emerging conservation professionals.

Job, Internship & Fellowship Digest: June 19, 2017

  1. Paper Conservator (Maternity Cover), Bodleian Libraries, University of Oxford
  2. Patrick Lindsay Conservation Fellow (Paintings), The National Gallery
  3. Conservator and Conservation Technician (Temporary Posts), West Yorkshire Archive Service
  4. Bishopwearmouth Townscape Heritage Project Officer, Sunderland City Council’s Planning and Regeneration Service
  5. Laboratory Technician, UCL Qatar Conservation and Archaeological Materials Science Laboratories
  6. 2017/2018 Internship in the OIST Art Conservation Program, Okinawa Institute of Science & Technology
  7. Heritage Action Zone Officer, Nottingham City Council
  8. Senior Conservation Officer (Two Positions), Cherwell & South Northants District Councils
  9. Conservation Officer, Telford & Wrekin Council
  10. Curator, 16th And 17th-Century Dutch Drawings, Rijksmuseum
  11. Inspector of Historic Buildings and Areas, Historic England
  12. Painting Conservation Internship, Guildhall Art Gallery
  13. Conservation Position, National Gallery of Art
  14. Conservator, National Air and Space Museum
  15. Paper Conservator, Ica-Art Conservation
  16. Lecturer in Technical Art History, University of Glasgow

1. PAPER CONSERVATOR (MATERNITY COVER), Bodleian Libraries, University of Oxford (Oxford, UK)

  • Online application deadline: 12:00 midday on June 21, 2017
  • Grade 6: 27,629 GBP – 32,958 GBP p.a.

The Bodleian Libraries are looking for an experienced Paper Conservator to join the Conservation and Collection Care Department, based in the Weston Library. The department has 19 members of staff including book, paper and preventive conservators working to preserve, stabilize, and improve access to the Bodleian Libraries’ collections through preventive activities, interventive treatments, research, and by supporting an ongoing exhibitions program.

You will be required to undertake conservation treatments on the Libraries’ rich and varied Special Collections, primarily treating works on paper. You will also assist in the preparation and mounting of materials for exhibitions and participate in promoting the work of the department.

With a recognized qualification in the conservation of paper or related materials, or equivalent training and experience, you will also have detailed knowledge and experience of high level paper conservation treatments and a broad knowledge of collection care activities. You will have excellent written and verbal communication skills and the ability to gather, analyze and present information clearly for different audiences. You will need a flexible approach to work, excellent inter-personal skills and the ability to work independently and as part of a team.

This is a full-time, fixed-term (maternity cover) post for approximately 6 months.

Only applications received online by 12:00 midday on June 21, 2017 can be considered. Interviews are expected to take place Wednesday 5 or Thursday 6 July 2017.

2. PATRICK LINDSAY CONSERVATION FELLOW (PAINTINGS), The National Gallery (London, UK)

  • Closing date: June 25, 2017
  • Interview date: July 5-6, 2017
  • Salary: GBP25,867 – GPB32,410
  • Type: Fixed Term full time
  • Job ref: 1500

The National Gallery, which houses one of the finest collections of Western European paintings in the world, has a long-established Conservation Department with an international reputation.

The Patrick Lindsay Conservation Fellow will assist the present team of conservators responsible for the care of the collection. Under supervision of members of the Conservation Department, you will undertake the cleaning and restoration, and some structural repair of paintings; the assessment, preparation, reporting and travel with National Gallery paintings on loan; become involved in research on paintings in the collection, working in collaboration with the Scientific and Curatorial Departments. The position will prioritize time in the studio, however, including one large collaborative project and smaller independent treatment(s).

We are looking for two well-qualified individuals with a recognized post-graduate qualification in the conservation of easel paintings who are seeking to continue their professional development. In addition to a high level of practical skills in the restoration of paintings of all periods up to the early 20th century, they will have the ability to communicate effectively, both orally and in writing, with a wide range of individuals.

This is a fixed term contract for a period of 22 months.

3. CONSERVATOR AND CONSERVATION TECHNICIAN (TEMPORARY POSTS), West Yorkshire Archive Service (Calderdale, UK) 

  • Closing date for both positions: June 26, 2017 at 12 noon
  • Interviews will be held w/c July 10, 2017.

West Yorkshire Archive Service collects, preserves and provides public access to the archival history of West Yorkshire from the 12th century to the present day. The WYAS Conservation section provides collections care and conservation services for these archives across seven sites and to external clients.

WYAS has two temporary opportunities for a qualified conservator and a conservation technician. The successful candidates will assist the Head of Conservation in the preparation of collections at WYAS Calderdale in Halifax in advance of their removal to a new archives facility during the summer of 2017.

  1. CONSERVATOR
  • Temporary contract for 4 months (August to November)
  • Post Reference WYJS:021-17
  • Salary scale WY06 (GBP23,398 – GBP24,964)
  • 37 hours per week

The conservator’s duties will include cleaning, environmental monitoring and re-boxing a proportion of the collections and therefore will involve significant manual handling. The conservator will work alongside a Conservation Technician and coordinate operations with the WYAS Calderdale archivist.

The successful candidate will have a recognized and relevant conservation qualification and experience of working with archives. A methodical, pragmatic and organized approach is required for the successful completion of this project.

  1. CONSERVATION TECHNICIAN
  • Temporary contract (part-time) for 4 months (August-November)
  • Post Reference WYJS: 022-17
  • Salary scale WY03 (GBP16,781 – GBP17,772 FTE)
  • 5 hours per week (Pro-rata salary for position GBP8,390.50 – GBP8,886)

The conservation technician’s duties will include cleaning and re-boxing a proportion of the collections and therefore will involve significant manual handling. The conservation technician will work alongside the project conservator and operations will be coordinated with the WYAS Calderdale archivist.

The successful candidate will have excellent manual dexterity; experience of working with archives will be an advantage. A methodical, pragmatic and organized approach is required for the successful completion of this project.

The post will be based at WYAS, Calderdale with occasional travel to WYAS Morley, Wakefield, Leeds, Kirklees and Bradford. For an informal discussion about either post please contact Shirley Jones or Katie Proctor on 01924 782030. For details on how to apply please see the link below and download an application.

The closing date for applications is June 26, 2017 at 12:00 noon. Interviews will be held w/c July 10, 2017.

West Yorkshire Joint Services is an equal opportunities employer where employees can enjoy a range of benefits in the salary package including a pension scheme, and holiday allowance.

4. BISHOPWEARMOUTH TOWNSCAPE HERITAGE PROJECT OFFICER, Sunderland City Council’s Planning and Regeneration Service (Sunderland, UK)

  • Closing date for applications: June 26, 2017 at 12:00 noon
  • Interviews will take place on July 18, 2017
  • Grade 8 (SCP 37-41) £32,486 to £36,379 per annum pro rata 4 days a week
  • Contract Type: Fixed Term
  • Salary: 32,486
  • Hours per week: 6 HPW
  • Vacancy ID: 163900
  • Post No. 50083882

Sunderland City Council’s Planning and Regeneration Service is seeking a Project Officer to lead on a Townscape Heritage Scheme in Bishopwearmouth Conservation Area. The post is a 6-year fixed term appointment with a break clause in June 2018, the continuation of the post dependant on Heritage Lottery Fund’s (HLF) approval of a second-round application.

The HLF has awarded the Council development funding for the Bishopwearmouth Townscape Heritage scheme. £2 million has been earmarked to deliver the scheme, subject to a successful second-round submission. The Project Officer is required to co-ordinate the development of the detail of the scheme for the Round 2 submission, and then manage its 5-year delivery phase.

The Townscape Heritage scheme will support and compliment an ambitious program of regeneration activity in the Minster Quarter of Sunderland City Centre, including the Music, Arts and Cultural Quarter project, public realm improvements and major private sector leisure and retail developments.

Main Duties
The Project Officer will be required to manage the Round 2 Bishopwearmouth Townscape Heritage submission to HLF, and upon approval of the Round 2 application to manage the delivery of the Townscape Heritage scheme. The post will require someone who has the ability to successful co-ordinate the delivery of a range of projects including grants to property owners and tenants for property works, public realm improvements, and complementary promotional, educational, training and interpretation activities and initiatives.

The post holder will be educated to degree level or equivalent and be required to have experience of managing HLF funded regeneration or restoration projects, and knowledge of HLF’s Townscape Heritage. It is essential that the post holder has excellent communication and negotiation skills, with the ability to be effective at building relationships with property owners, occupiers, partners and stakeholders, the wider community, coordinating community based activities and events, and promoting the Townscape Heritage scheme, Bishopwearmouth’s heritage and its role in regeneration.

Based in the Council’s Regeneration Team the post holder will work closely with colleagues in Conservation, Regeneration, Property, Cultural Heritage and Community Services.

For an informal discussion please contact the Council’s Conservation Team Leader, Mark Taylor, on +44 0191 5611515.

Applications should be made on-line at northeastjobs.org.uk/sunderlandcitycouncil. For further assistance contact the HR&OD Recruitment Services Team by telephone: +44 0191 561 1755. Email: ijm@sunderland.gov.uk. Please note that CV’s are not acceptable.

Please note that all communication regarding your application for this post will be sent to the email address that you have registered online with North East Jobs, including your invitation to any online assessment you are required to undertake and your invite to interview if you are short-listed. Please check your email inbox after the closing date for notifications as you may not be notified by any other means. Please remember to check your junk mail items.

Please be advised if you have not heard from us within six weeks of the closing date please assume you have not been shortlisted.

