--- Begin Message ---
Conservation DistList
Instance: 20:16
Wednesday, September 27, 2006
Today's Subjects
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Wikipedia and conservation
Adhesive for ceramics
Consolidant for sandstone (2 msgs)
Call for papers--ICOM-CC Interim meeting on
glass and ceramics
Rundbrief Fotografie
LIBER
Symposium on Florence flood--addendum
Course on glass and ceramics
Courses at West Dean College
Workshop on pre-Columbian textiles
Board shears for sale
Position at National Library of Norway
Positions at Amorium Excavation Project
Position at Page Conservation, Inc.
Position at Citywide Monuments Conservation
Program, New York
Today's Queries
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Patina
Storing parachute
Beva film
Pharmaceuticals
Storage facilities
Dataloggers (2 msgs)
Today's Messages:
Date: 22 Sep 2006
From: Richard McCoy <rmccoy [at] ima__museum>
Subject: Wikipedia and conservation
Here's a call to amateur and professional historians and soon to be
wikipedians: have a look at the Wikipedia entrance for Art
Conservation and Restoration and expand upon it and improve it.
<URL:http://en.wikipedia.org/wiki/Art_conservation_and_restoration>
(All you have to do is create an account and get started.)
Try it once, and get addicted.
Wikily,
Richard McCoy
------------------------------
Date: 25 Sep 2006
From: Stephen Koob <koobsp [at] cmog__org>
Subject: Adhesive for ceramics
Amanda Severne <amandaseverne [at] btopenworld__com> writes
>I have heard of an adhesive used in ceramic conservation whereby the
>object is first taped into position and the adhesive applied to the
>taped fracture. It then migrates into the fracture, allowing near
>perfect contact of the broken pieces. I believe this is being used
>for the reconstruction of the FitzWilliam vases in Cambridge. Can
>anyone tell me what this adhesive is, and where I could obtain it,
>bearing in mind that this posting comes from the U.K.? ...
Assembly by injecting an adhesive into a join, also known as
injection by capillary action, or "wicking in", can be done using a
variety of adhesives. The most common application is with an epoxy
resin. However, Acryloid B-72 also works well if the adhesive
mixture is modified using a slow evaporating solvent.
This technique requires careful planning and assembly of all
fragments prior to the adhesive being applied. Some conservators
prefer using small "bridges" or clamps across the joins, rather than
tape, as the adhesive usually creeps under the tape, and makes
clean-up much more difficult and complicated.
This technique is only recommended for high-fired ceramics or glass.
It does not work well with low-fired earthenwares, or soft-paste
ceramics, and also results in the adhesive migrating into the porous
and permeable body, causing darkening and staining. If an epoxy is
used, the staining will be irreversible.
Another problem with this technique is the fact that it only works
well when the ceramic or glass is of a limited thickness. In my
experience, the adhesive will not be drawn in evenly or completely
into a join over 1/4 inch (5-6 mm) thick.
Stephen Koob
Conservator
The Corning Museum of Glass
One Museum Way
Corning, NY 14830
607-974-8228
Fax: 607-974-8470
------------------------------
Date: 24 Sep 2006
From: Lorraine Schnabel <rainyroon [at] verizon__net>
Subject: Consolidant for sandstone
Dara Zitzmann <d_zitzmann [at] yahoo__com> writes
>We will be working on a sandstone monument that has severely
>deteriorated. We need to consolidate the stone, however as it is
>located in Washington DC, we cannot use Prosoco's Conservare OH.
>Does anyone on the DistList have suggestions for an acceptable
>sandstone consolidant that can be used in the District?
ProSoCo has put on the market an alternative to the OH specifically
designed for use in the states affected by the OTC VOC regulations.
It does not have a track record yet. I would tend to avoid the
alkali silicates that are available (Conproco's Start comes to
mind), simply because they have an historically poor track record,
as they tend to be deposited at the surface, thereby creating a
crust. Some VOC compliant water repellents are siloxane-silane
blends that might tend to have some consolidating effect, but I
would certainly discuss this with a manufacturer.
