March 28, 2026

On Saturday, March 28th, our members gathered for a morning full of hands-on exploration into the art of natural dyeing, working with marigold flowers to produce a range of vibrant yellow bandanas. Under the guidance of textile artist and instructor Fatima Janneh, we were introduced not only to the practical steps of the dye process, but also to the material properties that make plant-based dyes so fascinating.

We began with a discussion of what natural dyeing entails. Plant-based dyeing involves extracting pigments from materials such as flowers, leaves, bark, and roots by simmering them in water to create a dye bath. Common sources include onion skins, turmeric, beets, and marigolds—which produce yellows and oranges—as well as indigo and red cabbage, which can yield blues and purples under the right conditions. 

For this workshop, we worked with marigold flowers, which are particularly rich in pigments that produce warm, golden hues. However, Fatima also explained how other colors can be achieved. She noted that certain colors (especially “true” black and green) can be more challenging to achieve with natural dyes. Green, for instance, is not typically obtained directly from a single plant dye in a stable way; instead, it is often created through layering processes. An example of one common method is to first dye a textile yellow (as we did with marigolds), and then over dye it in an indigo bath. Indigo, unlike most plant dyes, requires a reduction process to become soluble in water, so once the fabric is dipped and then exposed to air, oxidation develops the blue color. When combined with the underlying yellow, the result is a range of greens.

It was emphasized that for a successful dye process—particularly on cellulose fibers like cotton, which do not readily bind with natural dyes in the way protein fibers such as wool or silk do—a number of additional materials, called mordants and modifiers, are required. It was also highlighted that synthetic fibers like acrylic are essentially plastic and  these polymers do not absorb plant dyes well at all, often resulting in little to no color uptake. This makes fiber choice an important first consideration in any natural dye process. Meanwhile, mordants such as alum help bind the dye to the fiber, improving both the intensity and longevity of the color. Modifiers, including substances like iron or vinegar, can be introduced during or after dyeing to shift the final hue; dulling, darkening, or otherwise altering the color in subtle or dramatic ways. Thus, our 100% cotton bandanas were pre-treated following these key steps prior to immersion dying:

1. Scouring (cleaning the textiles): This initial step removes any oils, residues, or impurities from the fabric that might prevent even dye absorption or cause unwanted staining.
2. Mordanting: This stage prepares the fiber to better accept the dye by creating sites within the material that can chemically bond with the pigment. For plant-based fibers, like cotton, this often involves the use of tannins followed by a mordant such as aluminum acetate. Unlike some processes, mordanting does not necessarily require heat and can be approached either scientifically (by calculating ratios based on the weight of the fiber) or more intuitively. Fatima shared that alum is commonly used for protein fibers like wool and silk, while aluminum acetate is generally preferred for cellulose fibers, like our bandana.
3. Chalk bath (calcium carbonate): This step helps to adjust the pH of the fabric and can influence how the dye ultimately appears. The bath can be warm but does not need to be especially hot to be effective.

While a pot of water was set to heat with an intuitive amount of marigold extract by Fatima to prepare the dye bath, we began designing our bandanas using a variety of tying techniques. Each member approached this step differently—folding, twisting, and binding the fabric according to their own creative instincts. Rubber bands and wooden clothespins were used to secure areas of the cloth that would resist the dye, ultimately shaping how the color would penetrate the fabric. These resist methods produced a wide range of patterns, from more tightly controlled geometric designs to loose, organic compositions.

With our pieces prepared, we submerged them into the marigold dye bath and allowed the color to develop for approximately 20 minutes per batch. Because of the size of the group, we worked in two rounds, which provided time to step back, observe one another’s processes, and talk more broadly about techniques, conservation, and related interests. For those aiming to achieve a deeper, more saturated yellow, some participants chose to dip their bandanas a second time, extending their total time in the dye bath to around 40 minutes. We wrote our names on a piece of tape with a Sharpie to easily identify our abstractly tied bandana throughout the process.