SUPPORTING DOCUMENTS

5. LABORATORY TECHNICIAN, UCL Qatar Conservation and Archaeological Materials Science Laboratories (Qatar)

  • Application deadline: June 29, 2017
  • Ref:1651214

UCL Qatar is seeking to appoint a Laboratory Technician for its Conservation and Archaeological Materials Science Laboratories. Applicants must have a Master’s degree in Conservation of Cultural Heritage Objects and experience of at least two of the analytical techniques available in the laboratories. The post is scheduled to begin as soon as possible and run until December 31, 2018.

For a full job description and requirements, visit: https://tinyurl.com/y7josyzu.

Any offer of employment will be subject to a Disclosure and Barring Service (DBS) check.

6. 2017/2018 INTERNSHIP IN THE OIST ART CONSERVATION PROGRAM, Okinawa Institute of Science & Technology (Okinawa, Japan)

  • Application deadline: June 30, 2017

The Art Conservation Program at the Okinawa Institute of Science and Technology (OIST) is seeking a graduate or advanced undergraduate (pre-program) intern in objects conservation. The internship should be for 10 weeks and take place sometime between September 1, 2017 and March 31, 2018. Exact dates are flexible. The Art Conservation Program works in close collaboration between OIST university and local Okinawan museums, with the goals of aiding in the preservation of Okinawan artifacts and contributing to the understanding of the islands’ material culture. The Program’s main museum collaborators are the Yomitan Museum of History & Folklore and the Tsuboya Pottery Museum. The incorporation of the Program within OIST allows for conservation treatment to be complemented with in-depth analytical investigation. Ongoing projects involve Okinawan lacquerware and ceramics.

Internship Details: The internship length should be for approximately 10 weeks. Exact length and dates will be negotiated with the chosen candidate. Those eligible to apply include students enrolled at graduate or undergraduate programs in universities, colleges, junior colleges, and vocational schools, or recent graduates of such institutions. Currently enrolled students must have approval from their home institution. OIST will provide the intern with accommodation either on campus or nearby, round trip airfare to/from Okinawa, and a Living Allowance of 3,300 JPY per day (minus applicable taxes). Support will be provided for matters such as housing, insurance procedures, and local registration.

Applicants should send a cover letter and CV to Anya Dani at anya.dani@oist.jp by June 30, 2017. Do not apply via at the OIST website. More information about OIST and the Art Conservation Program can be found at: https://www.oist.jp and https://groups.oist.jp/stg/anya-dani.

7. HERITAGE ACTION ZONE OFFICER, Nottingham City Council (Nottinghamshire, UK)

  • Closing date: June 30, 2017 at midnight 
  • Reference: DG0064
  • Working hours: Part time, 22.2 hours per week
  • Salary: £31,601 to £33,437 pro rata on first year anniversary, subject to satisfactory completion of a probation period
  • NPPV required: No
  • Appointment type: Fixed term up to 5 years
  • Location: Loxley House, Station Street, Nottingham, Nottinghamshire, NG2 3NG

Please ensure you read our Terms and Conditions Information which includes advice on pay, annual leave and hours of working.

 Heritage Action Zones (HAZs) are Historic England’s Flagship initiative to help transform Historic Places. The Heart of Nottingham HAZ comprises an exciting and innovative array of projects to help safeguard and celebrate the heritage of Nottingham. With a total budget of £2.7 million this is currently the largest and most ambitious HAZ in England. The Heritage Action Zone Officer will work closely with the Heritage Strategy Officer to deliver the program of projects which help promote the sustainable growth of Nottingham through Heritage-led regeneration. You will work with the Heritage Strategy Officer to commission studies and deliver area-based grant schemes. You will work with the owners of historic buildings in the project area to bring forward successful grant applications in line with Historic England’s requirements. You will be a self-motivated person, able to assist in the financial and conservation aspects of the scheme and support the delivery of events and other HAZ activities.

Essential requirements:

  • Education to degree level or equivalent
  • Experience of delivering grant funded programs
  • Good project and budget management skills
  • Experience of scrutinizing conservation projects and designs
  • An awareness of current regeneration and conservation issues and the planning process
  • Ability to communicate effectively at all levels and to present complex information in the most appropriate way for different audiences
  • Enthusiastic and able to work independently to tight deadlines

Please see the Job Description / Person Specification which are attached further down on this page.

For informal enquiries please contact Alice Ullathorne, alice.ullathorne@nottinghamcity.gov.uk, Tel: +44 0115 8761993.

We particularly welcome applicants from black, minority, ethnic communities, and disabled people as they are currently under represented within our workforce. Nottingham City Council is open to conversations regarding flexible working options at the point of interview. If you have any technical issues completing your application form please contact escservicedesk@emss.org.uk.

Further information for this job:

  1. Heritage Action Zone Officer Job Description and Person Specification
  2. Nottingham Heritage Action Zone Reference Sheet
  3. Total Rewards Brochure
  4. Applicant Guidance Notes
  5. Terms & Conditions Information
  6. Customer Charter
  7. Equality & Diversity
  8. Citizens at the Heart

8. SENIOR CONSERVATION OFFICER (TWO POSITIONS), Cherwell & South Northants District Councils (UK)

  • Closing date: June 30, 2017 at noon
  • Interview date: July 20, 2017
  • Reference No. DCT004 & DCT005
  • 1 x CDC Grade 8: £33,349.58 – £37,723.29 per annum, 37 hours per week
  • 1 x SNC Grade 5: £30,546 – £35,359 per annum pro rata, 29.4 hours per week
  • Plus benefits

The Joint Design and Conservation Team provides a shared service to South Northamptonshire and Cherwell District Councils and leads on securing high quality design and a long-lasting legacy for development in both Districts. We are currently looking to recruit two Senior Conservation Officers to the team. The successful candidates will sit within a friendly and dynamic team and it is intended that one position will be based in Bodicote near Banbury and the other at Towcester.

Together, the two Districts have 122 conservation areas and over 4000 listed buildings. The role is varied and you will be responsible for providing expert heritage advice on planning applications; the production Conservation Area Appraisals / Management Plans; the production of advisory publications and best practice guidance. We are also updating our Design and Conservation Strategy that will set out our approach for the next five years and provides an overview of the work that the team undertakes.

The ideal candidates will bring significant experience of working on listed buildings and conservation areas within a professional conservation environment. You should have a post graduate qualification in Building Conservation and be a full member of the IHBC. Excellent written and oral communication skills are required and an ability to communicate graphically would be an advantage. More importantly, though, you will be a self-starter with initiative and vision, who can work independently, and make a positive contribution to team work. The posts would suit experienced conservation specialists, with previous professional experience working in the public or private sector.

Benefits: The posts offer an opportunity to play an active role in the protection of a diverse range of heritage assets. These include traditional buildings in picturesque rural settlements, 20th Century airfields and industrial heritage.

For more information please contact Clare Mitchell on +44 01295 221845.

To download an application pack and apply for the post, please visit the council’s intranet or contact the Human Resources Department on +44 01295 221528.

Internal candidates appointed will remain with their home authority if recruited to a shared post. 

9. CONSERVATION OFFICER, Telford & Wrekin Council (Telford, UK)

  • Application deadline: June 30, 2017
  • Job Ref TWC000002213
  • Contract type: full time permanent
  • Working pattern: flexible hours
  • Hours: full-time
  • £30,153 – £32,486 per annum
  • P02
  • 37 hours per week
  • Job description/person spec

The postholder will work to formulate and implement policies for the promotion of good design and the protection and enhancement of the built environment of the Borough with an emphasis on Conservation Areas, Listed Buildings, archaeology and other areas of historic and architectural interest particularly in the Ironbridge Gorge World Heritage Site. There will also be opportunities to work with clients and projects located outside of the Borough.

The post holder will operate under the overall guidance of the Development Team Group Manager. For further information on the role please click on the job description and person specification which is available below.

The post holder will have:

  • A recognized post grad qualification in conservation or equivalent, IHBC membership is preferred
  • Significant post qualification experience related to specialist conservation practice and design issues
  • A qualification in architecture, urban design or town planning
  • A practical experience of industrial archaeological work would be an advantage due to the Ironbridge Gorge World Heritage Site
  • Experience of partnership working, including managing partnership structures and coordinating varied contributions
  • Proven experience of dealing with Planning applications.
  • Proven experience of presenting cases to formal legal inquiries
  • Detailed knowledge of conservation policies, procedures/practice
  • Detailed knowledge and experience of design and traditional building techniques and construction and repair
  • An appreciation of the local, national and international significance of the Ironbridge Gorge World Heritage Site
  • Significant knowledge of dealing with Planning applications and Section 106 Agreements
  • A knowledge of budgetary processes and experience in planning, implementing and financial control of projects
  • The ability to work as part of a multi-disciplinary team

Please note employees who are at risk will be considered first for this position. Only if an appointment is not made will other candidates be considered. The post holder will receive casual car user allowance.

Please complete the online application form as CVs will not be accepted.

We are committed to equality and diversity.

10. CURATOR, 16TH AND 17TH-CENTURY DUTCH DRAWINGS, Rijksmuseum (The Netherlands)

  • Applications deadline: June 30, 2017
  • 36-hours per week

The Rijksmuseum is the museum of the Netherlands. The collection includes 1.1 million (art) objects from and related to the Netherlands from the Middle Ages to the 20th century. In 2013, a completely renovated Rijksmuseum was opened to the public, with 2,000,000 visitors a year, a breath-taking building, an innovative permanent installation, beautiful exhibitions, a dynamic events program and many fun facilities for young and old.