Lorraine Schnabel
Architectural Conservator
------------------------------
Date: 25 Sep 2006
From: Mark Vine <vpackthread [at] aol__com>
Subject: Consolidant for sandstone
Dara Zitzmann <d_zitzmann [at] yahoo__com> writes
>We will be working on a sandstone monument that has severely
>deteriorated. We need to consolidate the stone, however as it is
>located in Washington DC, we cannot use Prosoco's Conservare OH.
>Does anyone on the DistList have suggestions for an acceptable
>sandstone consolidant that can be used in the District?
Primal B60A (also known as Rhoplex B60A) has been used for this
purpose.
An ethyl acrylate methyl methacrylate, Primal B60A is an acrylic
emulsion polymer used for the consolidation of old masonry, plater
and mortar and crumbling sandstone.
Primal B60A has excellent stability to salts and a good tolerance to
organic solvents. B60A is usually diluted in water at a ratio of 1
part B60A to 1 part water with improved penetration achieved from
increasing the ratio to 1 part B60A to 2 parts water.
Where a protective coating is required a second coating can be
administered.
Full technical information including guidance on coverage is
available from our plants in Springfield, Virginia, America and
Cowley, Oxford, England.
Mark Vine
Conservation Resources (UK) Ltd
England
------------------------------
Date: 16 Sep 2006
From: Lisa Pilosi <lisa.pilosi [at] metmuseum__org>
Subject: Call for papers--ICOM-CC Interim meeting on glass and ceramics
Call for papers
ICOM-CC working group Glass and Ceramics interim meeting
Nova Gorica, Slovenia
27-30 August 2007
The interim meeting of the ICOM-CC working group Glass and Ceramics,
will take place from 27-30 August 2007 in Nova Gorica, Slovenia. The
meeting is timed to follow the triennial meeting of ICOM in Vienna
20-24 August 2007, <URL:http://www.icom.museum> in order to give
participants the opportunity to attend both events.
The Glass and Ceramics interim meeting provides a forum to share
information about the latest developments in glass and ceramics
conservation. Presentations on all aspects of this topic will be
considered. Some areas of particular interest to the working group
include: new treatments, glass deterioration, conservation of
archaeological ceramics in a museum environment, and training.
Further, the working group has initiated a joint action with the
Metals working group regarding enamels on metal and presentations on
this theme are also encouraged.
In addition to oral and poster presentations, the meeting will
include visits to museum collections in Nova Gorica and Ljubljana,
an excursion to forest glassworks and museum collections in Eastern
Slovenia, as well as a full social program. An optional one day
visit to glass factories in Murano will be offered.
Details about the program, registration and accommodation will
follow.
Proposals for presentations should include the author(s)'s name,
affiliation, mailing address, email address, a short summary
(maximum 500 words) of the proposed presentation, and an indication
of whether the proposal would be presented orally (15-20 minutes) or
as a poster. Proposals should be sent to Lisa Pilosi
<lisa.pilosi [at] metmuseum__org> no later than 20 October 2006. Authors
will be notified in early December. Full texts will be due in May
2007 and preprints will be distributed at the conference.
Lisa Pilosi
Sherman Fairchild Center for Objects Conservation
The Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028
USA
212-396-5379
212-570-3859
------------------------------
Date: 19 Sep 2006
From: Wolfgang Jaworek <w.jaworek [at] fototext__s__shuttle__de>
Subject: Rundbrief Fotografie
The September issue of Rundbrief Fotografie-Analogue and Digital
Image Media in Archives and Collections"can now be found at
<URL:http://www.foto.unibas.ch/~rundbrief/nf51.htm>.
