North American Graduate Programs in the Conservation of

ANAGPIC 

ASSOCIATION OF 

NORTH AMERICAN GRADUATE PROGRAMS 

IN THE CONSERVATION OF CULTURAL PROPERTY

This book was published on the occasion 

of the 

TWENTY-FIFTH ANNIVERSARY OF THE ANNUAL CONFERENCE 

OF THE ASSOCIATION OF NORTH AMERICAN GRADUATE PROGRAMS 

IN THE CONSERVATION OF CULTURAL PROPERTY 

held in 

Buffalo, New York 

April 22nd to 24th, 1999. 

CONTENT AND TECHNICAL EDITOR Irene Brückle 

CONTRIBUTING EDITOR F. Christopher Tank 

COPY EDITOR Ramona Whitaker 

COVER DESIGN AND LAYOUT Sam Bryer 

TECHNICAL ADVISOR Andrew Davis 

PRINTING AND BINDING Petit Printing Corporation, Buffalo 

The type is Times printed on 80 pound Signature Gloss Text. 

Copyright © ANAGPIC 2000 

Additional copies of this publication may be available 

from an ANAGPIC member organization. 

Front cover (detail): 

P. V. E. Ivory. Untitled (Harriman. New York}; oil on canvas. 20 x 30 cm, n. d. 

Courtesy of private owner.

CONTENTS 

Preface The ANAGPIC Directors v 

Foreword Marigene Butler vii 

The First Twenty-five Annual ANAGPIC Conferences xi 

The 1974 Conservation Seminar on Glass and Library 

Materials at the Corning Museum of Glass in Corning, 

New York: Announcement, Lecturers, Participants xv 

HISTORIES 

A Brief History of Conservation Training at the 

Fogg Art Museum/Straus Center for Conservation, 

Harvard University Art Museums 21 

A History of the Conservation Center, Institute of Fine Arts, 

New York University 29 

Historical Sketch of the Graduate Conservation Training 

Program, Intermuseum Conservation Association, 

Oberlin College 37 

History of the Art Conservation Department, 

Buffalo State College 39 

The History of the Winterthur/University of Delaware 

Program in Art Conservation 49 

The Master of Art Conservation Program at Queen's 

University: A Recent History 59 

History of the Preservation and Conservation Studies Program 

at The University of Texas at Austin, Formerly the 

Conservation Education Program at Columbia University 67

History of the Furniture Conservation Training Program, 

Smithsonian Center for Materials Research and Education 73 

Contributors to the Histories of the Conservation Graduate 

Programs 81 

ALUMNI 

Straus Center for Conservation, Harvard University 

Art Museums, Harvard University 85 

Conservation Center, Institute of Fine Arts, 

New York University 93 

Graduate Conservation Training Program, 

Intermuseum Conservation Association, Oberlin College 105 

Art Conservation Department, Buffalo State College 107 

Winterthur/University of Delaware 

Program in Art Conservation 125 

Art Conservation Program, Queen's University 141 

Preservation and Conservation Studies, 

Graduate School of Library and Information Science, 

The University of Texas at Austin 158 

Furniture Conservation Training Program, Smithsonian 

Center for Materials Research and Education 167 

Addresses of the North American Graduate Programs in 

Conservation 169

P R E F A C E 

The 1999 conference of the North American graduate programs in the 

conservation of art and other cultural property was the twenty-fifth of 

these annual events. The first conference of this kind was held in 1974 at 

the Corning Museum of Glass, a few years after a disastrous flood damaged 

the museum's artifact and library collections. The five-day conference, 

a "Conservation Seminar on Glass and Library Materials," was 

organized by Dr. Robert H. Brill, the museum's research scientist. It 

brought together for the first time the students and faculty of the graduate 

training programs and conservators, curators, and other museum specialists 

for several days of lectures and discussions. The current programs, 

comprising the membership of the Association of North American 

Graduate Programs in the Conservation of Cultural Property (ANAG- 

PIC), have prepared this publication to commemorate that significant 

occasion. 