The post will become vacant with the retirement of the present Senior Curator, Marijn Schapelhouman, in September 2017. His successor will work within the team of twelve curators and researchers in the Department of Drawings, Prints and Photographs, as well as with museum’s conservators, information specialists and registrars. With the head of department, he or she will share responsibility for the museum’s world-class holdings of Dutch drawings before 1700 and be closely involved in all aspects of the scholarly research, publication and interpretation of works in this subject area. The successful candidate will also be responsible for recommending potential new acquisitions and play a major role in exhibitions and displays in this field.

The main tasks are:

  • Research the drawings in your care and write scholarly texts for the permanent collection catalogues;
  • Manage the collections assigned to you, catalogue new acquisitions, and communicate your expertise with both a lay and a professional public through publications, lectures and informal tours;
  • Organize and co-ordinate presentations and exhibitions;
  • Follow the art market and make proposals for acquisitions in this area;
  • Maintain and develop contacts with collectors;
  • Represent the Rijksprentenkabinet in the art-historical world.

Requirements:

  • Academic degree in European art history, with a special knowledge of 16th- or 17th-century Dutch art and a focus on works on paper;
  • Proven track record working first hand with art objects (i.e. non-written sources);
  • Minimum of two years’ curatorial experience;
  • Experience with project work, including in interdisciplinary (academic) context;
  • Experience in publishing catalogues and articles in leading academic journals and the equivalent;
  • Recognized expertise in the field of drawings, both nationally and internationally;
  • Working knowledge of modern languages.

Appointment: The curator will be appointed initially for a 12-month period. It is expected that following an extension of another 12 months, the position would become permanent.

Terms of employment: The gross monthly salary will be commensurate with education and experience, from a minimum of GBP3,520 to a maximum of GBP4,901 (scale 12), for a full working week of 36 hours, excluding 8% holiday allowance and end-of-year benefits. The CAO Museum applies.

For further information, please contact Jane Turner, Head of the Rijksprentenkabinet, on +31(0)20-6747201. For questions regarding the application procedure, please contact Lieke Boers, Human Resources Advisor, tel: +31(0)20-6747304.

Applications (letter and c.v. to the attention of J. Turner) should be sent by email to vacatures@rijksmuseum.nl, mentioning the job title, no later than 30 June 2017. Interviews will take place in July 2017.

11. INSPECTOR OF HISTORIC BUILDINGS AND AREAS, Historic England (London, UK) 

  • Final applications: July 5, 2017 by midnight
  • Contract type: Permanent
  • Salary: £36,023
  • Reference No: 8204
    Job description

Historic England is looking for an enthusiastic professional to work in our London team as Inspector of Historic Buildings and Areas. This is a challenging role at the heart of managing change in one of the most exciting cities in the world. It is also a time of great change and Historic England is working to ensure that London`s special character remains at the heart of that.

Based in our central London office, you will be expected to travel across the capital providing expert advice on a wide range of applications affecting listed buildings, conservation areas and World Heritage Sites. To do this, you will need relevant professional qualifications and a good understanding of London`s architectural history as well as an in-depth knowledge of planning policy and statutory procedures. You will also have a proven track record of dealing with heritage assets in a planning context.

As the public body that champions and protects England`s historic environment, we help people to understand, value and care for a diverse range of heritage assets. As an Inspector, you will meet with a wide range of customers and partners and will need to have great communication and persuasion skills, to deliver a high level of expertise in an approachable manner. You may need occasionally to express the view of Historic England to the media.

As part of a dynamic, friendly and hard-working team, you will support the Principal Inspector with ensuring that the heavy caseload is handled efficiently and effectively to add value to the planning process. You will also be involved in supporting the activities of the Heritage at Risk team to find creative solutions to Heritage at Risk and the Historic Places team to engage with strategic planning issues. You may also be asked to manage the performance and development of an Assistant Inspector.

You will be rewarded by playing a key role contributing to the development of the local region and enhancing our historic environment for the future. We also offer a wide benefits package including access to the Civil Service pension scheme, 28 days holiday plus bank holidays, free entry into English Heritage sites, and the flexibility in your working day that creates a strong work-life balance.

Interviews and assessments will be held on July 20, 2017 in London.

12. PAINTING CONSERVATION INTERNSHIP, Guildhall Art Gallery (London, UK)

  • Deadline for applications: July 6, 2017
  • Interviews on July 21, 2017
  • Funded by City of London Corporation City Educational Trust, NADFAS and The Radcliffe Trust
  • Duration – 6 months, October 2017 to April 2018 (tbc)
  • Stipend: GBP8,000

Guildhall Art Gallery houses the City of London’s art collection. It is an accredited art gallery offering a lively exhibitions program to the public. The collection comprises over 4,000 oil paintings, works on paper and sculptures. Highlights include London topographical subjects from the 17th century to the present, Victorian paintings, civic and royal portraits from the 17th century onwards and the Sir Matthew Smith studio collection.

Guildhall Art Gallery is committed to supporting the professional development of recently graduated conservators and is pleased to have offered conservation internships since 2007. In this internship, you will gain invaluable experience of working in a major art institution, learn about gallery practice and contribute to the daily activities of the conservation team.  Over six months, you will have the opportunity – under appropriate supervision – to carry out the examination, documentation and treatment of a painting or paintings from the collection required for exhibition or loan.

Our conservation team consists of a Senior Conservator (paintings), a Conservator (paintings) and a Lead Conservator (frames). You will be supervised by the Conservator (paintings) but will have the opportunity to work closely with all members of the conservation team.

The placement requires a strong practical ability to carry out conservation and restoration treatments of paintings and good problem-solving skills. You should have good learning skills, the ability to work effectively as part of a team and on your own, and be motivated to developing your career in paintings conservation.

Applicants should have recently obtained a recognized postgraduate qualification in paintings conservation. Preference will be given to graduates from UK training courses. Guildhall Art Gallery and the funders of this internship are obliged to confirm that every applicant has a right to work in the United Kingdom. This internship cannot be carried out on a student visa and requires the intern to hold the appropriate work visa for the duration of the placement.

Application forms are supplied upon request to nancy.wade@cityoflondon.gov.uk. Please state ‘Painting Conservation Internship Application Request’ as the email subject.

13. CONSERVATION POSITION, National Gallery of Art (Washington DC, USA)

  • Application deadline: July 21, 2017
  • Full-Time, Contract Conservator for Project Coordinator Position to Assist in the Development of ConservationSpace Software Project.

The National Gallery of Art, the lead partner in the creation of ConservationSpace, a document management software package for writing, storing and retrieving treatment information, is seeking a conservator to work as part of a development team to address the conservation related needs and requirements that translates into implementing features for a document management software application for the digital creation, organization, dissemination, and preservation of conservation documentation. The contract position will be under the supervision of the Contracting Officer’s Representative (COR) and is tasked with overseeing the introduction of the software application within the conservation division as well as serving as liaison to the sustainability project partner. The project coordinator will facilitate communication with the steering and working groups, relaying information to the sustainability contractor, providing project documentation and assisting with meetings held to accomplish the project goals. This position is assured funding for approximately 2 years.

Compensation for the position is commensurate with experience, with a range of approximately $27 to $33 per hour.

Major Duties: Plans, coordinates, and manages resources of the project to ensure that project goals are successfully completed. Serves as a team member on all project-related work/issues. Serves as a liaison on assigned functional requirements between the project team, end users and software developers. Coordinates activities with the Steering Committee. Adapts work plans as appropriate to meet changing needs and requirements of project development.  Assists with project meetings, including: Developing agendas, identifying and distributing relevant meeting materials. Coordinating meeting logistics ((e.g., meeting spaces, technology setup, etc.). Serving as facilitator or recorder for team meetings. Monitors the development and reporting on project deliverables. Reviews deliverables prepared by the project team and the software developer. Keeps project team informed of all relevant project information and assigned work plans that are independently executed. Assists with writing the project documentation required to record the progress, create user guidelines and provide reports for internal and foundation grant requirements. The contractor will liaise with museum and related cultural heritage communities to keep them informed and to solicit feedback.

Qualifications: The Project Coordinator should have specialized experience in conservation, art history, museum studies. Experience should include interfacing with records management, digital asset management and the organization of electronic files.

The incumbent must have demonstrated abilities in managing projects of broad scope and complexity combined with command of business procedures as employed in the practice of conservation and museum management and operations.  Knowledge of: business principles, information documentation, general management concepts, long-range planning and organizing and storing documents in the museum environment, are desired skills for the candidate who will fill the position. The incumbent must possess good organizational, verbal and written communication skills.  Ability to deal effectively and in a responsible manner with a wide variety of people, either in person or electronically is required. Incumbent must have experience in problem solving and troubleshooting and be able to organize various projects simultaneously under deadline pressure.  Website content development skills are desirable.

Eligibility:

  • Applicants should have at least three to four years of conservation-related work experience and a graduate degree within the A proven record of research and writing ability, as well as English-language skills, is required.
  • Appointments are awarded without regard to age, sex, nationality, or race.
  • Selected finalists must be United States citizens to comply with federal institution hiring requirements.

Application procedure: Interested candidates must submit the following materials:

  • Transcripts of graduate courses of academic study (although official transcripts are preferred, unofficial copies are acceptable)
  • A curriculum vitae including basic biographical information, current and permanent addresses, telephone numbers, and a description of previous work experience and internships
  • A short statement of the applicant’s background, interests and intent in applying for the position.
  • Offprints of any publications or lectures
  • Three supporting letters of recommendation from professionals familiar with the candidate’s work (all sent directly to the address below or sent by e-mail to dcl@nga.gov directly by the referee from his or her business e-mail address.