The articles of the main articles--in German with English
abstracts--are:
Matthias Harder
1 + 1 Bild (einer Bildgeschichte von Helmut Newton)
Bert Jacek
Formaldehyd - der giftige Retter: Zum Einsatz als Desinfektions-
und Hartungsmittel (Formaldhyde-The Toxic Rescuer: Its
Application as Disinfection and Hardening Agent)
Bernd Weise
Kamera- und Fototechnik im journalistischen Gebrauch - Teil IV:
Zweiter Weltkrieg (The Technology of Cameras and Photography in
Journalistic Applications: World War II (Part IV))
Frank Hartmann
Produzieren und Prozessieren von Bildern - Eine
medienphilosophische Reflexion (Producing and Processing
Pictures: A Philosophical Contemplation on Media)
Friederike Kaiser
Bergfotos im Netz - Der Aufbau einer landerubergreifenden
Internetdatenbank (Alpine Photographs on the Internet: The
Development of a Trans-national Internet Database)
Martha Caspers
Wem gehoren die Bilder? - Rechtsfragen zur digitalen Fotografie
(Who Owns the Images? Legal Questions in Digital Photography)
Hanns-Peter Frentz
Wunschtraum und Wirklichkeit - Eine Replik auf den Beitrag von
Holger Simon (Dream and Reality: A Response to Holger Simon's
Article)
Information and orders:
FotoText Publishing House
Wolfgang Jaworek
Liststr. 7 /B
70180 Stuttgart
Germany
Fax: +49 711 609024
ISSN 1563-2628
------------------------------
Date: 20 Sep 2006
From: Alison Walker <alison.walker [at] bl__uk>
Subject: LIBER
LIBER Think Tank on the future value of the book as artefact and the
future value of digital documentary heritage.
National Library of Sweden, Stockholm
24-25 May 2007
The future of the book is in question. The future of the digital
cultural heritage is under debate. The role of the printed text as
the physical carrier of information and human thought is being
challenged by digital technology. Concepts such as value and
authenticity are traditionally based on physical objects and
collections. Has the artefactual value increased or decreased with
digital developments? The value and authenticity of virtual
information carriers are increasingly being discussed. Has the
critical mass of "born digital" and digitised material created a new
digital cultural documentary heritage?
These questions are bubbling up from a variety of disciplines,
ranging from Collection Development, Collection Care and
e-Strategists within the library and archive world; to cultural
historians, textual critics, philosophers and authors.
The aim of this two day Think Tank is to examine and discuss whether
it is possible to arrive at a common understanding of these concepts
regardless of whether the format is physical or virtual.
A panel of international speakers from across the cultural heritage
and literary worlds is being posed with these questions. The
intention is to hold a broad, inter-disciplinary, participatory
debate, with an audience drawn from the academic sector, libraries,
archives and those concerned with managing the future cultural
documentary heritage.
The meeting is being organized by the LIBER Preservation Division
and Collection Development Division. It will be held at the National
Library of Sweden in Stockholm on May 24-25, 2007. The proceedings
and discussion will be published by the National Library of Sweden.
The language of the meeting is English.
A second announcement with application details will be ready later
in the autumn. To input further ideas during the initial stage,
please contact Lars Bjork by 30 October 2006.
Organisers
Lars Bjork
LIBER Preservation Division member
Head of Preservation
National Library of Sweden
lars.bjork [at] kb__se
Helen Shenton
Chair; LIBER Preservation Division
Head of Collection Care
British Library
helen.shenton [at] bl__uk
Trix Bakker
Chair; LIBER Collection Development Division
Director, Humanities Library, Vrije Universiteit Amsterdam
t.bakker [at] ubvu__vu__nl
LIBER is the Ligue des Bibliotheques Europeennes de Recherche
University
Head
Alison Walker
National Preservation Office
British Library
96 Euston Road
London NW1 2DB
+44 20 7412 7798
Fax: +44 20 7412 7796
------------------------------
Date: 22 Sep 2006
From: Rebecca A. Rushfield <wittert [at] juno__com>
Subject: Symposium on Florence flood--addendum
The website for the symposium "Conservation Legacies of l'Alluvione:
A symposium commemorating the 40th anniversary of the Florence
Flood" organized by the New York University Institute of Fine Arts
Conservation Center and the Villa la Pietra, New York University in
cooperation with the Opificio delle Pietre Dure is up. For the
program, photos, a registration form, and more, see
<URL:http://www.nyu.edu/
gsas/dept/fineart/ifa/Florence/florence.htm>
**** Moderator's comments: The above URL has been wrapped for
email. There should be no newline.
