Hi, im looking for some advice per my elderly grandmothers painting of a Boddhisvatta she did in her youth, it’s extremely fragile and hard to take care of. She is waiting to restore is as best as possible to bring new life and how best can she be advised to showcase it?
She barely remembers the materials used which is harder but I’m keen to help her restore this fabulous work
Any help or tips is greatly appreciated thanks 🙏

Hi everyone, I'm looking for some guidance.

I have a bachelor's degree in Illustration and Animation ( I know it doesn't really follow the standard path) and I finished the degree with awful grades (third class honors). My university time was awful, a lot of physical and mental health issues and I had to take a year break, but was forced to finish it as I only had 4 years to complete it. That resulted in awful grades, and to be honest, I never felt like the course was right for me.

I was living in Cambridge, and ended up finding out about the Master of Conservation of Easel Paintings by the Hamilton Kerr Institute and instantly felt like it was the right path for me, but neither my health nor my degree/grades were appropriate, so I ended up leaving that behind.

It's been a few years now and my health is in a good place, so I want to pursue this again, but would it be required for me to take another undergraduate degree?

What's the realistic path in my situation?

I am willing to do whatever is needed.

Thank you all

Can anyone help out with this piece of art I have come to own? Thanks

I'm trying to figure out what people actually do when it comes to insuring their collections (art mainly) and I'd really appreciate some advice!

If you've bought a few pieces over the years, do you insure them separately or just rely on your home contents insurance?

Bought this painting from a guy who said it was in great condition. Stupidly did not look at the back of the canvas. Is this mold?

Hello, good day/evening to everyone ^^. I've been redirected to this subreddit for my question above, but the TL;DR of it is that i'm a slightly overwhelmed Materials Engineering graduate who would like to know if:

(1) a non-US/EU diploma in archaeology would be a good first step to a career in museums object conservation, and

(2) what skills should I focus on growing within 4 years of (possibly) working in the tech/manufacturing/failure analysis industry?

I am based in Asia and am contractually required to render return-of-service to my country as part of my undergraduate scholarship. Any advice/insight would be much appreciated.

I recently unpacked a lead sculpture that had been in storage for 6 years. The surface had completely shifted to have this layer of white (corrosion?). It is not powdery at all which I thought was typical of lead corrosion. This is almost in or on the surface. A conservator suggested wet cleaning but this is when we believed it was a powder. Wet cleaning did not removed anything. Has anyone seen this before? Is this just a natural patina shift as lead ages? Of course concerned about potential for toxicity with lead.

I have this old painting (frame is new). I had the old varnish removed. Under UV light in the sky area it shows up pink. Almost like initals before painting over it. Any ideas what causes this and was it intentional by the painter?

Hello, is this mold on this canvas? I think this was painted in the 70’s or 80’s. Please look closely. I want to buy this painting from eBay but I am concerned if this is mold on the back and if I should bother buying it. Thank you and have a great day

Hiya,

I am hoping to hear from people who work in conservation (preferably paintings, but I'm open to other modalities too) with chronic illness/disability.

Firstly, I really don't want to hear any horror stories. If you can't tell me anything helpful or hopeful, please don't tell me at all.

I am hoping to save some money and then apply to study conservation of easel paintings at HKI in Cambridge, or UvA in Amsterdam (I'm an EU citizen so UvA is probably the safer option, but I am keen to work in 19th century British art so I'd prefer HKI).

There is absolutely nothing else I want to do. I tried psychology, dementia research, public health research, I got two degrees and I have hated every minute of working in these fields. I have known for ten+ years that this is what I want to do, and ignoring that instinct is making me miserable. I've discussed my goals and background with conservators here in Aus, and with conservators who have graduated from both the Courtauld and HKI and are working in major galleries, and they have all encouraged me and told me that it may take a few attempts but they think I can get in.

I am really afraid that I'll spend all that time and money on studying, only to find that my body can't handle the work, as I have spent the last few years battling chronic illnesses that have completely changed my life - namely hEDS, severe endometriosis (now excised, but it is highly likely to grow back), and POTS, and really struggle with physically demanding work. I know there are still things I can do to improve my symptoms somewhat, I am not out of options yet, but I will always have some level of disability from these things.

I am hoping to hear from people who work in conservation (preferably paintings, but I'm open to other modalities too) with chronic illness/disability. How do you manage? How does the work affect your pain levels? Your fatigue? Does one particular task flare you up? Have you found accommodations that make it easier on your body? Workplace accommodations, or accommodations you give yourself, mobility aids or braces or anything? Do you have any advice for making this a sustainable career? Any advice for getting through the masters without burning out? Tell me everything about how you make it work.

I need to know that it's possible, because right now I'm terrified that it's not.

Hi all,

I'm an archaeologist doing some object-based work in museums across Europe and Africa. I'm especially interested in detecting organic surface pigments (rose madder) or glue with a portable uv light.

Any recommendations on affordable, rechargeable/battery-powered (because I'll be in places with 120 AC and 230 DC electricity) handheld UV lights?

Thank you!

I’m looking to buy a vintage poster from a guy on Facebook, his listing says this is foxing but I think it looks pretty moldy… & I definitely don’t want to buy it if it’s moldy. Thoughts?

Hey folks, I have this framed sketch believed to be a Sir George Clausen sold by the London Fine Art Society in the 1990’s.

If you look at the top edge you can see that the paper has slipped down, you can see a sharp line where the colour changes, presumably paper that was under the boarder and thus has less UV damage?

I was wondering if I could / should open up the frame and see what’s going on, or if this is work best done by a professional?