After sufficient soaking, the bandanas were removed and rinsed to remove excess dye and marigold residue. We then began taking off the pins and rubber bands to unwrap and reveal the finished patterns. Watching the transformation was one of the most satisfying parts of the workshop: everyone had created a completely unique design, often shaped as much by chance as by intention, highlighting the beautiful result of natural dyeing.

Throughout the process, Fatima shared lots of interesting factoids, offering encouragement to experiment while answering a wide range of questions from our members. Conversations moved easily between knitting practices and dye techniques, as well as the stability of natural pigments. We also talked about how everyday factors, like water and temperature, can really influence results. For example, water composition varies depending on geography; some places have higher levels of minerals or chlorine, which can subtly shift how colors develop and bond to the fabric. 

For those curious to keep experimenting, Fatima shared with us two resources she turns to for learning more about natural dyeing:

• The Art and Science of Natural Dyes: Principles, Experiments, and Results, written by a textile engineer and chemist Joy Boutrup and textile artist and practitioner Catharine Ellis
• The Canadian website Maiwa, where information about natural dyes, mordants and tannins, extracts, raw materials, additives, and more can be found. They have a school of textiles (offering courses and workshops), a journal, and a store.

This was a Washington Conservation Guild member event for the 2025-2026 season. Thank you to Fatima for sharing her knowledge, and to all of our members for participating. A special thank you to our host and treasurer Kaitlyn Munro Seymour for providing a space where we could be creative and a little messy!

By Daniella Briceño Villamil, Outreach/ Member Events Coordinator

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THE WALTERS ART MUSEUM

ABOUT THE WALTERS ART MUSEUM 

The Walters Art Museum is among America’s most distinctive museums, forging connections between people and art from cultures around the world and spanning seven millennia. Located in Baltimore’s Mount Vernon neighborhood, the Walters is free for all. The museum’s campus includes five historic buildings and 36,000 art objects. 

Today, the Walters serves Baltimore and Maryland by embracing its role as educator and storyteller, using the collection as a vehicle of knowledge and cultural expression to support learning, dialogue, and community engagement. The museum is committed to public education, offering essential programs that help people to connect art to their lives. The Walters Visitor Promise aligns staff and volunteers across the museum to preserve and share the works in our care for future generations, partner with communities, and create welcoming, accessible experiences for visitors. The museum offers challenging and creative work opportunities by promoting collaboration and teamwork. 

OVERVIEW OF ROLE 

The Associate Book Conservator is responsible for the preservation and conservation of the Walters’ collections of manuscripts, rare books, and works of art on paper. They will join a team of conservation professionals with specialties in objects, paintings, preventive, and conservation science. They will work collaboratively across the Department of Conservation, Collections, and Technical Research to implement exhibitions, installations, rotations, programs, and other projects. This role reports to the Managing Head of Conservation and Technical Research. 

DUTIES AND RESPONSIBILITIES

• Prepares, examines, treats, and documents the museum’s manuscripts, rare books, and works of art on paper collections for exhibition, loan, and acquisition.  
• Conducts condition surveys of the collection to establish treatment priorities; carries out emergency treatment on works that are actively deteriorating. 
• Works with the museum’s Conservation Scientist to perform technical studies and analysis on works in the collections to determine materials, methods of manufacture, and authenticity. 
• Determines causes of deterioration and develops appropriate treatment methodologies. 
• Participates in preventive conservation, including evaluating and making recommendations for display, storage and transport, and rehousing. 
• Evaluates, obtains, and maintains equipment and materials needed to carry out conservation treatment and preventive maintenance to professionally accepted standards. 
• Assists in writing grant proposals and oversees grant projects to address priority preservation needs. 
• Works in collaboration with Digital Production and Publication team to support ongoing digitization of the Walters’ book collection. 
• Coordinates work of contractors in support of book and paper-based materials in preparation for exhibition and loan. 
• Assists in mentoring fellows, interns, and volunteers entering the conservation profession. 
• Contributes to the professional conservation field through lectures, publications, and teaching. 
• Works in the Conservation Window, our public-facing space for engagement. 
• Acts as a courier for the Walters collection during transit. 
• All other duties as assigned.