------------------------------
Date: 21 Sep 2006
From: James Black <info [at] archetype__co__uk>
Subject: Course on glass and ceramics
IAP Glass and Ceramic Conservation Courses in the USA
April 2007
Since the October 2006 course on the Conservation of Glass at the
Corning Museum is full, Steve Koob has agreed to run the course
again at Sydonie Estate House, Zellwood, Florida 23-27 April 2007.
This course will be preceded the week before by a new IAP course on
the Conservation and Restoration of Ceramics 16-20 April 2007
(Tutor: Penny Bendall) . For details see
<URL:http://www.academicprojects.co.uk>.
James Black
Co-ordinator
International Academic Projects
6 Fitzroy Square, London W1T 5HJ
+44 207 380 0800
Fax: +44 207 380 0500
------------------------------
Date: 18 Sep 2006
From: Liz Campbell <liz.campbell [at] westdean__org__uk>
Subject: Courses at West Dean College
Sharpening Edge Tools
PC6702
6-9 November 2006
Course Leader: Bernard Allen
This is a professional course for all conservators using knives,
blades and woodworking hand tools. Starting with the metallurgy
of carbon steels, through to the best technique for sharpening
both by hand and machine. During the course conservators can
make a blade in Japanese carbon steel encompassing forging,
hardening and tempering. All types and method of abrasives from
Japanese stone to diamond stones, pastes and ceramics. This is a
practical course designed to lift existing hand skills to a high
professional level and offer the opportunity to learn the latest
techniques and use a wide variety of machines available for
grinding.
Non-residential course fee: UKP315
Fully inclusive course fee: From UKP435
The Historic Interior: Commissioning and Managing Conservation
Research
BC2D18-4-6
December 2006 Course Leader: Helen Hughes
Primarily designed as a course for project conservators,
property managers, curators, historic building inspectors,
conservation officers and conservation architects who wish to
undertake or commission research in historic interiors to gain
an understanding of their development. The course will outline
the different methods of analysis commonly undertaken as part of
the investigation of historic interiors with reference to
completed case studies. Mechanisms for monitoring research
programmes and the effective utilisation of research findings to
formulate conservation/representation options will be
considered. During the course delegates will be set short
assignments and asked to prepare research strategies and devise
representation programmes, based on given documentation.
Non-residential course fee: UKP410
Fully inclusive course fee: From UKP530
For further information on both courses please contact
Liz Campbell
West Dean College
bcm [at] westdean__org__uk
liz.campbell [at] westdean__org__uk
Liz Campbell
Conservation Short Courses Coordinator
West Dean College
West Dean
Chichester
West Sussex PO18 0QZ
+44 1243 818219
Fax: +44 1243 811343
------------------------------
Date: 20 Sep 2006
From: Camille Breeze <museumtextiles [at] gmail__com>
Subject: Workshop on pre-Columbian textiles
Museum Textile Services <URL:http://www.museumtextiles.com> is
pleased to announce that its 2007 Pre-Columbian Textile Workshop
will take place from January 10-19, 2007 in Lima and Trujillo, Peru.
This hands-on conservation course is geared toward students,
professionals, and others with museum sensibilities and good sewing
skills who want to learn about textile conservation and
pre-Columbian cultures while visiting the amazing country of Peru.
