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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Pay/Hours/Benefits: This is a salaried position with an annual pay of $90,000-$100,000. Total compensation includes an extensive benefits plan, including fully-covered health, dental, and vision insurance for the individual and a generous 403b contribution and match, outlined at https://www.folger.edu/employee-benefits.

Institution: Folger Shakespeare Library
201 East Capitol Street, SE
Washington, DC 20003

Application Deadline: No deadline listed. Applications reviewed on a rolling basis.

Brief Description: TThe Folger Shakespeare Library, located on Capitol Hill in Washington, DC, seeks a skilled conservation professional to lead the long-term care and treatment of its world-renowned collection as the next Eric Weinmann Head of Conservation and Preservation. This individual, reporting to the Associate Librarian for Collections Care and Development, oversees the Collections Division’s Conservation and Preservation program, including the strategic leadership for the safeguarding of printed books, manuscripts, paintings, works on paper, realia, and textiles across all spaces where collections are stored, displayed, used or transported. Working closely with colleagues across Collections and Exhibitions and throughout the institution, the Head of Conservation and Preservation ensures that Folger’s collections receive the highest standards of care and that both traditional and emerging preservation practices are integrated into institutional planning. 

The Head of Conservation and Preservation manages the Gundersheimer Conservation Lab and leads a dedicated team of four conservators. They oversee and complete complex treatments, establish preservation priorities, guide preventive strategies, and serve as a key advisor on loans, exhibitions, storage planning, and emergency preparedness. They also represent the team to external partners, support grant-funded conservation initiatives, and contribute to public engagement and professional dialogue. 

Contact Info/Link to Online Application: Interested individuals should submit their cover letter and resume. Incomplete applications cannot be accepted. No phone calls please. More information about the position and a link to the Folger’s online application system can be found here: Jobs and Internships at the Folger

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Pay/Hours/Benefits: This is a full-time, two-year term limited position with an annual salary of $55,000 plus benefits and conference travel funding,

Institution: Mariner’s Museum and Park, 100 Museum Drive Newport News, VA 23606

Application Deadline: April 24th, 2026

Brief Description: 

The primary focus of the fellowship is to contribute to fundamental research and help improve the treatment of waterlogged organic artifacts such as those recovered from wooden shipwrecks. During burial, historical ships spend centuries submerged in a marine environment often surrounded by sulfur-reducing bacteria. Over time, these organisms produce hydrogen sulfide which reacts with the organic materials onsite, forming compounds which can severely damage wooden artifacts after they are dried. Therefore, extracting sulfur compounds from wood prior to drying is critical to help mitigate the potential for long-term debilitating issues. Through previous research funding from a National Center for Preservation Technology and Training grant in 2023, initial background research and preliminary sulfur extraction tests via chromatography on cellulose coupons were conducted with promising results. 

To build off and expand this foundational work, The Mariners’ Museum is offering a fellowship centered on chromatographic techniques, surrogate design, and creation with characterization being done with scanning electron microscopy (SEM). The fellow will collaborate with Associate Scientist Brian Kim under the direct supervision of Research Scientist, Dr. Molly McGath and Senior Archaeological Conservator, Elsa Sangouard who are overseen by Director of Conservation and Chief Conservator William Hoffman.

Contact Info/Link to Online Application: 

To view the full position descriptions and apply online, please visit:

https://recruiting.paylocity.com/recruiting/jobs/All/24e8c7be-a360-49cf-9d2a-270ee0d1e142/The-Mariners-Museum-and-Park

In addition to a cover letter and CV, please include at least one reference letter from a supervisor familiar with your work experience.

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Thursday, May 14th 5:00–7:00 pm
Location: Museum of Contemporary Art Arlington
3550 Wilson Blvd, Arlington, VA 22201
Parking and Transportation:
Limited on-site parking / Street parking is available

Metro transportation: Virginia Square-GMU (Orange/Silver lines)
Metrobus Line 24P and ART Line 41

Please join us at the Museum of Contemporary Art (MoCA) Arlington for our final meeting of the 2025/2026 season! MoCA Arlington is ADA compliant and wheelchair accessible, please use the elevator entrance on the parking lot side of the building.