Qualifications

• MA or MS in art conservation with a specialization in book conservation. 
• Minimum of five years working in a museum or library setting, inclusive of full-year graduate level internship. 
• Must have demonstrated experience with structural treatment of bound volumes, preferably manuscripts and rare books. 
• Comprehensive knowledge of treatment methods, materials, preventive conservation principles, and methodology. 
• Knowledge of art history and history of the book relevant to specialty. 
• Knowledge of ethical and practical professional standards. 
• Familiarity with analytical techniques, uses, and limitations. 
• Excellent conservation planning, documentation, decision-making, and manual skills for structural and aesthetic treatment; must have demonstrated experience with technical studies materials research as applied to area of specialty; good research, teaching, administrative, oral and written communication skills; skills in research and analytical techniques and interpretation appropriate to specialty. 
• Proficient in Microsoft Word and Google platforms preferred. 

SCHEDULED SHIFT

Standard workweek is Monday through Friday, 9 a.m. to 5 p.m. with periodic Saturdays to work in the Conservation Window. Event weeks are subject to different hours, as needed. Must have flexibility to work weekends and evenings and to travel as necessary. 

ANNUAL SALARY $77,813

The Walters Art Museum provides an excellent comprehensive benefits package that includes medical, dental, prescription, vision, subsidized transportation and parking, museum membership, short term disability, long-term disability, life insurance, FSA (flexible spending account), 457b retirement, and free professional financial management counseling. This is a 100% onsite position and is part of the AFSCME-WWU collective bargaining unit. All employees must be legally authorized to work in the United States. The museum does not sponsor work visas.

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The Washington Conservation Guild is pleased to provide this slate of candidates for the 2026-2027 season. All positions will have the opportunity to renew for an additional one or two year term. Feel free to write in a candidate on your ballot if you feel another individual best represents your WCG priorities.

The ballot will be emailed to the membership and voting will occur only via this ballot (not in person or via mail). If you have any questions, please contact the Nominating committee at nominating@washingtonconservationguild.org.

Voting closes at 11:59 pm on Wednesday May 13, 2026.

Slate of Candidates

Candidate for President (two year term):

Sara Becker holds a Bachelor of Arts from the University of Delaware’s undergraduate program in art conservation, minoring in art history and religious studies. She gained pre-program book and paper work experience at the Smithsonian American History Museum, Winterthur Library, and the National Park Service. In the fall of 2023, she graduated with distinction from West Dean College’s Master’s program in the conservation of books and library materials. Her MA thesis project investigated the ethics and values behind treating objects, particularly books, that have been damaged during armed conflict. This topic remains a great research interest of hers. Post-graduation she spent 2+ years at the National Archives and Records Administration in Washington, DC treating records for digitization, exhibit, and researcher use. She currently works at the National Park Service’s Harpers Ferry Center as a Post-Graduate Fellow in Book and Paper Conservation treating volumes from the Russian Bishop House in Sitka National Historical Park.

Sara has served on the Washington Conservation Guild Board for two seasons (2024-2026), first as the Social Media Chair, and then as Vice President. She looks forward to the opportunity to bring WCG into its 60th (!) year of hosting cultural heritage professionals to promote the exchange of experiences and innovation.

Candidate for Vice President (two year term):

Pamela Kirschner is a Wooden Artifact Conservator specializing in Frank Lloyd Wright finishes on furniture, wood paneling and exterior finishes on wood for almost thirty years and has a Master of Science degree from the University of Delaware/ Winterthur Museum Art Conservation program. She has served as Director on the boards of the Frank Lloyd Wright Building Conservancy and the Washington Conservation Guild. She is a Professional Associate with the American Institute of Conservation (AIC) and has worked with historic sites and institutions such as the National Portrait Gallery and the New York State Bureau of Historic Sites. Pamela is currently a Preservation Specialist at the National Archives and Records Administration.