The annual student conferences of ANAGPIC have become a muchcherished 

tradition of the programs and are eagerly anticipated events. 

They foster camaraderie among the participating students that becomes 

the foundation of their future collegial relationships as practicing professionals. 

Students present lectures of the highest caliber that provide 

insight into the quality of the education and training offered by the program 

that each represents. The conferences also feature a day of talks by 

senior conservators and allied professionals. The talks address a selected 

theme of current interest in conservation, thereby providing students with 

a view of an important aspect of their future careers. 

The following pages are intended to provide a perspective on the role 

that the programs, of themselves and through their graduates, have played 

in the remarkable development of the conservation profession over the 

past quarter century. In her foreword, Marigene Butler, former director of 

the Intermuseum Conservation Association, Oberlin College, and emeritus 

head conservator of the Philadelphia Museum of Art, identifies contributions 

of the programs that have furthered the continuing evolution of 

conservation into a mature field. Mrs. Butler's views are based on her 

exceptional forty-year career in conservation, which has included supervision 

of the internships of many former students and graduates of 

ANAGPIC-member programs, as well as the internships of conservators 

from abroad. 

v

The principal part of this volume is devoted to a directory of the graduates 

of each ANAGPIC program through the end of 1998. Insofar as they 

were available, a few key facts are given for each individual listed, 

including current employment. The latter shows that the majority of graduates 

are working full-time in conservation, preserving the nation's cultural 

patrimony. 

vi 

The ANAGPIC Directors

FOREWORD 

It seems appropriate, on the occasion of the Twenty-fifth Conference of 

the Association of North American Graduate Programs in the 

Conservation of Cultural Property, to reflect upon the very significant 

effect of these formal graduate training programs in increasing the professionalism 

of the field of conservation as a whole in North America. 

My career parallels closely the development of the field, extending from 

apprenticeship training in a museum laboratory in the 1950s, through 

directing a regional center laboratory and heading its graduate training, 

and concluding with twenty years as head of a major museum conservation 

laboratory that has had a continuous flow of interns and postgraduate 

fellows from graduate training programs in the United States and 

abroad. I speak, therefore, from experience. 

From their beginnings, the graduate training programs have fostered an 

openness and sharing of information among conservators that came as a 

breath of fresh air to a field that had traditionally been rather closed and 

secretive, perhaps reflecting the insecurity felt by individual practitioners. 

This sharing of information between individuals, programs, and laboratories 

has been encouraged by the faculty of the various training programs 

from the start. 

Conservation documentation across the field has markedly improved, 

in examination reports, treatment records, and photodocumentation, as a 

result of careful training by program faculty. This contrasts with the brief, 

if any, descriptions of treatment left by our predecessors earlier in the century. 

Students are trained to do thorough examinations before treatment 

and to use a wide range of examination techniques, unknown in the earlier 

days of the profession. Conservators have become much better problem 

solvers because of their training program experience. 

Approaches to treatment problems have broadened as a result of more 

practitioners seeking solutions through testing. No longer is only one solvent 

or one adhesive used to treat most problems. More often, materials 

and techniques are tailored to specific treatment problems. 

As a result of the more comprehensive examination techniques, much 

more is known and understood about artists' materials and methods. 

Major catalogues now generally include technical material, and, in fact, 

funding agencies often will not support their publication unless they con- 

vii

tain technical information. The result of this increased understanding of 

materials is a heightened sensitivity to and awareness of the need to carry 

out treatments that do not in any way compromise the appearance or longterm 

stability of the work of art. 

The spread of expertise throughout the field has been greatly enhanced 

by interns who bring with them results of the latest research and testing 

being carried out by the training programs, where more time can be spent 

on testing possible materials and techniques before treatment and where 

students often choose to do a specific research project. 