The goals of the 2007 course are to document, conserve, and mount
pre-Columbian hats, caps, and other head gear from the site of Huaca
Malena <URL:http://www.arqueostudio.com/comunytur.html>.
The beginning of the course will consist of a three-day excursion to
Trujillo, Chan Chan, and Huaca de la Luna in the North of Peru. The
class will then return to Lima for a weekend of instructional museum
visits, including Pachacamac and Huaca Malena. A full week of
hands-on conservation classes will follow. Our classroom space will
be donated by the Yachay Wasi Institute of Conservation and
Restoration.
The workshop is limited to eight non-Peruvian students and four
Peruvians. Spanish is not necessary. Cost (not including air fare)
is $800 for single accommodation or $700 for double, and includes
ground transportation, tuition, and guides. Students will also be
asked to purchase and bring approximately $20 in conservation
supplies for use and donation.
For more information, please contact Camille Myers Breeze
<museumtextiles [at] gmail__com>
Camille Myers Breeze
Museum Textile Services
24 Elm Street, PO Box 5004
Andover MA 01810 USA
978-851-0110
------------------------------
Date: 23 Sep 2006
From: Sam Ellenport <info [at] harcourtbindery__com>
Subject: Board shears for sale
**** Moderator's comments: Please respond directly to the author.
We have a used Jacques Shears for sale. It has a 32 inch blade, is
all metal construction (including the bed), and has a front drop
gauge for narrow cutting. It is in excellent condition. This is
the rolls royce of paper and board cutters, in the most desirable
size. If interested, please contact us offline for pictures,
pricing and other details.
info [at] harcourtbindery__com
Harcourt Bindery, Inc
51 Melcher Street
Boston, MA 02210
617-542-5858
Fax: 617-451-9058
------------------------------
Date: 19 Sep 2006
From: Stefanie Scheerer <stefscheerer [at] yahoo__de>
Subject: Patina
Over the last years of my work as a conservator and microbiologist
in the field of biodeterioration, I have encountered the term
"patina" many times, however, sometimes in different contexts with
different applications. Whereas I, as a conservator, was under the
impression that "patina" is a surface alteration, usually with a
colour shift, that is stable and therefore not considered a hazard
to the artefact. In some cases, it might even have a protective
nature.
However, I have heard the term used, in more microbiologically
oriented presentations on biodeterioration of cultural heritage, in
a context that included all surface changes of cultural heritage
artefacts and in several cases even surface deposits that included
microorganisms that were potentially detrimental to the artefact.
The only published essays on the topic of "patina" from a
microbiologist was by W.E. Krumbein and his research group (e.g.
"Patina and cultural heritage--a geomicrobiologist's perspective"
and " Life on stone--an endless story?"). I am citing here some of
his explanations and understandings of the term patina and I would
be interested to hear if the conservation community feels that this
reflects their understanding of the term. I would be very interested
to know if there is a recent definition of the term "patina" from a
conservators perspective.
I hope that this posting will not be misunderstood. I am not trying
to criticise my colleague publicly--it is a person who contributed
tremendously to the field of biodeterioration. However, I would like
to clarify for myself if this is yet another case where different
professions have a their own jargon, which may lead to significant
misunderstandings.
Patina after Krumbein "Life on stone" and "Patina and cultural
heritage":
Krumbein defined Patina in its current application as "the sum of
material and textural changes that occur in the surface zone of all
materials, especially in objects of physical cultural heritage.
These changes are caused by aging, material decay and environmental
impact, including the biological environment". Involved are a
surface layer of a few micrometers to several centimetres, where
material and energy exchange between two open heterogeneous systems
occurs. After the formation of a patina an intermediate
stabilisation is reached. "If the patina formation leads to
considerable mass increase of the substrate (deposits, subaerial
biofilms, microbial mats, microstromatolite, sinter, silica skins,
crusts black crusts, internal consolidation, cementation etc.) the
mechanical and chemical influence of the mass increases may produce
fissures and cracking, exfoliation, desquamation and other
alteration processes".