The materials should be postmarked with a return address no later than July 21, 2017, and sent to: Michael Skalka, Conservation Administrator, Conservation Division, National Gallery of Art, 2000B South Club Drive, Landover, Maryland 20785 USA.

Formal applications must be postmarked and mailed. In addition, they must also be submitted electronically to dcl@nga.gov.  Please use dcl@nga.gov to request a copy of the guidelines for electronic transmission of application materials. After a preliminary selection, final candidates may be invited for an interview. All applicants will be notified by August 25, 2017 of the decision of the selection committee.

14. CONSERVATOR, National Air and Space Museum (Washington, DC, USA)

The National Air and Space Museum is looking to fill 5 conservator positions in support of a planned renovation project at the Museum on the National Mall.  This project is expected to last 7 to 8 years and will involve approximately 4000 artifacts representing the full range of materials from the 18th century to the present day.  Since the collection encompasses a wide range of materials and preservation challenges, candidates with specialized skills and experience treating a range of materials are encouraged to apply.

Work Schedule is full-time. This is a temporary 2-year trust position with additional 2 year renewals likely. This is not a Federal Position, but has similar requirements and benefits.

  • Salary Range:  $66,510.00 to $86,460.00 / per year
  • Series & Grade:  IS-1001-11/11
  • Promotion Potential:  11
  • Supervisory Status:  no
  • Who may apply: this position is open to all candidates eligible to work in the United States

Duties: Coordinates loans, manages ongoing projects and provides technical guidance to fellow conservators, interns, fellows and contractors.  Assists in the preparation of collection condition surveys to enhance the broader understanding of the condition status of the entire collection.  Performs direct conservation treatment and supports artifact conservation process by procuring necessary supplies and equipment, fabricating supports, object handling and movement, photography, and related tasks.  Advises the Chief Conservator and curators of conditions that threaten artifacts.  Identifies developmental and training needs related to conservation practices for members of the Conservation Unit, and other Collections Department staff.

Qualifications – Experience: You qualify for this position if you possess one year of specialized experience equivalent to at least the GS-09 level in the Federal Service or comparable pay band system. For this position, specialized experience is defined as conducting artifact conservation and preservation tasks, to include: artifact condition examination, conservation treatment, preventative conservation, use of a collections information system data base, and preparation of object condition reports.

Other Information: Please see Benefits at www.sihr.si.edu for a complete description.

For job posting information please contact: Shontel Ruiz, tel: +1 (202) 633-6312, TDD: 202-633-6409, Email: ruizs@si.edu, SMITHSONIAN, Office of Human Resources, PO Box 37012, 600 Maryland Avenue, MRC 517, Washington DC, USA.

15. PAPER CONSERVATOR, ICA-Art Conservation (Cleveland, OH, USA)

  • Full time, Exempt Position (Benefits Eligible)

The Paper Conservator has responsibilities which involve the examination and treatment of artwork at the ICA facility and on site. S/he will participate as necessary in the implementation and oversight of conservation projects which involve coordinating staff and subcontractors. S/he interacts professionally with board and committee members, clients, and the general public. S/he agrees to abide by the AIC (American Institute for Conservation of Historic and Artistic Works) Code of Ethics and Guidelines for Practice.

This position reports to the Executive Director. The ICA is in the process of hiring a new executive director and hopes to expand the paper conservation department in the coming year with additional staff and space.

Principal Duties and Responsibilities

Conservation:

  • Carry out examinations and conservation treatments on artwork from the collections of private and public institutions, corporations, government agencies and private collectors.
  • Conduct research to determine appropriate interpretation of the object and to support the recommended treatment.
  • Prepare cost and time estimates for conservation projects and preservation assessments. Assemble bids for Request for Proposals (RFPs). Coordinate with Registrar to communicate with clients.
  • Perform on site field work which may involve collections surveys, examination, and treatment.
  • Participate in interdepartmental projects as needed. Act as lead conservator for such projects when appropriate.
  • Supervise conservation support staff (assistants, preparators, interns, volunteers). Manage and oversee subcontractors for commercial and industrial processes involved in treatments, shipping, and installations.
  • Monitor condition of objects in storage and perform appropriate housekeeping of the area.
  • Stay current with theoretical discourse and best practices in the field through literature review and attending presentations, conferences and mid-career training.

Public Outreach:

  • Interact professionally with a broad range of clients concerning conservation and preservation projects, both in person and over the phone/email.
  • Prepare documentation for grant applications in which the ICA is included, and review grant applications if requested by the client.
  • Actively participate in the ICA’s educational programs, including teaching classes, giving lectures and leading tours.
  • Participate in board and staff committee work.
  • Assist in interviewing and hiring new staff.
  • Represent the ICA in meetings with potential clients, donors and other professionals.

Qualifications:

  • Master’s degree from a recognized training program in conservation or equivalent experience.
  • Substantial experience in treating works of art on paper of all periods including contemporary art is required.
  • Experience working on Asian art on paper would be beneficial.
  • Experience working in the field of conservation either in an institutional or private practice setting. Title and salary will be commensurate with experience.
  • Proficiency in Microsoft Office Suite (Word, Excel, PowerPoint), Adobe Photoshop desirable.
  • Travel to onsite projects in surrounding region required.

Position open until filled. Foreign nationals need only apply if they have a valid work visa.

Please send letter of interest and CV to: Andrea Chevalier, Senior Conservator, ICA Art Conservation, 2915 Detroit Ave, Cleveland, OH 44113, USA, email: achevalier@ica-artconservation.org.

16. LECTURER IN TECHNICAL ART HISTORY, University of Glasgow (Glasgow, Scotland)

Lecturer in Technical Art History, University of Glasgow. This post is full time from October 1, 2017 until September 30, 2020. To undertake high-quality research led teaching and supervision at postgraduate and undergraduate level in Technical Art History, to make an active contribution in the development of the subject of Technical Art History within the University, and to undertake administration as requested by the Head of Technical Art History and Head of School. To undertake a degree of high-quality research in the field of Technical Art History within the bounds of a heavy teaching and supervisory role. To see the full job description go online, or for more details email Christina Young at christina.young@glasgow.ac.uk.

45th Annual Meeting – Paintings + Research & Technical Studies, May 30, “Pioneering Solutions for Treating Water Stains on Acrylic Paintings: Case Study of Composition, 1963, by Justin Knowles” by Maggie Barkovic and Olympia Diamond

Maggie Barkovic and Olympia Diamond presented a case study that outlined the decision-making process that lead to the successful treatment of darkened, dirt-infused water stains on the bare canvas portion of a large-scale acrylic dispersion painting: Composition, 1963, by Justin Knowles.  The authors attributed the treatment’s success to the combination of extensive evaluation of Knowles’ materials and aesthetic aims and the understanding of new, innovative cleaning techniques designed for acrylic dispersion paintings (with the help of Brownyn Ormsby, TATE, and Maureen Cross, Courtauld Institute of Art).  This presentation served an excellent compliment to Jay Kruger’s presentation Color Field Paintings and Sun-Bleaching: An approach for removing stains in unprimed canvas, which discussed the treatment of acrylic solution and oil paintings on bare canvas.

Composition is a privately-owned work that was brought to the Conservation and Technology Department at the Courtauld Institute of Art for treatment in 2013.  The large-format work is a two-dimensional acrylic painting with brightly colored geometric forms juxtaposed against an unpigmented acrylic sized canvas.  The painting had sustained disfiguring water stains along the top and bottom edges which disrupted the aesthetic reading of the image, rendering it unexhibitable.

Context

In the first step of the conservation process, Barkovic and Diamond assessed how the water stain affected the aesthetic interpretation of the painting.  They explored where this painting fit into the artist’s oeuvre: it was part of a series of early, pivotal works where Knowles explored his initial ideas of spatial tension using non-illusionistic geometric compositions that incorporate negative space in the form of unpainted canvas. The authors carried out technical examinations of four other paintings from this early stage in his career, finding that Composition was painted in a comparable manner to his other early works: a fine linen canvas was stretched on a wooden stretcher and then sized with an unpigmented (pEA/MMA) acrylic dispersion coating.  Then, Knowles used pencil and pressure-sensitive tape to demarcate where he would paint the geometric forms with acrylic dispersion paints.  Though he applied a transparent acrylic “size” layer over the linen/negative space, he still considered the visible canvas “raw” and unprimed. Through the examinations and research on Justin Knowles’ personal notes, the authors assessed that the characteristics and color of the linen canvas were equally important to the interpretation of the work as the paint colors.  As such, the canvas should be treated and the water stains removed if at all possible.

Replicas

Second, the authors explained that they needed to identify the components of the water stain (with no prior knowledge of water-staining incident) in order to test cleaning methods.  Replicas were made using linen and the same unpigmented acrylic polymer that Knowles most likely used. The replicas were then stained with dirty water. Using XRF spectroscopy and empirical testing as a guide, a visually accurate and equally tenacious water stain was made with iron, calcium, and organic “dirt” components from aged linen.  The test replicas were aged in a light box for two years to allow the stain to photo-oxidize and bond with the fabric and size layers.