In the early days of the training programs, in the 1970s, when the field 

of experienced practitioners was much smaller, program interns and graduates 

brought amazing skills to museum laboratories. I remember several 

new program graduates arriving at the Oberlin lab to join the staff and 

taking responsibility for very complicated treatments. Similarly, I remember 

the third-year intern who joined me in Philadelphia the first year I was 

there (as the only conservator), who took responsibility for much of the 

equipping of the brand new Venturi-designed laboratory. 

In a museum laboratory it is important that a conservator have the collaboration 

of the curator responsible for the specific object being examined. 

This does not always happen; therefore, it has been important that 

training programs teach students to pursue needed archival research on 

their own. The programs have done so effectively. 

The great thing that the training programs have accomplished is to provide 

an underlying philosophical foundation for their graduates' decision 

making. I came to appreciate this recently when trying to guide architectural 

conservation projects at the house museum on whose board I serve. 

Working with craftsmen in the building trades who support the idea of 

preserving original material, I have found that they lack this philosophical 

foundation. Day-to-day small decisions regarding treatment have to be 

referred to the preservation architect. The craftsmen continually must be 

stopped until the architect can be consulted about how to handle questions 

and problems that arise as they work on the project. 

The professionalism of training program graduates suggests that the 

curricula of the programs are helping to bring into focus and define the 

preferred qualifications of conservators. This is important in an emerging 

profession that has yet to establish certification standards. Thus, the programs 

are helping the field to define itself professionally. An impressive 

viii

number of program graduates are now directing and/or teaching in the 

programs, which helps to ensure the continuing growth of professionalism 

in the field. 

Similarly impressive are the number of graduates who have provided 

leadership for the national and regional professional organizations, 

notably the American Institute for Conservation and the National Institute 

for Conservation (now Heritage Preservation). 

In conclusion, the far-sighted individuals who established this nation's 

first graduate training programs in the 1960s and early 1970s deserve a 

great deal of credit for the vision that guided their development of curriculum 

and for the never-ending effort required to maintain funding for 

the programs. Those of us who have guided training since then have kept 

the original vision intact while perhaps expanding its boundaries as the 

field has become more sophisticated and sensitive to the art and other cultural 

objects for which the profession bears responsibility. The training 

programs surely can be credited for the greatly increased professionalization 

of the field and the impressive expertise evidenced by its dedicated 

practitioners today. 

Marigene H. Butler 

Former Director, Intermuseum Conservation Association 

Emeritus Head of Conservation, Philadelphia Museum of Art 

Marigene (Mrs. Daniel K.) Butler has enjoyed a long and distinguished career 

as paintings conservator, microscopist, and conservation administrator. From 

1978 until her retirement in 1997, Mrs. Butler served as head of conservation at 

the Philadelphia Museum of Art (PMA). Over those nearly two decades, she 

established the PMA's Conservation Department and oversaw its development. 

Through her efforts, it became one of the leading conservation laboratories in the 

nation, making substantial contributions in conservation training and scientific 

research, as well as providing outstanding care for the museum's extensive collections. 

An A.B. graduate in Art History from Mount Holyoke College, Mrs. Butler 

apprenticed for two years in paintings conservation with Elizabeth H. Jones at the 

Fogg Art Museum, Harvard University. Beginning in 1966, she trained in this specialty 

for another two years under Alfred Jakstas at the Art Institute of Chicago. 

She remained at the Institute for a subsequent five years as assistant, and then 

associate, paintings conservator with responsibilities for both the treatment of 

paintings and the identification of their materials with the polarizing microscope. 

After training in polarizing microscopy with the eminent American microscopist 

ix

Walter McCrone of the McCrone Institute, she developed the course, "Polarized 

Light Microscopy for Conservators. " She taught elements of this course while a 

teaching consultant in microscopy at the graduate conservation programs of the 

University of Delaware and New York University. 