Candidate for Membership Secretary (two year term):

Alice Craigie is the Modern Painting Fellow 2022-2026 at The National Gallery of Art, Washington D.C.  She completed her Postgraduate Diploma in the Conservation of Easel Paintings at The Courtauld Institute of Art in 2019. Since, Alice has worked at Julia Nagle Conservation, London’s foremost modern and contemporary conservation studio, and Tate Gallery, London as Assistant Conservator. During her fellowship, she has undertaken practical conservation treatments, alongside a revised technical study of the twelve Amedeo Modigliani (1884-1920) paintings that form part of the Gallery’s Chester Dale collection.

Candidate for Recording Secretary (two year term):

Kevin Barni is the current Preservation Planner for New Castle County, Delaware. Over the course of his 15-year career he has undertaken preservation work throughout the Mid-Atlantic, with a brief stopover in New York City. He received both his B.A. in Art Conservation and M.A. in Historic Preservation from the University of Delaware. He has worked in several positions at the local and state level in roles ranging from public history as the Coordinator of Delaware’s Historical Marker Program to working as an Architectural Historian for a Cultural Resource Management firm that took on large scale development projects along the East Coast. Most recently he has returned home to Delaware as the Preservation Planner for New Castle County where he organizes the County’s Historic Review Board (which includes transcribing all meeting minutes), works on strengthening the County’s preservation ordinances, and works with residents and developers to help them better understand, and hopefully get excited about, their historic resources.

He is currently on the Board of Directors of the Delaware Preservation Fund, which is a small non-profit organization that awards small grants for historic preservation. He is also a Committee Member for the Vernacular Architecture Forum’s Orlando Rideout Fieldwork Fellowship which supports students and VAF members in their field-based research and documentation projects.

His current research interest includes the historic landscapes of mushroom farms and the worker’s history embedded in them. In his down time, he is an avid knitter with a deep love of textiles who has been known to spin and dye his own yarn. He enjoys scouring thrift and antique stores for vintage lamps and lighters to restore. He’s also an incredibly slow runner with dreams of one day completing a marathon. 

Candidate for Meeting Director (two year term):

Rylan Nguyen graduated from Tufts University with a BA in Art History and a minor in Studio Art. She is especially interested in how art conservation, with material science, can support provenance recovery for at-risk objects from vulnerable communities with fragmented historiography. In her artistic practice, she investigates historical art materials and techniques in painting, papermaking, bookmaking, and printmaking, exploring themes such as the eternal return of history, the antithesis of self, and the Buddhist doctrine of Pratītyasamutpāda (interdependent origination). Rylan previously interned at Silklab (Tufts University), a biomedical engineering lab focused on silk biomaterials, and at Vizcaya Museum & Gardens (Miami, FL) for Collections Care. She will start her Nord Network Junior Fellowship in Conservation at the Cleveland Museum of Art in September 2026.

Appointed Board Member for Website Administrator

Liz Peirce is the Objects Conservator at the Library of Congress, where she cares for a diverse 3D collection ranging from 4,000-year-old cuneiform tablets to contemporary plastics. After relocating to the DC area in 2021, she quickly became an active member of the Washington Conservation Guild (WCG). She has served in several capacities—including Meeting Director, Videographer, and Member Events Coordinator—and is eager to continue supporting the community as Website Administrator. Beyond the lab, Liz is likely found rock climbing, attempting to run, or curled up with a book and one of her cats. 

Appointed Board Member for Outreach Support

Kayla Henry-Griffin (they/them) considers themselves an audiovisual archivist and a time-based media conservator (and various other titles). They are a Media Collection Specialist for the Audiovisual Media Preservation Initiative (AVMPI) located at Smithsonian Libraries and Archives. They attended New York University’s Moving Image Archiving and Preservation (MIAP) program, where they studied preservation and conservation of audiovisual materials, community archiving, and video game preservation. Both Kayla’s personal interests and professional interests mesh well together- CRTs, memory, farming and fishing games, knitting patterns, music, and other related topics. Their personal research is extensive- covering memory’s ties to family roots to preservation of lore and mechanics in video games. Kayla’s preservation and conservation experience spans across a myriad of small and large collections- from cataloging and assessing magnetic media to conducting digital preservation on time-based media artworks.