Testing

Third, the authors needed to determine how to treat the water stain with the presence of the unpigmented acrylic dispersion size layer, which swelled in water and was affected using polar solvents. Their goal was to remove the stain or reduce the appearance of the stain to make successful inpainting possible.  The authors looked to successful textile and paper conservation treatments for possible methods.  The initial cleaning and/or retouching tests included the use of solutions with various pH values, conductivities, chelating agents, surfactants, bleach (sodium borohydride), the application of toasted cellulose powder, and pastel retouching.

The authors thoroughly explained the various test groups, but a recapitulation of all of these various solutions is outside of the scope of this blog post.  In general, higher pH values (around 8) and higher conductivity values (above 2.5 uS) allowed for better cleaning efficacy.  Perhaps more notably, the chelating agent DTPA (diethylene triamine pentaacetic acid) greatly outperformed TAC in cleaning efficacy.  This is likely because DPTA is a much stronger chelator that is much more suitable for sequestering iron and calcium (which XRF showed to be present in the stain).  DPTA could be used safely because the acrylic size layer was unpigmented.  Finally, the use of agar (rather than free solution) was found to be useful in the reduction of the stain.  The agar gel allowed for greater control of the solution distribution onto the stain and dirt absorption into the gel.  The most effective cleaning agent, which was eventually used to clean the painting, was made from a higher concentration of agar gel at 5% (w/v), using Boric Acid 0.5% (w/v), DTPA 0.5% (w/v), TEA, at pH 8, 2.4 mS.

Evaluation of Successful Treatment

While a successful treatment methodology was developed through empirical testing, an investigation into the effects on the surface morphology of an unpigmented acrylic dispersion size layer was thought necessary due to the different absorbencies among the test canvases, observed differences in retention times for the agar gel, and concerns about the higher pH required to reduce the stain.  The lack of pigmentation and hard surface features made changes caused by cleaning more difficult to perceive, measure and contextualize, so changes in surface gloss and stain reduction were evaluated with a spectrophotometer and subjective observations by conservators. The impact of the cleaning methodology on the surface of the size layer and canvas fibers were examined with dynamic Atomic Force Microscopy (AFM) and high resolution digital microscopy. A preliminary investigation into possible residues from cleaning was also investigated using FTIR-ATR spectroscopy.

The number of samples for AFM was too small to draw concrete conclusions without more testing and utilizing additional analysis such as FTIR-ATR; however, a general trend was observed that an increase in the gel concentration from 2.5% (w/v) to 5% (w/v) appeared to reduce the time in which fiber flattening occurred.  In addition, FTIR-ATR showed a decrease or complete removal of migrated surfactant from the acrylic size layer surface in all treated samples regardless of the agar concentration in the gel, and along with the swelling of the acrylic layer, was considered by the authors an acceptable risk with this treatment.  IR bands corresponding to agar or the additives  in the cleaning solutions were not detected.

Final Treatment

As mentioned previously, the cleaning agent that was eventually used to clean the painting was made from a higher concentration of agar gel at 5% (w/v), using Boric Acid 0.5% (w/v), DTPA 0.5% (w/v), TEA, at pH 8, 2.4 mS. The agar was hand-cut to perfectly align with the stain patterns on the canvas and weighted with sandbags to increase the gel-canvas contact.  Using this method, stains were greatly reduced.  However, a few, minor discolorations remained after the cleaning.  Further tests were carried out to determine the best inpainting method for these residual discolorations. Dry pigment with Lascaux Jun Funori, Aquazol 50, Aquazol 200,  watercolour and gum arabic and Paraloid B72 were all tested for optical effects, handling properties, and reversibility. The Aquazol 50 series was found to be the most effective overall and was used to inpaint the remaining discolorations.

Conclusion

The authors concluded by restating that the success of the treatment would not have been possible without the combination of art historical and material understanding of Knowles’ work and research into new cleaning methodologies for acrylic dispersion paint films.  They thanked their project advisors Maureen Cross, Courtauld Institute, and Bronwyn Ormsby, Tate, and many others for their generous support and guidance throughout the project.

 

Jobs, Internships & Fellowships Digest: June 9, 2017

  1. Conservator (Head of Conservation) – Federally Funded Position, Cooper Hewitt – DEADLINE EXTENDED
  2. Conservation Officer, Eden District Council
  3. RDS Paintings Conservator Fellowship, National Gallery of Ireland
  4. P/T Conservation Officer, Walsall Council
  5. Principal Conservation Officer, Maidstone Borough Council
  6. Conservation Librarian, Howard-Tilton Memorial Library
  7. Preservation Services Manager, The Center for Jewish History

1. CONSERVATOR (HEAD OF CONSERVATION) – FEDERALLY FUNDED POSITION, Cooper Hewitt (New York, NY, USA).

  • Application deadline: June 12, 2017 – DEADLINE EXTENDED until June 23, 2017

As Head of Conservation, s/he will be responsible for coordinating and supervising the conservation treatment of the entire collection of 210,000 objects.

Major duties:

  1. Supervises operation of the Textile, Paper and Object Conservation Laboratories and other object handling spaces in the Museum’s facilities, as well as oversee any contract conservators who are hired by the Museum.
  2. Performs range of preservation treatments in a variety of media in their area of expertise on objects in the collection, including projects of the most difficult and complex nature.
  3. Performs object treatments and develops, prepares, and supervises the preparation of written proposals for object treatments, including selection of treatments procedures, methods and techniques, and materials to be used.
  4. Performs general supervision of the Conservation department work in progress to ensure that schedules and standards are being met, that appropriate methods and techniques are being used, and reviews completed work and treatment reports for quality and accuracy.

Qualifications requirements: One year of specialized experience (equivalent to grade 11) that includes knowledge of the theories, principles, practices, and techniques of conservation and preservation treatments to oversee and lead a team of conservators responsible for conservation treatment damaged, fragile, or deteriorated museum objects such as works on paper, textiles and/or decorative art objects (be sure to address this within your resume).

The applications that meet the basic qualifications (above) will be evaluated further against the following criteria (be sure to address each of the following within your resume):

  • Knowledge of principles, concepts, and methodologies requisite to lead, train and develop conservators in textile/paper/object conservation treatments, e.g., chemistry, material technology and deterioration, and art historical and technological understanding of artifacts such as works on paper, textiles and/or objects.
  • Knowledge of conservation and collection maintenance techniques and procedures to examine and house damaged, fragile, or deteriorated museum artifacts that include one of the following textiles, works on paper and decorative objects.
  • Ability to perform material testing of contemporary archival materials for use in storage and exhibitions (Oddy test) and to perform material identification through microscopy, XRF, and micro-chemical testing.
  • Ability to work as a senior conservator to oversee all conservation aspects of a museum collection to meet and exceed deadlines for exhibitions.

Exceptional Smithsonian Benefits:

  • 401k with matching funds + federal pension plan
  • Group Life Insurance
  • Voluntary Accidental Death and Dismemberment Insurance
  • Long Term Disability
  • Health Insurance
  • Dental
  • Vision
  • Flexible Spending Accounts
  • Free Transit/Commuter Benefits (up to $3,060 commuter costs paid per year)
  • Annual Leave (13 days) increasing after 3 years (20 days)
  • Sick Leave (13 days)
  • Federal Holidays (10 days)
  • Family Friendly Leave Family Friendly Workplace
  • Telework Policy
  • Historic and landmark offices and garden
  • 92Y Fitness Center
  • Free Entrance to Museums and Galleries
  • Design Library
  • Curatorial Talks and Tours (Cooper Hewitt)
  • Employee Assistance Program
  • Smithsonian Network
  • Tarallucci e Vino Museum Café (employee discount)
  • Cooper Hewitt Museum Shop (employee discount)
  • Admission to NYC museums and galleries (free)
  • General Employee Discounts

How to apply: Resumes cannot be submitted past the deadline.

Please note this is a federally funded position. To be considered for this job, you must set up an account at USAJOBS and apply on line at this website at: https://www.usajobs.gov/GetJob/ViewDetails/469850400#btn-add-info.

Submit a detailed resume addressing all qualification requirements. Unofficial transcript(s) also required.

2. CONSERVATION OFFICER, Eden District Council (Eden District, UK)

  • Closing date for applications: June 16, 2017 at 10:00 a.m.
  • Interviews will take place week commencing on June 26, 2017
  • £25,921 rising to £27,668 (subject to job evaluation)
  • Permanent Contract; 37 hours per week
  • A relocation package of up to £5,125 is available

The Council is seeking a Conservation Officer to advise on and promote the conservation of the historic environment in Eden. The District is a mix of historical urban settlements, and villages located in stunning rural settings. Penrith is the key town in the district and benefits from being just off both the M6 and the West Coast Main Line with connections direct to London, Manchester, Glasgow and Edinburgh. As well as the superb transport links, the district borders the Lake District and Yorkshire Dales National Parks and contains parts of the North Pennines AONB.

This is a new and exciting post which gives a unique opportunity to work closely with the Program Officer and Historic England in delivering the Appleby Heritage Action Zone project over the next 5 years. It also provides the opportunity to advise officers and lead on other conservation projects within the district.

We are looking for an enthusiastic and proactive person who can gather and interpret information to produce complex policy documents and reports. As part of a supportive, hard-working and motivated team you will be able to make effective decisions, build strong working relationships and manage a mixed workload to meet deadlines and achieve set outcomes. You will be nearing completion of or hold a degree in town planning or a related discipline and can demonstrate up to date practical knowledge of listed buildings and conservation areas. There is a requirement to regularly travel independently around the district.

For further details of the post including the job description, person specification, and an application are available online or email human.resources@eden.gov.uk, Tel: +44 (01768) 212210, or apply in writing to Human Resources, Town Hall, Penrith, Cumbria CA11 7QF.