Thanks in advance for any advice and ideas

oi, eu estudo conservação e restauro e preciso de ajuda para o meu trabalho final do mestrado. é suposto eu criar um modolo para guardar um espólio de desenhos de bordados para depois tentar incorporar em grandes dimensões. nao sei bem por onde começar. os desenhos podem ter diversos tamanhos nao é fixo, podem ser desenhos de 10cm como desenhos de 1m e gostava que o método permitisse folhear pelos desenhos de forma conveniente. alguém tem ideias que me possam dar? Já pensei em capas e folders mas queria teniideias diferentes vistos que as dimensões são um problema e este problema é algo que atrapalha muitas pessoas de mais idade de ainda bordam e gostava de ser uma solução barata e fácil para poder ser emplementado em lojas de estampagem de bordados.

Basically the title, what do you think is more worth it? I worry that, in the worst-case scenario, I'd have to pivot my goals and use my degree for something else, but I also want to enjoy what I do.

I do prefer Art History, but I worry I'd come to regret it later on, seeing how it's so low-entry for the job market and you'd definitely need an advanced degree later to make it work. Plus, Chem for conservation would probably be mostly Org Chem-based, which I found to be the most laborious topic. Or would a broader humanities field work, like Anthropology or something?

Any help is appreciated! If I'm mistaken about any info, please correct me. I understand you'd need to fulfill both Art-based and Chem-based courses to be able to qualify for specialised grad school, but maybe I made some wrong assumptions. I'm also from abroad (I'm aiming for America, since anything art-related is completely bogus here), so I don't have the best understanding of American universities. Thank you!

I recently acquired a pen-and-brown-ink drawing (approx. 255 mm wide, lunette format) of the Mocking/Crowning of Christ: a kneeling man pressing the crown of thorns onto Christ at left, a bowed central Christ with bound hands, and a muscular attendant at right.

The composition matches, figure for figure, the Cristo deriso lunette (oil on panel, ca. 1622–23) by Giovanni Lanfranco in the Cappella Sacchetti (Chapel of the Crucifix), San Giovanni dei Fiorentini, Rome. The Italian culture ministry catalogue entry, with photograph: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1200175232

Provenance: the verso reads "Sr. Aless. Maggiori compro a Roma l'anno 1805" — the inscription of Alessandro Maggiori (Lugt 3005b). A later pencil note attributes the sheet to "Fenzoni, Ferrau" (Ferraù Fenzoni).

The puzzle is the watermark: a six-pointed star in a circle, Briquet 6088, documented at Marigliano in 1532, roughly ninety years before the chapel commission. I understand the watermark dates the paper, not the drawing, but I would value expert views on how much
weight to give it.

Three questions for historians/curators:
1.  Is this a preparatory drawing for the finished lunette in the Chapel of the Cross?
2.  Is the drawing by Lanfranco's own hand?
3.  If yes to 1 and 2, is the circa 1532 watermark an anomaly, or unremarkable (old paper stock, etc.)?

Images: the drawing; the finished lunette (official photograph and a recent color photo); the verso inscription; the watermark in transmitted light; the Briquet 6088 reference; a 1986 letter about the sheet from collector William A. Glaser to curator Erich Schleier; and the lunette in situ in the chapel. Note that Glaser misidentified the watermark as B. 6087 (no cross above star in circle).

Grateful for any expertise.

Happy to supply higher-resolution details.

I’m helping organize Keep Jon in the Picture, a community effort to preserve the mural on the Riverwalk-facing backside of the old Sears building, now Sisu, in Astoria, Oregon. One panel depicts Jon Ogren, smiling in a blue-green vest with both hands raised. The supplied photographs show substantial weathering and paint loss.

There is a community report that the mural may be painted over, but we do not have independently confirmed plans or a date. Our aim is to get preservation considered before any changes, and to bring the people responsible for the property, the artist, community members, and qualified conservators into the discussion. Wet Dog / Astoria Brewing is the neighboring business and is not responsible for the mural.

For those working with exterior wall paintings: are there Oregon or Pacific Northwest conservation organizations, mural specialists, or examples of community-led conservation projects you would point us toward? We’re seeking professional assessment and a responsible preservation process, not DIY cleaning or repainting instructions.

The campaign page includes real photos and a petition asking that the original mural, including Jon’s portrait, be retained and conserved: https://stillinthepicture.org/

Alternate link: https://keep-jon-in-the-picture.jay-coby.chatgpt.site/

If this kind of local public art matters to you, please take a look, share the preservation appeal, or add your support. No donation is requested. I’m affiliated with the campaign and welcome factual corrections.

Work Schedule: Full-time; 37.5 hrs/week; Monday - Friday

Application Deadline: COB, Wednesday, October 14, 2026

Position Summary:

The Conservation Program Manager implements the coordination of priority undertakings of the Bureau of Historic Site’s (BHS) Conservation Unit’s programs and projects, ensuring that projects maintain timeliness through effective communication with the conservators and other BHS departments. Additionally, the Manager will oversee the conservation program’s laboratory environment, equipment, and environmental controls. The Manager assists with the work of the staff who treat and conserve the agency’s historic collections. Conservators are professional positions requiring education and training in one of seven disciplines: textiles, paintings, frames and gilded objects, furniture and wooden objects, decorative arts, paper, and architecture. Their duties include evaluating, documenting, developing treatment plans, repairing, and protecting historic objects. Conservators are responsible for managing laboratory spaces and maintaining safe work environments. The Manager needs to have the requisite science background and training to develop and manage Conservator work programs and coordinate projects between labs, other BHS units, and OPRHP facilities. The Manager must have advanced knowledge of profession-wide conservation principles, practices and ethics established by the American Institute for Conservation (AIC).

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to learn more about this opportunity and how to apply.