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Pay/Hours/Benefits: This is a full-time, one-year term limited position (with the option for renewal, pending funding availability and completion of project objectives) with an annual salary of $85,447 – $93,994. A benefits program is mentioned in the advert but applicants requiring further details should contact the Hirshhorn’s HR department at HMSG-HR@si.edu.

Institution: Hirshhorn Museum Sculpture Garden

Application Deadline: May 18, 2026

Brief Description:

 The Smithsonian’s Hirshhorn Museum and Sculpture Garden (HMSG) is a leading voice for contemporary art and culture and provides a national platform for the arts and artists of our time. We seek to share the transformative power of modern and contemporary art with audiences at all levels of awareness and understanding by creating meaningful, personal experiences in which art, artists, audiences, and ideas converge. We enhance public understanding and appreciation of contemporary art through acquisition, exhibitions, education and public programs, conservation, and research. In order to fulfill its mission, HMSG develops collaborative relationships with institutions and organizations within the Smithsonian, the United States, and abroad. The collection consists of approximately 13,000 objects of modern and contemporary art, consisting of paintings, sculptures, variable media, and works on paper.

The Project Conservator is responsible for conservation treatment and assessment of HMSG sculpture collections in offsite storage during a multi-year remediation project. The Project Conservator will conduct a survey of approximately 1200 sculptures, draft treatment proposals, propose recommendations for rehousing, and conduct treatment on a variety of artworks in various mediums.

This is a one-year term position with the option for renewal, pending funding availability and completion of the project’s objectives; located primarily in the Museum Support Center (MSC), in Suitland, MD. This job is not suitable for hybrid or remote work.

Contact Info/Link to Online Application: 

Apply on the museum’s website listing.

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Pay/Hours/Benefits: This is a full-time salaried position with a pay range of $75,000 – 85,000 per annum. Benefits include company-paid health insurance, including health and vision, a competitive 401(K), and paid time off.

Institution: Ravens Under Armor Performance Center, 1 Winning Drive, Owings Mills, Maryland, United States of America

Application Deadline: No deadline listed in the job advertisement.

Brief Description:

Working under the direction of the Director of Legacy Engagement, the Historical Collections Manager will be responsible for maintaining the organization’s official team archive and creating engaging exhibit displays for fans to view. This person will assist in the implementation of the Ravens mission, marketing goals and objectives while carrying out daily duties.

Essential Job Duties and Responsibilities Include:
1. Manage activities involved with all aspects of the team’s archives, including acquisitions, preservation, conservation, cataloging, research and display
2. Process, catalog, examine, authenticate, research and preserve incoming and outgoing objects and collections, including film, print, video, photography and memorabilia while maintaining archival best practices
3. Conceptualize, design and execute exhibits including selecting objects, integrating objects, display and interpretive information and preparing publications to accompany exhibits
4. Remain up to date on Ravens records and milestones to ensure future items of significance are preserved
5. Work with Ravens equipment staff to identify and obtain current player items for the archives and display
6. Plan, setup and execute recorded oral history interviews with past and present Ravens personnel
7. Solicit and negotiate with outside individuals/organizations to obtain artifacts via loan, donation or acquisition and remain in compliance with all required documentation procedures
8. Lead the setup and breakdown of historical artifact displays at Ravens games and events, as well as M&T Bank Stadium events
9. Manage the installation of permanent, temporary and traveling exhibits and write text panels, object labels and item descriptions
10. Lead the digitization efforts of physical photos, notebooks, etc. while also maintaining the integrity of the items
11. Support the integration of team history into strategic areas of M&T Bank Stadium and the Under Armour Performance Center
12. Create and maintain a virtual museum for fans to engage with on the Ravens website with support from the Ravens Digital Media team
13. Update and maintain the History and Ring of Honor webpages on the Ravens website
14. Ideate and integrate team history into fan development programming and events
15. Identify historical artifacts missing from the team archives and find avenues to obtain necessary items
16. Work cross departmentally to engage with business and football units to ensure all groups contribute to the Historical Collection for preservation of team history on and off the field
17. Oversee the operational needs of the Historical Collections storage unit to include but not limited to – security, pest management, temperature, humidity, cleaning, etc.
18. Oversee the operating budget of the Historical Collection
19. Assist with Ravens Legends Community events and operations as needed, such as packing and facilitating outreach and gift mailings, supporting event logistics, etc.
20. Perform other duties as assigned by the Director of Legacy Engagement

Contact Info/Link to Online Application: 

Apply on the organization’s website.