Further, he introduced the term bio-patina for a biologically
induced patina, formed by microorganisms. This term includes two
forms of aesthetic changes of rock surfaces: (1) "brightly pigmented
crusts covering rock surfaces" (2) "a pigmentation that is directly
incorporated into the fabric of the uppermost layer of rock
surfaces". He continues that "chemical alterations such as the
dissolution of the rock material itself, are not necessarily
connected with these phenomena". Later he claims that "since patina
is obviously the oldest term for surface changes of any material
that is exposed to the environment (atmosphere), all other terms
related to surface changes may be subordinated to this general term.
Such terms are oxalate films, lacquer, crust, deposit, karst,
rock-varnish, micro-stromatolite, efflorescence, carbonate, gypsum,
iron, manganese, oxalate, silica skins, as well as other
descriptions of environmentally induced surface changes."
As I mentioned before I am interested to hear the currently
applicable definition for the term "patina" in cultural heritage
conservation or information of where I can find such a definition.
Stefanie Scheerer
Departamento de Microbiologia Ambiental y
Biotecnologia
Programa de Corrosion del Golfo de Mexico
Universidad Autonoma de Campeche
Av. Agustin Melgar s/n. Col. Lindavista
C.P. 24030, Campeche, Campeche
Mexico.
------------------------------
Date: 18 Sep 2006
From: Andrea Tritton <trit0006 [at] algonquincollege__com>
Subject: Storing parachute
I am a museum studies student in Ottawa (Canada) doing an internship
in the collections department of the Canadian War Museum.
My project is to figure out a new method of storage for the museum's
parachute collection (mostly World War II era basic canopy
parachutes of varying sizes and fabrics for either personnel or
cargo), to minimize damage and stress on the fabric--probably by
designing some sort of hanging mechanism or structure (rather than
folding them).
I was wondering if anyone on the DistList has encountered this sort
of parachute challenge before, and how you went about resolving it.
Otherwise, I would appreciate any and all ideas and/or suggestions
that might help guide me in this project.
Andrea Tritton
Algonquin College Applied Museum Studies Student
------------------------------
Date: 17 Sep 2006
From: Ana Botelho <ana_botelho [at] netcabo__pt>
Subject: Beva film
I am a paintings conservator in private practice and I'm currently
performing a treatment on a large easel painting (1.75m x 2.30m).
This painting has several tears and holes and I will have to reline
it. After the treatment, the painting will go to a house with
uncontrolled environment, so I think I'm going to use a BEVA
adhesive. BEVA O.F. gel is an aqueous dispersion, and since the
canvas reacts to water, I wouldn't want to use it. BEVA O.F. 371 is
highly toxic, but BEVA film is not. Can anyone tell me if BEVA film
is suitable for relining this painting, does it have sufficient
strength to hold the two canvases together, given the large size of
the original canvas?
------------------------------
Date: 19 Sep 2006
From: Dee Stubbs-Lee <dee.stubbs-lee [at] nbm-mnb__ca>
Subject: Pharmaceuticals
Can anyone advise on safe handling and storage and possibly disposal
of small quantities of old pharmaceuticals in collections? We may be
acquiring some medical kits containing potentially dangerous
substances, possibly including strychnine, morphine, and so on. I am
particularly interested in any applicable Canadian regulations and
recommendations regarding retention and disposal of such material.
If we choose to dispose of the material, what are the
recommendations regarding cleaning the associated containers, with a
view to retention of the associated packaging and instruments in the
collections?