MoCA Arlington will keep their Chairmen and Smith + Meyer galleries open for WCG attendees to enjoy the James Stephen Terrell: Take Me to the Water and Within Reach: Artists & the Built Environment exhibits.

Members receive 1 free raffle ticket; early renewals, starting April 14 for the 2026/2027 season, receive 1 free raffle ticket. See Raffle Prize Document for more details. Members are welcome to donate raffle prizes. Tickets can be used to win a wide variety of prizes including:

District Clay Center ceramics, stainless steel measuring cups and spoons, Hopi wicker basket craft kit, Woobles craft kits, AND MORE!

A huge thank you to those who have donated to the raffle! Proceeds from the raffle sales support WCG programming and the Williston Fund.

Members:  Free | Non-members: $10 or Free if you join/renew starting April 14 for the 2026/2027 season

Join or renew at www.washingtonconservationguild.org/membership/

2025/2026 WCG season memberships are $35 for professionals, $25 for renewing emerging professionals, and free to emerging professionals who are entering their first season as a WCG member.

For more information about this season’s meetings, please visit
https://washingtonconservationguild.org/meeting-schedule-2025-2026-season/

Our meetings are public, and pictures may appear on WCG’s website and social media accounts.
Follow us on Instagram, Facebook, and YouTube!

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The Smithsonian American Art Museum (SAAM) is accepting applications for a 2-Year Post-Graduate Fellowship in Paintings Conservation in the museum’s Lunder Conservation Center. The fellowship will focus on paintings by women artists from the 1930’s New Deal Works Progress Administration (WPA) project in preparation for a traveling exhibition. The paintings are from SAAM’s vast collection of WPA artworks and include an array of substrates and painting mediums. Many have never been exhibited before and will require both structural and aesthetic treatments. Conservation research will be a vitalcomponent of the post-graduate fellowship, as it will broaden knowledge of the artistic techniques, materials and methods employed by these underrepresented female artists and will provide essential guidelines for exhibition display as well as
preventive care and framing.

The fellow will collaborate with SAAM Painting Conservators, Curators, and Curatorial Research Assistance for the conservation treatments, preservation, and analytical and historical research on the artworks. They will also collaborate with SAAM’s registration department to perform condition exams on exhibition works, along with researchers at the Smithsonian Museum Conservation Institute (MCI) for the research and analysis of materials with the intention of contributing to an exhibition catalog. Professional opportunities will also be available to contribute to collection care, and examination support for loans, rotations, and acquisitions in support of SAAM’s painting conservation work.

The fellowship is open to post-graduate paintings conservators with a Master’s degree in paintings conservation from a recognized conservation training program. Candidates must have completed their graduate degree by September 2026 and be no more than three years in post-graduate practice. One of the missions of the Lunder Conservation Center is to serve our professional and public communities through outreach and educational programming. Candidates with experience or interest in public programming are encouraged to apply. The fellowship includes an annual stipend of $47,000, with additional annual allotment of $2,000 in research/travel expenses. The fellowship begins in October 2026 and is for a term of 24 months. SAAM fellowships are open to all persons regardless of race, color, religion, sex, national origin, age, disability, genetic information, parental status, marital status, or sexual orientation.

To apply, please submit a statement of interest, a C.V., and the names and contact information for two references by email to DWRCLunder@si.edu, with “2026 Paintings Fellowship Application” in the subject line. The deadline for application submissions is close-of-business April 13, 2026. Interviews will be conducted by phone in late April with a final decision anticipated by May 1st.

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This is a free in-person meeting for WCG members.

Since space is limited, RSVP is required to attend. RSVP closes March 30th.

Four speakers will be presenting on the following topics:

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