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Speaker: Matthew Clarke, National Museum of Asian Art 

Summary by Colleen Vick, intern at the National Museum of American History

Background:

 In a research project spanning the past several years, Matthew Clarke has been using scientific imaging and analytical techniques to characterize blue pigments in a series of fourteen folios owned by the National Museum of Asian Art known as the Great Mongol Shahnama. The Shahnama is an epic poem written around 1000 C.E. by Ferdowsi detailing the history of Iran up to about the 7th C. This is only one copy of that tale, made in about the 1330’s while the Mongols were ruling Iran. During the Qajar period in 1830’s there was a refurbishment of the volume, signaled by a distinct Russian watermark on the new borders of the manuscript. From the original two volumes containing ~200 illustrations, there are only 57 known ones remaining today, with the collection of 14 at the National Museum of Asian Art being the largest collection known by any one museum. 

Clarke has been particularly interested in the materials employed during the fabrication and subsequent ownership of the folios, leading to this research project. The primary goals of his research were to document the current condition of the materials, identify the materials and pigments used, and explore some restoration materials across the folios in the collection. Further, Clarke was interested in examining artistic intent when selecting different pigments throughout the illustrations.

Analytical Imaging and Techniques

Clarke carefully considered which techniques to employ during this pigment characterization, recognizing that some analytical techniques involve removing samples from the actual illustrations and destroying them to produce results. For this reason, he focused primarily on non-destructive techniques, such as using light and radiation. As an example, Clarke used critical visual examination to select four different blue pigments to perform analysis on.

The four main techniques Clarke employed were: 

Hyperspectral imaging in visible spectrum (in collaboration with Dr. Erich Uffelman from Washington and Lee University)

Short-wave infrared (IR) imaging 

X-ray fluorescence (XRF) mapping

Raman spectroscopy

During XRF mapping, Clarke focused on the presence of silicon (Si) and copper (Cu) for the blue pigments selected. He found that there were some sample areas which contained no copper and high levels of silicon; some with mid levels of each; some with high levels of copper and mid levels of silicon; and some with no copper or silicon present in significant amounts. 

He overlaid this information with the visible reflectance and the short-wave infrared readings and determined that the presence of azurite was indicated in some blue pigments. Clarke then overlaid the Raman spectroscopy results with the mapping to indicate the presence of indigo as another blue pigment present. Raman spectroscopy results also indicated the presence of lazurite in natural ground lapis. 

The results from these testing methods indicated the following blue pigments in the sample folio: very pure lapis lazuli, mixtures of lapis and azurite in various concentrations, and indigo.

Pigment contextualization across the folios

Clarke used the results from his testing to determine where certain pigments and pigment mixtures were present across the fourteen folios in the collection. He found that lapis lazuli was used in all fourteen. Indigo was used either in pure form or mixed with lapis in some of the folios (while it is present in all fourteen, in some cases it is mixed with other pigments to produce green). Azurite was used the least, and was only detected in five folios.

Next, Clarke was interested in evaluating where blue pigments were being used, and certain trends were discovered. Across the folios, there were four cases of blue pigments being used to color horses- in three of the four cases, indigo was mixed with a lead-based white to produce a light blue color (the other being azurite mixed with lead-based white). Clarke hypothesizes that blue was used to make the horses stand out visually and created a more aesthetic appearance than illustrating the horses as grey.

Another primary trend for blue pigment presence in the illustrations was the sky. Lapis lazuli was the most common pigment used in painting skies, though in one instance a mixture of azurite and lapis was used. One sky features white clouds, where indigo mixed with lead-based white was employed.