Dee Stubbs-Lee
Conservator,
The New Brunswick Museum
277 Douglas Avenue
Saint John, New Brunswick E2K 1E5
Canada
506-643-2341
Fax: 506-643-2360
------------------------------
Date: 20 Sep 2006
From: Olivia Eller <olivia.eller [at] cus-strasbourg__net>
Subject: Storage facilities
A project for shared storage facilities for the 10 museums of
Strasbourg (France) is finally starting to take shape. Being
involved in the planning, I would be very grateful for any book
titles and helpful hints on the matter.
Olivia Eller
Assistante
Musee Historique
5 Place du Chateau
67076 Strasbourg
France
+33 03 88 36 08 76
Fax: +33 03 88 36 09 51
------------------------------
Date: 18 Sep 2006
From: Sanchita Balachandran <sanchita [at] gmail__com>
Subject: Dataloggers
Has anyone had experience with data loggers that work with Apple
computers as well as with PCs? Could anyone recommend a reasonably
priced (under $400) data logger that does so? Any strong
recommendations on what to buy or what not to buy?
Sanchita Balachandran
Conservator in Private Practice
Vancouver, British Columbia
------------------------------
Date: 21 Sep 2006
From: Juliette Baxter <jbaxter [at] northamptonshire__gov__uk>
Subject: Dataloggers
We are looking to install dataloggers to record environmental
conditions. The two most common makes in the UK seem to be Hanwell
and Tinytag. Can anyone suggest pros and cons, based on experience,
for these and other makes?
Juliette Baxter
Archive Development Manager (Preservation)
Northamptonshire Record Office
Wootton Hall Park
Northampton NN4 8BQ
+44 1604 762129
Fax: +44 1604 767562
------------------------------
Date: 25 Sep 2006
From: Arthur Tennoe <arthur.tennoe [at] nb__no>
Subject: Position at National Library of Norway
Conservator - Paper and Graphic Media Section
National Library of Norway
The National Library of Norway <URL:http://www.nb.no> is the
nation's memory as well as a multimedia information centre. We
preserve and distribute the nation's heritage as it exists in
handwritten works, maps, books, periodicals, newspapers,
photographs, films, broadcasting, music and internet publications.
Our goal is to be among Europe's most exiting and modern National
Libraries, and in order to achieve this we need to concentrate on
personnel development as well as internet distribution of the
information stored at the digital library.
The National Library has some 340 employees in Oslo and Mo i Rana
and an annual budget of NOK 280 million. As an employee of the
National Library you will be part of the process of shaping an
important institution at the start of the 21st century.
The National Library is beginning to digitize all of its
collections. This means that the correct digitizing process must be
selected for the various documents held at the National Library. We
wish to employ a conservator to prepare the material in our
historical collections for digitizing.
Job description:
* Preparation, stabilisation and digitizing of historical
objects
* Documentation and condition reporting of fragile documents
and older documents
* Repackaging
* Supervision of personnel so good handling practices are
achieved and maintained whilst historical material is being
digitized
For information and electronic application see
https://www.webcruiter.no/
wcmain/AdvertViewPublic.aspx?
oppdragsnr=158300308&company_id=810013&
culture_id=NB-NO
**** Moderator's comments: The above URL has been wrapped for
email. There should be no newline.
Arthur Tennoe
Head of section Paper and Graphic Media
Department of Media Preservation
National Library of Norway
PO Box 2674 Solli
NO-0203 OSLO,NORWAY
+47 23276064
Fax: +47 23276010
------------------------------
Date: 25 Sep 2006
From: Jane Foley <jfcfoley [at] sbcglobal__net>
Subject: Positions at Amorium Excavation Project
Architectural stone conservators (2 positions, 4 weeks)
The Amorium Excavation Project, Afyon, Turkey
The Amorium Excavation Project, Afyon, Turkey has vacancies for two
architectural stone conservators for 4 weeks from early July to
early August 2007.The prospective candidates will have experience
with lime mortars, be familiar with materials that survive in
extremes of climate and be excellent team players. There is a
successful, treatment plan in place which must be respected.The work
involves reinstatement of walls and attention to the threat of plant
intrusion.