Please note all applications must be made on the Council’s standard application form and CV’s will not be considered. No agencies please.

3. RDS PAINTINGS CONSERVATOR FELLOWSHIP, National Gallery of Ireland (Ireland)

  •  Closing date for receipt of applications: 12:00 hours on June 23, 2017
  • Interviews – scheduled week commencing June 26, 2017
  • Contract duration: Fixed Term Contract for 35 weeks
  • Salary: €600 per week gross
  • Candidates must be eligible to work in Ireland
  • Candidates should note that they must be available to commence employment in the post by July 17, 2017

The National Gallery of Ireland (‘the Gallery’) is Ireland’s major national cultural institution devoted to the collection and care of fine art. Comprising some 16,000 paintings, drawings, watercolors, miniatures, prints, sculpture and decorative arts, the institution’s extensive holdings include masterpieces by many of the most celebrated figures in the history of western European art. In addition, the Gallery houses the most representative collection of historic Irish art. Funded mainly by the State, the Gallery employs more than 100 staff and provides free access to the public 361 days a year.

The Royal Dublin Society (RDS) is a philanthropic organization founded in 1731 which is currently funded through commercial activity and membership subscriptions. Over the past three centuries it has been responsible for the establishment of many national imperatives including the National Botanic Gardens (1795), the Veterinary College (1800), the National Gallery of Ireland (1854), the National College of Art and Design (1877), the National Museum of Ireland (1877), the Natural History Museum (1877), the National Library of Ireland (1877), the Radium Institute (1914) and the Crafts Council of Ireland (1971).

The RDS and the Gallery are offering a Paintings Conservator Fellowship under the supervision of the Head of Conservation in the Gallery. The Paintings Conservator Fellow will undertake conservation treatments, to be carried out at the National Gallery of Ireland Conservation Department, on a number of selected works from the Royal Dublin Society Collection as well as condition check & monitoring of paintings in storage and on display at the RDS. This post will be suited to a graduate of a recognized conservation training program. The RDS Paintings Conservator should have an adept knowledge of treatments on canvas and panel methodology. Reporting to the Gallery’s Head of Conservation, the Paintings Conservator will:

  • Carry out preventive and full-scale conservation treatments on works on canvas
  • Carry out regular inspections on paintings from the RDS collection
  • Advise colleagues on the RDS collection conservation requirements
  • Keep and maintain reports on all treatments undertaken
  • Contribute to the success of the Gallery’s Conservation Department through continuous professional development and participate in departmental meetings
  • Comply with health and safety guidelines
  • Other duties as and when required

The successful candidate will have:

  • A recognized Painting Conservation training program qualification
  • Demonstrate a broad knowledge of and an interest in painting conservation in Ireland and abroad
  • Proven organizational skills coupled with an ability to priorities tasks while working under pressure
  • Strong research and analytical skills with excellent attention to detail
  • An ability to work meet deadlines while maintaining accuracy
  • Knowledge of the RDS paintings collection is advantageous
  • An ability to work on own initiative and as part of a team with appropriate supervision from senior NGI conservators
  • A positive approach to working in the Gallery and an enthusiasm to contribute to raising awareness about the preservation and conservation activities of the department

Note: This Fellowship description is a guide to broad areas of development and should not be regarded as a comprehensive listing. The RDS Paintings Conservator Fellowship developmental opportunities may be subject to review in the view of new structures and / or the changing needs of the Gallery and/or the RDS. All employees, including interns, are required to be compliant with NGI screening, security and Garda Vetting procedures.

How to apply: Interested applicants should send a cover letter and curriculum vitae (in MS Word only) in strictest confidence to Ms. Michelle Serviss, HR Partner, Merrion Square West, Dublin 2 or alternatively via email to jobopportunities@ngi.ie. References (contact details) must be available upon request. Please state Paintings Conservator Fellowship on the application.

Candidates will be required to compile and discuss a portfolio of research, treatments and sample reports from previous projects at interview.

The National Gallery of Ireland is an equal opportunities employer.

4. P/T CONSERVATION OFFICER, Walsall Council (Walsall Borough, UK)

  • Application deadline: June 25, 2017
  • Short listing: June 27, 2017
  • Interviews: w/c July 17, 2017
  • Job Ref: WALS000003118
  • Ref: EE01217
  • Salary: G8 £28,203 – £32,164 pro rota 18.5 hours

Walsall Council’s Corporate Plan recognizes ‘Inclusive Economic Growth’ as one of its core priorities. Indeed, the economy matters across all outcomes for the Council and its partners.  Together with this commitment, we have the drive and ambition to make the most of all local, regional and national opportunities and ensure delivery. We enjoy fantastic working relationships with our Black Country LEP partners and the newly formed West Midlands Combined Authority and have a reputation as a place that gets things done.

The Regeneration and Development Service has recently embarked on redesign our structure and this has created some new and exciting opportunities. So we are seeking key officers to join that effort, roll up their sleeves and get stuck in. If that sounds like you, we look forward to hearing from you.

We are seeking to appoint a built conservation and heritage expert to take a leading role in ensuring development within Walsall meets the highest standard and contributes to conservation of our historic environment. You will take a lead in building conservation matters in providing advice to Development Management, to developers, and others in respect of planning applications and proposals.  As part of the Planning Policy function, you will provide important advice and guidance in the preparation of development plan documents and in the application of policy and legislation.

Working in an urban environment and in a borough with a strong industrial heritage, you will provide a pragmatic approach to supporting Walsall’s regeneration and development plans. You should possess excellent analytical abilities and be able to demonstrate good communication skills.

For any queries or questions about the role, please contact: Jo Nugent, Place Development Manager (Asset Management, Development and Planning Policy) at development@walsall.gov.uk, Tel: +44 01922 654752, +44 07538937167.

This post is covered by the Government’s Code of Practice on the English Language Fluency Duty for public sector workers.

Information for applicants: Applications are invited using our online application form only. If you have a disability and require information on submitting an application in another format then please contact us via email: recruitment@walsall.gov.uk.

All correspondence will be via email, therefore candidates should check their email and WMJobs account on a regular basis after submitting an application.

This vacancy may be closed earlier than the published closing date should we receive a large number of applications. Therefore, it is strongly advised that candidates submit applications at the earliest opportunity.

Supporting documents: Job Description & Employee Specification.

5. PRINCIPAL CONSERVATION OFFICER, Maidstone Borough Council (Maidstone, UK)

  • Closing date: June 28, 2017
  • Interview Date: TBC
  • £34,845 – £37,799
  • Full time, permanent contract
  • Section: Development Management

 Maidstone is situated in the heart of Kent and is the county town. The urban area has a strong commercial and retail base with good transport links and is set in a generally rural area, which includes the Kent Downs and the Kent Low Weald AONBs. The borough is fortunate to benefit from a diverse and valued heritage with 41 conservation areas, over 2000 listed buildings, 28 scheduled monuments and 15 historic parks and gardens.

This is an exciting opportunity for an enthusiastic and motivated Conservation Officer to join the Heritage, Landscape and Design team, a small but busy multi-disciplinary team dealing with conservation of the built environment, landscape and trees and promoting high quality design.

Your varied workload will include advising on the impact of development proposals on listed buildings and conservation areas, dealing with your own case load of listed building applications, providing design guidance for development schemes and giving advice on repair and maintenance of listed buildings. You will also be responsible for the production of a range of conservation area studies, and contribute to local planning policy and specific projects.

Ideally you will have a degree or diploma in Town Planning or a related discipline and professional membership such as RTPI, IHBC or RIBA, with experience of specialist work in the historic environment. Local authority and urban design experience would be an advantage. You will also need good communication skills and the ability to prepare and present expert evidence at Committee meetings, Court hearings and public inquiries.

A full driving license is essential. The Council considers that all roles should be able to communicate clearly and concisely. Maidstone Borough Council is committed to safeguarding and promoting the welfare of children and vulnerable adults, and expects all employee and volunteers to share this commitment.

This is a full time position on a permanent contract.

For further information or to discuss this opportunity in more detail, please contact Deanne Cunningham, Team Leader (Heritage, Landscape & Design) on +44 01622 602721.

Council Benefits: career average pension scheme, professional fee payment, flexible working (including opportunities for home working and job share), employee benefits package and generous leave entitlement.

All interested must apply online for the position, and complete the online application form or by phone on +44 01622 602555.

6. CONSERVATION LIBRARIAN, Howard-Tilton Memorial Library (New Orleans, LA, USA)

  • Posting No. IRC11747
  • This posting will remain open until filled

Reporting to the Director, Technical Services Division, the Conservation Librarian is responsible for collaborating with various librarians and staff to identify, assess and inventory the conservation needs of library materials and to ensure their appropriate treatment. They identify conservation priorities, develop plans, estimate necessary resources, and manage a workflow that appropriately leads to conservation or withdrawal of materials based on condition and other criteria. The Librarian identifies and works with outside conservation vendors to provide appropriate treatments to at‐risk materials, negotiates costs and timelines, ensures proper handling, and monitors vendor performance. Supervises staff assigned to stacks management and binding. Trains staff in basic in‐house repair. Performs some intermediate conservation of materials. Performs environmental monitoring and assessment for all buildings housing library collections. Actively pursues and administers grant proposals for conservation or preservation matters. Trains staff in recovery methods for damaged materials. Serves as a resource for conservation and preservation questions. Plays a leading role on the library’s emergency recovery team. Monitors and orders disaster and conservation supplies and equipment. Actively participates in professional and scholarly associations to acquire new knowledge, update skills, and keep abreast of emerging trends and issues in preservation and conservation.