Some palettes were found to be more complex in their blue pigment characterization. The bier of Iksander is one of the most well known illustrations in the collection of Great Mongol Shahnama folios, depicting the death of Iksander with his mother draped across him and the philosopher Aristotle in the background weeping. This illustration has one of the largest swaths of blue pigment mixtures, including pure lapis lazuli, azurite, indigo, mixtures of all three pigments with lead-based white, and mixtures of azurite with indigo and azurite and lapis.

There is one other blue pigment that was detected during the research process in the folios, but was not original to the illustrations. This is Prussian blue, which was found on Russian paper that was added during the Qajar refurbishment period. There was no evidence of Prussian blue detected in the actual paintings during testing.

Conclusions

There was an extensive number of pigments and mixtures of pigments used across the fourteen folios in the National Museum of Asian Art’s collection. Clarke notes that it is difficult to know how the original artists chose which blue pigment to use for particular areas, but would be an area for additional study. He concludes that visual analysis of folios that are close to one another in the storyline aids in the material analysis being performed and what is shown in the illustrations. 

Folio from a Shahnama (Book of kings) by Firdawsi (died 1020); The bier of Iskandar, ca. 1330, Opaque
watercolor, ink, and gold on paper, National Museum of Asian Art, accession number F1938.3. Image Credit: National Museum of Asian Art

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Pay/Hours/Benefits: No salary listed in the advertisement. Benefits not listed on the job description, for more information please reach out to the Colonial Williamsburg Foundation.

Institution: Colonial Williamsburg, 301 First St, Williamsburg, VA 23185,
Williamsburg, VA 23185, USA

Application Deadline: No deadline listed. The position was posted on the Colonial Williamsburg jobs board on March 25th, 2026 and recently reposted on assorted job boards.

Brief Description:

​​This fellowship honors the legacy of the late Edward A. Chappell, Shirley and Richard Roberts Director of Architectural Research at Colonial Williamsburg. Created to foster the study and recording of early buildings in the Chesapeake region through fieldwork using measured drawings, photographs, text, publication, and other media. The candidate will submit fieldwork proposals to support current Department of Architectural Preservation and Research needs, including but not limited to strategic projects, documentation of Historic Area buildings, and wider fieldwork throughout the Chesapeake. This is a term position of 12 months. The successful candidate is required to present their research via a written article or presentation at a professional conference at the end of the fellowship term.​  

Contact Info/Link to Online Application: Specific information about the Architectural Research Fellowship position can be found here:

​​The Edward A. Chappell and Susan L. Buck Architectural Research Fellowship​ | MUSEUM, PRESERVATION, CONSERVATION, EDUCATION & RESEARCH

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Pay/Hours/Benefits: This is a full-time, limited-term, grant funded position with a pay range of $55,000 per annum, with benefits and an additional $3,000 travel stipend for conferences, workshops and research. The position will remain full-time, exempt. Initial duration of the fellowship is one year, with a possibility to extend for another one to two years.

Institution: The Phillips Collection, 1600 21st St NW, Washington, DC 20009.

Application Deadline: May 15th, 2026

Brief Description:

The Conservation Fellow will report to the Head of Conservation at The Phillips Collection. The position is designed to provide advanced training in paintings conservation to a recent graduate of a master’s degree conservation program at a recognized university. The emphasis will be on the examination, documentation, treatment, and research on works from The Phillips Collection’s rich holdings of 19th to 21st century paintings. The fellow will work with painting conservators on all aspects of care of the collection to promote its preservation.

Contact Info/Link to Online Application:

workforcenow.adp.com/mascsr/default/mdf/recruitment/…

To apply, please upload your resume, a statement of interest about working at The Phillips Collection, and two examples of completed paintings conservation treatments including all documentation (via document upload tabs). Please also send an example of a written research project in which you studied -painting materials, techniques, and/or the history of an artist. Please include contact information for three professional references.