The Byzantine city of Amorium is unique to Anatolia.It is currently
undergoing intensive conservation and in order to maintain the
standard set so far these two vacancies have been created for one or
two seasons depending on the progress and standards achieved by
successful candidates.
Conservation at Amorium is supervised by the Head of Conservation.
The successful candidates will receive pay and all expenses.
Interested conservators should supply a CV, as an email attachment,
and contact the Head of Conservation before 17 October 2006 to:
Jane Foley, Dip cons GCGI
Head of Conservation, Assistant Director
Amorium Excavation Project
jfcfoley [at] sbcglobal__net
------------------------------
Date: 25 Sep 2006
From: Arthur Page <page3 [at] earthlink__net>
Subject: Position at Page Conservation, Inc.
Conservator of Paintings
Page Conservation, Inc.
Page Conservation, Inc. is seeking an Associate Paintings
Conservator for a full time position in our Washington, DC studio.
Masters Degree required. Work to include easel paintings and murals.
The ability to travel is helpful. Full benefits package including
health, paid days, retirement, and professional memberships. Pay
scale commensurate with experience.
Page Conservation is also interested in hiring Assistant and/or
Associate Conservators for current mural projects. These positions
are project-specific contract employment. Compensation appropriate
to difficulty of job and covers all travel and per diem.
Please send a cover letter and resume to:
Arthur Page
President and Chief Conservator
Page Conservation, Inc.
1300 Seventh St. NW
Washington, DC 20001
202-387-2979
page3 [at] earthlink__net
------------------------------
Date: 27 Sep 2006
From: Sheena Brown <sheena.brown [at] parks__nyc__gov>
Subject: Position at Citywide Monuments Conservation Program, New York
Monuments Conservation Manager
Citywide Monuments Conservation Program, New York
Full time
Salary: $$43,000 - $50,000 (based on experience)
Job Location: New York City, Manhattan
The Citywide Monuments Conservation Program conserves and maintains
public monuments and works of art throughout the five boroughs of
New York.
We seek an experienced individual to supervise, train, and oversee
monument crew and graduate-level field trainees. Initiate, manage
and complete conservation projects and condition assessments on
public statuary (including bronze, marble, granite, and other
stone). This includes technical assessment, budget creation and
management, treatment, and documentation. Contact suppliers and
vendors, open vendor accounts, obtain bids from subcontractors, and
track expenditures. Maintain field office and artifact storage.
Research and respond to public information requests.
Qualifications:
A baccalaureate degree from an accredited college plus four
years of satisfactory, full-time experience in recreation
leadership, gardening, grounds maintenance, building maintenance
or construction, of which 18 months must have been in an
administrative, consultative, managerial or executive capacity;
or
High school graduation or its educational equivalent plus six
years of experience as described above; or
Education and/or experience equivalent. However, all candidates
must possess 18 months of administrative, consultative,
managerial, or executive experience as described.
A valid New York State driver license is required within six
months of appointment.
Additional Preferred Qualifications:
Master's degree in objects conservation, historic preservation,
sculpture, or other related fields.
Experience in outdoor monument conservation, including but not
limited to corrosion removal, cleaning and repatination of
bronze, as well as stone cleaning, masonry repair and graffiti
removal.
Ability to work outdoors and in very high locations, as projects
often require work on scaffolding.
Ability to move and carry heavy items.
Excellent administrative, organizational, communication, writing
and research skills.
Ability to multi-task with individual initiative.
Familiarity with New York City's roads, routes
To apply send resume with cover letter by 10-6-06 to:
Monuments Conservation Manager/11561
Personnel
City of New York/Parks and Recreation
24 West 61st Street, 2nd floor
New York, NY 10023
New York City Residency Required
Sheena Brown
Monuments Coordinator
The Arsenal, Room 20
830 Fifth Avenue
New York, NY 10021
212-360-8143
------------------------------
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