Required knowledge, skills, abilities/competencies typically needed to perform this job successfully:

  • Experience working in a research library, special collections or archives environment
  • Demonstrated formal training and experience in book and paper conservation techniques
  • Knowledge of book and paper preservation, standards, ethics, and current trends in the field
  • Knowledge of conservation principles, techniques, and procedures as relating to a wide variety of materials
  • Experience with staff supervision and project management
  • Grant application experience and grant oversight experience
  • Strong leadership, organization, problem solving and analytic skills
  • Ability to work independently and with others
  • Experience developing, designing and/or carrying out condition surveys and conservation needs assessments
  • Ability to meet Level I Core Competencies as defined here:  http://library.tulane.edu/sites/library.tulane.edu/files/documents/core_technology_competencies.pdf

 Minimum qualifications:

Minimum Education: ALA‐accredited master’s degree in library and information science with an emphasis in preservation or conservation and 3‐5 years’ experience working in a research or academic library;

OR

An advanced degree in conservation or materials science and 3‐5 years’ experience working in a research or academic library in preservation/conservation.

To read more information about this position and to apply, click here.

To ensure full consideration, applicants must submit a letter of application, resume, and the names with full contact information of at least three professional references. Review of applications will begin immediately and continue until a suitable candidate is selected.

Tulane is an EOE/M/F/Vet/Disabled employer.

7. PRESERVATION SERVICES MANAGER, The Center for Jewish History (New York, NY, USA)

 The Center for Jewish History (NYC | cjh.org) is home to five in-house partners—American Jewish Historical Society, American Sephardi Federation, Leo Baeck Institute, Yeshiva University Museum, and YIVO Institute for Jewish Research.  When the Center opened its doors sixteen years ago, it made a commitment to preserve the collections housed within its walls and make them accessible to scholars, students, and diverse audiences by implementing a unique, shared services model across all five partners.

In keeping with this mission, the Center for Jewish History seeks a Preservation Services Manager to join a dynamic team of colleagues dedicated to preserving and providing access to the collections. These collections total more than 30,000 linear feet of archival materials, 500,000 volumes, and thousands of artworks and artifacts.

The Preservation Services Manager will report to the Senior Manager for Collection Services and manage all activities in the Preservation Services department which offers conservation treatment and re-housing of archival, library and photographic materials, exhibition consultation, and preventive conservation services for the partners’ collections.

Responsibilities:

  • Plan and manage workflows through the conservation lab and determine priorities for conservation treatment, re-housing, exhibitions, and preventive conservation.
  • Develop, maintain, and implement procedures and training manuals; evaluate processes and outputs, ensuring that treatment standards are met and implement modifications to improve quality and effectiveness; and train and supervise lab staff, volunteers and interns.
  • Collaborate with the Archival Services Manager and Digital Services Manager around joint processing, digitization, and conservation projects.
  • Direct and carry out environmental monitoring and preventive conservation activities.
  • Direct condition surveys on both item and collection level as appropriate, devising and implementing short and long-term preservation strategies based on assessment.
  • Advise on exhibition and loan of collection material to ensure its safety and care, including condition reporting, packaging for transport, security, length of display, mounting, lighting and environmental conditions.
  • Provide emergency preparedness and disaster recovery leadership.
  • Examine, document, and conduct complex conservation treatment of a wide range of paper-based archival, library and photographic material.
  • Follow best practices and standards for treatments, and keep current about the latest conservation techniques and practices through research and training.
  • Build and track budgets, maintain department statistics, prepare reports, and maintain treatment records.
  • Assist in identifying grant opportunities and in the preparation of grant applications and funding proposals for collection-related needs.
  • Support staff, patron, and community engagement through outreach activities, including workshops, seminars, and other training for Center and/or external audiences, and social media.

Required Qualifications:

  • Master’s degree from a recognized conservation training program with a specialization in paper or book conservation.
  • Minimum three years’ experience conserving library, archive and museum materials with a focus on paper-based materials.
  • Experience and interest in preventive conservation and collections care.
  • Experience supervising and managing collaborative teams.
  • Experience managing projects from planning to completion.
  • Knowledge of preservation theory and standards of conservation practice.
  • Excellent communication and writing skills.
  • Ability to work independently and as part of a team.
  • Ability to work with diverse constituencies, including collection managers, archivists, librarians, Building Operations staff, and administration.

Preferred qualifications:

  • Experience with budget development and tracking budgets and expenditures.

The Center for Jewish History is committed to diversity and inclusion. Qualified individuals who bring diverse perspectives to the workplace are especially encouraged to apply.

Review of applications will begin immediately. Applications will be accepted until the position is filled. Send cover letter and resume to Rachel Miller, Director of Archive and Library Services, at rcmiller@cjh.org. Candidates invited for an interview will be required to provide in advance a conservation portfolio of projects and treatments.  No phone calls, please.

For more details, visit: www.cjh.org/about/employment-opportunities.

45th Annual Meeting, Objects, “The Treatment of Two Terracotta Architectural Reliefs by Andrea della Robbia at the Metropolitan Museum of Art,” presented by Carolyn Riccardelli

This is a joint paper by two objects conservators at the Metropolitan Museum of Art, Carolyn Riccardelli and Wendy Walker. Along with many others at this conference, the topic of this paper concerns treatment and installation considerations of Renaissance-period glazed terracotta from the della Robbia workshop. This paper discusses two masterpieces by Andrea della Robbia (1435-1523), both pretty dramatic in their scope of treatment.

The first, a lunette of Saint Michael the Archangel, starts with a tragedy. In 2008, it came crashing to the floor from over a doorway in the 15th Century galleries where it had hung on display at the Met since 1996. If you search online, you can find articles about that event, but I will not link to any of them here. What I will link to, however, is the press release from April of last year, announcing that the lunette is restored and back on view.

Riccardelli presents the treatment that took place over eight years, a massive undertaking mainly overseen by Walker. She describes how it offered the conservators a rare peak into the working methods of della Robbia. For example, they could see in a more intimate way exactly how the clay used to mold the lunette was wedged (not very well at all), which tells us that the makers must have understood their clay so well to know this step wasn’t necessary. They also found evidence of tool marks and fingermarks – yes, even fingerprints! – from pressing the clay into the molds. The paper outlines the treatment of this work, which includes the use of the “Tulio blend” (3:1 B-72/B-48N in acetone with 6% ethanol) as the main adhesive, and a mount that incorporates brass clips to hold the panels to an aluminum backing panel. We are all left with beautiful after-treatment images of the lunette and a happy ending to the story.

The second della Robbia piece presented, a massive tondo of Prudence, starts with an exhibition announcement at the Museum of Fine Arts, Boston, Della Robbia:  Sculpting with Color in Renaissance Florence. Along with pieces from Italy never seen in the United States before, as well as loans from the Brooklyn Museum and the Los Angeles County Museum of Art, the Met’s Prudence was featured.

Riccardelli presents the conservation efforts to get Prudence ready for loan and exhibition, having one year to do it. The piece consists of 16 molded and modeled sections – a central tondo surrounded by a colorful garland – and nearly every piece had old restorations that needed to be addressed. This included an unstable mount. Their paper outlines the treatment steps taken, including cleaning and restoration removal (steam, solvent, mechanical), and a well-engineered mounting system that employs carbon fiber clips and straps, and a honeycomb aluminum backing panel. (More details about the use of carbon fiber clips in this treatment are presented in Riccardelli’s other paper during this conference, “Carbon Fiber Fabric and its Potential for Use in Objects Conservation.”)

It was during the cleaning phases that the conservators again made an exciting discovery, uncovering original markings and finger impressions that clearly indicate the proper order of the garland border pieces. More than this, the pre-treatment arrangement of the garland was incorrect! Their paper shows the dramatic shift from the previous arrangement to the corrected one, totally altering the feel of the piece and giving one the satisfaction of being able to return something home to its rightful place.

45th Annual Meeting – Electronic Media Session, June 1st “The David Wojnarowicz Knowledge Base: A Wiki-based Solution for Conservation and Exhibition Documentation” by Glenn Wharton and Denna Engel

The initiative

Glenn Wharton, Clinical Associate Professor in Museum Studies at New York University, started the talk by the initial following challenge: how to organize and access the data created by time based media conservators during the treatment process of a contemporary artwork? Based on the MediaWiki platform, this project ended up dealing with larger issues met in time-based media conservation.

Conservation Documentation

Conservators create a lot of documentation, in various formats (notes, videos, drawings, etc.) and one problem is how to organize this information and make it available within an institution. Also, as Wharton mentioned, at the New York University, teachers tend to help and encourage students to work and experiment with different programs.

The David Wojnarowicz Knowledge Base

Wharton followed by introducing David Wojnarowicz, an artist and activist who died of AIDS in 1992, who produced, among other materials, paintings, drawings, and videos. His archives left at NYU were the primary sources of information – a page of his journal was shown as an example. In order to complete these precious resources, the students interviewed several persons who worked with the artist, and a computer scientist did technical research on the tools he would have used.

As Wojnarowicz is getting more and more attention internationally today, people worry about how to preserve and exhibit his work. In that regard, the idea was to gather more information available for researchers, curators and conservators. One challenge was to document his “Magic Bow”, found under his bed and containing objects related to several of his artworks. The question here was how to report the very complex relationship between those elements and the actual artwork pieces using a searchable database.