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Speakers: Teresa Duncan, National Gallery of Art, and Amy Hughes, Library of Congress

Co-Authors: Michelle Sullivan, The J.Paul Getty Museum, Kathryn Morales, The National Gallery of Art, Edwin Chan, National Institute of Standards and Technology, and Barbara Berrie, Independent Researcher

Summary by Liz Peirce, Library of Congress

In this talk, Duncan and Hughes presented their research on the modification of agarose gel based cleaning systems for removing water-soluble stains from works of paper. It is an expansion on their article that was published in Gels volume 11, which can be accessed here: The Role of Adsorption in Agarose Gel Cleaning of Artworks on Paper

Duncan focused on presenting how agarose gels work, emphasizing the difference between adsorption and capillary movement. In adsorption, the gel matrix behaves more as a sponge or trap, with water migrating back and forth between the gel and the paper artwork, depositing the soluble materials within the gel. Duncan tested this hypothesis by comparing the adsorption of crystal violet dye with agarose, microcellulose, and silica gel, finding that agarose is almost as effective as microcellulose and silica gel. After positive results, agarose was mixed to different concentrations both alone and with the silica gel as an additive. These samples were placed on a piece of degraded paper to see how much of the water soluble degradation products could be removed and to see if there were any tidelines. 

Hughes spoke about practical applications and working properties of the gels, stating that while the addition of silica gel did make the gel matrix cloudy, more rigid, and more brittle, it had very similar working properties to a pure agarose gel. She also mentioned that different mixtures delivered water in different ways, specifically that added microcellulose created a more diffuse edge. She hopes that understanding these different properties will help conservators to better customize their gel compositions for each specific application. She then presented a case study on a water damaged print with a severe tideline. Using a 3% agarose gel bulked with 1% microcellulose, Hughes effectively performed a typical gel wash of the print. The print had been scanned with XRF prior to dry cleaning, after dry cleaning, and after washing to determine that the compounds being removed were only those from the stain. 

Hughes and Duncan concluded with hopes for next steps, including workshops at the National Gallery of Art and the Library of Congress as case studies before offering training more broadly. They both emphasized that the close collaboration between conservation, conservation science, and analytical science was essential to understanding that adsorption plays a significant role in how gels work, how to manipulate the efficacy of a gel, and to create solutions for practical applications. 

Image from Duncan and Hughes on their research into the modification of agarose gel-based cleaning systems for removing water-soluble stains from works of paper. (Image credit: Unknown)

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Pay/Hours/Benefits: This is a full-time, salaried position with a pay range of $70,000-80,000 per annum. Consideration for Associate or full Conservator rank and associated salary will be commensurate with experience. Total compensation includes an extensive benefits plan.

Institution: Winterthur Museum, Garden & Library, 5105 Kennett Pike, Winterthur DE 19807.

Application Deadline: April 26th, 2026

Brief Description:

The Conservator of Furniture is responsible for administration, implementation, and supervision of all aspects of their conservation discipline. They demonstrate a command of conservation practices, technology, hand skills, preventive conservation, and collection work. The individual is to serve as an affiliated professor for the Winterthur/University of Delaware (WUDPAC). They are to be capable of research, teaching and mentoring graduate students and others at the highest professional level. They possess an established ability to collaborate with other collections staff and faculty including conservators, curators, exhibition staff, educators and scientists and are professionally active by staying current with conservation literature and engaging in professional organizations. Responsibilities will include:

Engage in professional activities including research, publication, leadership in professional organizations, and outreach. Demonstrate professional leadership by engaging with established conservation publications and contributing to the leadership of professional organizations. Serve as an ambassador for the museum, WUDPAC and profession; and represents the section, department, Winterthur, and WUDPAC at professional conferences and on the local, national and international level 

Manage all aspects of the Furniture and Wooden objects conservation discipline. Supervise assigned personnel, which may include staff, interns, volunteers, contractors and students. Give direction to section in a manner consistent with institutional goals. Establish and sustain procedures to ensure consistent treatment, assessment, preventive care, preparation for exhibition, and documentation procedures of collection objects for the section. Ensure oversight of the laboratory facility and the woodshop by managing safety standards, equipment upkeep, and laboratory organization. Fulfill conservation department team assignments, including institutional committee work and  the Collections Emergency Plan

Contact Info/Link to Online Application: Specific information about the Furniture Conservation position can be found here:

6002811:Career Search

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