The project goals and system requirements

Deena Engel, Clinical Professor in the Department of Computer Science at the Courant Institute of Mathematical Sciences of New York University, presented the goals to be reached by the future database. The idea was, along with conservator students, to think through the approach of the software development, in particular, how to capture the complex relationships between the different elements, with an easy to use interface, and a long term preservation of the data.

In order to select a suitable software, they established the requirements for the future database as follow:

  • Be a support for a directed graph model;
  • Support user authentication;
  • Be an open source software:
  • Require only standard maintenance;
  • Support extensive discoverability for all;
  • Have a clear navigation;
  • Support controlled vocabularies.

In the lab: Software testing

The students used the data collected early to test different softwares – such as Omeka, Drupal, Plone, Collection Space and WordPress. After a lot of searches, they chose the MediaWiki, an open-source software with a strong user community, easy to use and configure, which supports text, image, audio and video medias, allowing for example to publish conservation reports and audio interviews, and filled their technical needs – In particular, they wanted the pages to be available on all types of supports (phones, tablets, etc.).

Discoverability

The content was organized in categories and subcategories; for example the category “Works on Paper” was subdivided in “Drawings”, “Prints”, “Stencils” and “Xeroxes”. The different pages related to each other are connected via hyperlinks; furthermore, the “what links here?” part allows to reach the pages that lead to the current page.

Launching of the database

A Beta Test Session was organized with the NYU students, conservators and archivists, were questions were asked, in particular about the user interface, the user experience and the scholarly goals that had to be reached.

On April 21, 2017, a Symposium about David Wojnariwicz’s work was organized at the Fales Library & Special Collections, New York University, were the database was presented and launched.

Though, the project is not over! This is an ongoing research, and anyone can contribute by sending pieces of information to: fales.wojnarowicz@nyu.edu.

For the future, the scholars at New York University are interested in working with museum professionals on similar projects, using MediaWiki again or other software – Deena Engel mentioned that she would prefer to experiment with other tools.

This presentation allowed to appreciate the common effort made by scholars, archivists and art historians, as well as computer scientists and curators, in order to make available qualitative information about a contemporary artist’s complex work, in an accessible and intelligent form. Glenn Wharton added that university was a great place for that kind of research, because of the possibility to get research grants, the available time and the deep interest and motivation of the students.

 

The David Wojnarowicz Knowledge Base: http://cs.nyu.edu/ArtistArchives/KnowledgeBase/index.php/Main_Page

Presentation of the Artist Archives project: http://nyuhumanities.org/the-artist-archives-project/

The Artist Archive Initiative: http://cs.nyu.edu/ArtistArchives/Initiative/

 

AIC’s 45th Annual Meeting – Book & Paper + Research & Technical Studies group talks, May 31, 2017 – “Centuries of Cellulose: Lessons Learned from the Molecular Size of Cellulose in Naturally-Aged Paper Collections” by Dr. Andrew Davis

 

Andrew began his talk by very graciously acknowledging that many other people have contributed data that informed his paper. Andrew’s work is based on research began by William Barrow, a paper chemist at the Library of Congress until the 1960’s. Barrow’s research on books tried to draw a connection between physical properties and chemical content. He had collected about 1000 books published between 1500 and the 19th century, and he took various measurements such as fold endurance, pH, alum content, etc. He tried to draw connections between those sets of data to predict the ageing characteristics of the paper. This collection was obtained by LoC in the 1970s, and are still used for destructive testing today. But where Barrow used macro and micro scale measurements, Andrew looks to the middle ground: polymer chemistry. For that, he uses size exclusion chromatography, or SEC.

SEC measures the degree of polymerization of cellulose using a roughly 1mm squared sample size. (It may be helpful to think of degree of polymerization as the molecular weight.) The degree of polymerization of a sample can be compared to known references. It should also be noted that papers have a mixture of molecules of different sizes, and SEC provides a distribution curve. The more large molecules in a sample, the less degraded the cellulose, meaning that the paper is in better condition. Andrew discussed several examples of treatments of iron gall ink on paper where SEC was used to show the effects of those treatments on the papers.

Barrow’s research indicated that pH was the best indication of the future physical properties of paper. Andrew took about 80 samples from Barrow’s collection and confirmed that the molecular weights of paper correlate with pH (when the pH drops, the molecular weight drops). Andrew then looked to see if the molecular weight corresponded to physical properties; with newer papers, the molecular weight does tend to be smaller. Poor tear resistance also corresponds to low molecular weight. In general, he found that the molecular weight determined by SEC is a better indicator than pH for future physical properties for both newer and older books.

SEC certainly has advantages. The sample size is ridiculously small. Tells you about the physical building blocks of the paper, giving a better idea of what’s in it and what state the cellulose is in. There are some disadvantages to overcome before this technique is in every lab. The test itself takes a week to do. It requires extremely expensive equipment and organic solvents, and one must have the technical knowledge to interpret the data. Andrew’s ultimate goal is to turn this into a rapid technique that’s affordable, so that the molecular weight distributions of an object can be included in an object’s record and be pulled up by a barcode. That’s an exciting prospect!

Andrew’s work presents a very interesting analytical option that future conservators might have access to. It would be nice to have a predicting model for the degradation of library objects. But it would be even more interesting to see the effects of treatment on paper. It is important that conservators continue to check our own work, and I’m glad to have assistance with that from scientists like Andrew.

AIC’s 45th Annual Meeting – Book & Paper + Research & Technical Studies group talks, May 31, 2017 – “Revisiting paper pH determination: 40 years of evolving practice in the Library of Congress Preservation Research and Testing Laboratory” by Cindy Connelly Ryan

Cindy’s talk was a mightily condensed summary a few of the techniques for measuring the pH of paper that the Preservation Research and Testing Division (PRTD) at the Library of Congress has investigated over the last 4 decades. Her introduction was a summary of the challenges presented by this task. Due to the chemical structure of cellulose and the nature of paper, most methods can only approximate the pH of paper. The method of sample preparation can impact the results of measuring. How paper ages means that there may be a different pH in different regions. The ions that dictate the pH may not be soluble in water, making measuring pH harder. And atmospheric carbon dioxide can react with your solution and affect your results. Notice that I said “solution.” Cindy ended her introduction by noting that you can’t measure the pH of a solid. But you can approximate it, and the PRTD has been trying to identify the best way to do this for decades.

The PRTD’s focus on the pH of paper began in 1971 with the deacidification program. Chemist George B. Kelly used titrated alkalinity and titrated acidity as an “external yardstick”, and four different extraction methods: TAPPI cold method, TAPPI hot method, surface pH measurement, and “pulped” pH method. Kelly determined that for acidic papers, the method of measuring pH didn’t matter much, but the alkaline papers had an acidic pH despite their 1% alkaline reserve. The hot extraction method was shown to be much more accurate with alkaline papers, as it was likely better at getting all the ions into solution. The pulp method came close. Cindy then went on to talk about the uncertain origins of the pulp method (i.e. it’s not discussed in any published literature, but is mentioned frequently in internal documents from the PRTD). (I do wish that Cindy had gone into detail about the process of each method of extraction, because I wasn’t too sure about how each process worked. She doesn’t mention pH strips, gels, or pH meters at all in this talk. And TAPPI stands for the Technical Association of the Pulp and Paper Industry.)

Then Cindy skipped to the late 1990’s (she does mention that a few papers had been published in the decades between). By this time, the PRTD ramps up its documentation efforts, as well as its protocols for sample collection and homogenization. Most of these protocols were put on their website. During the renovation of the instrumental suite in 2007, the lab’s emphasis shifted to developing non-destructive and micro-invasive techniques, which were more appropriate for art objects rather than circulating collections materials. This meant that the sampling methods had to adjust accordingly.

To address the new challenge of micro samples (or none at all), the PRTD tried to make surface pH measurement work, but found that tideline formation and sensitive media made that difficult. “Miniaturization” was another method the PRTD tried. For this technique, sample size can be a few milligrams to a few micrograms, depending on the paper to water ratio and other details of sample preparation. They found that slurrying helps, but filtration makes no difference in pH measurement.  In addition, controlling the amount of carbon dioxide was key to getting an accurate reading with acidic papers. Both purged bags and sealed vials were tried, with comparable standard deviations but slightly different pH readings. The pH readings from the micro methods agreed fairly well with macro methods.

One of the best takeaways from Cindy’s talk was when she shared that during their renovation, the PRTD was sending out samples to a contractor for pH measurement, and papers that had an alkaline reserve were coming back with an acidic pH. Their conclusion was that not every method is appropriate for every type of paper, and that sample preparation can also affect results.

Here were some tips about each of the methods, taken from Cindy’s recap slide: The Hot Method is closest to objective measurement, but takes two hours per sample. The Pulped/Blender method generally agrees with the hot method, but is faster. The ISO cold method has a much higher standard deviation than the TAPPI cold method. Thea Surface pH method has the highest standard deviation of any method tested, and is difficult with alkaline papers, thick boards, and boards with adhesives. This method also causes tidelines. And the Mini Method is also difficult with thick boards, but the results comparable in repeatability to large scale extraction methods.

So, what does it take to accurately measure the pH of a piece of paper? A focus on repeatability and an optimistic attitude! The scientists and preservation specialists at the PRTD struggle with many of the same challenges that the rest of us do, albeit with fancier equipment. It sounds like just getting a ballpark figure for pH is as close as we can hope for for now. The PRTD is still investigating methods, and we should all look forward to their results!

Finally, one cool tip: You can make your own micro blender with a homemade Mylar blade attached to a Dremel tool!