Prior to joining the PMA, Mrs. Butler held the post of director of the 

Intermuseum Conservation Association (ICAj at Oberlin College. The ICA provided 

conservation services to seventeen midwestern museums that were members 

of the association. Over the last four years of this period, she was head of the 

ICA's graduate conservation training program. 

Mrs. Butler has many publications reporting on her research on the materials 

and techniques of such leading artists as Paul Cezanne and Jan van Eyck. She is 

a fellow of both the American and the International Institute for Conservation and 

the Royal Microscopical Society, and has been a member of the Council of the 

International Institute for Conservation for nearly a decade. A member of the 

board of trustees of the National Conservation Advisory Council from 1973 to 

1981, she served as its chairman during the last two of those years and continued 

on the board of trustees of its successor organization, the National Institute for 

Conservation. For her alma mater, Mount Holyoke, she has served its Art 

Museum Advisory Board as chairman of the Building Committee. A member of the 

board of trustees of the Wyck House, she was a leader in the restoration of that 

important and once-neglected Germantown historic site in Philadelphia. 

x

THE FIRST TWENTY-FIVE ANNUAL 

ANAGPIC CONFERENCES (1974-1999) 

Conferences are listed chronologically with the host institution, the 

conference date, and, beginning in 1976, the theme of the papers presented 

by invited guest speakers on the second day of the conference (there 

were no student papers presented at the Corning Conference). 

1 The Corning Museum of Glass 

November 11-15, 1974 

Conservation Seminar on Glass and Library Materials 

2 Winterthur/University of Delaware 

Program in Art Conservation 

April 19-21, 1976 

Outdoor Metal Sculpture and Conservation of Textiles 

3 Art Conservation Program, Queen's University 

May 9-11, 1977 

Ethnographic Conservation 

4 Cooperstown Graduate Program in the Conservation of Historic 

and Artistic Works, State University College at Oneonta 

April 10-12, 1978 

Problems in the Preservation of Paper 

5 Center for Conservation and Technical Studies, 

Harvard University Art Museums, Harvard University 

April 30-May 2, 1979 

Interaction Between Curator and Conservator 



April 28-29, 1980 

History of Artists' Techniques 

7 Conservation Center, Institute of Fine Arts, 

New York University 

March 26-27, 1981 

The Construction of the House: An Overture 

xi


May 5-7, 1982 

Paper and Archival Conservation in Canada and 

The Federal and Provincial Presence in Canadian Conservation 

9 Art Conservation Department, Buffalo State College 

May 1-3, 1983 

Careers in Conservation 



May 2-4, 1984 

History and Future Directions of Conservation Training 

in North America 



May 2-3, 1985 

The Conservation of Contemporary Art 


New York University; 

Conservation Education Program, School of Library Service, 

Columbia University 

April 30-May 2, 1986 

Environment and Collections: Extrinsic Conservation 

Strategies 


May 6-8, 1987 

Conservation Management 


May 4-6, 1988 

Coping with Disaster: The Conservator's Role 



April 28-29, 1989 

Ethics in Conservation 

xii



April 26-28, 1990 

Beyond Fine Art: The Preservation of Large and 

Varied Collections 



April 25-27, 1991 

The Price of Preservation: Our Access to Egypt's Past 


May 7-9, 1992 

First Peoples' Art and Artifacts: Heritage and Conservation 

Issues 


April 15-17, 1993 

The Conservation of the Photographic Image 

20 Furniture Conservation Training Program, 

Conservation Analytical Laboratory, Smithsonian Center 

for Materials Research and Education 

April 21-23, 1994 

Using and Preserving Research Collections 



April 20-22, 1995 

Preventive Conservation and Exhibits: Management Strategies 

22 Straus Center for Conservation 


April 18-20, 1996 

Conservation Laboratory Design and Renovation 



April 24-26, 1997 

Preserving the Library 

xiii


May 1-2, 1998 

Research the Object: The Evidence 


April 22-24, 1999 

The Past as Prologue: Conservation Tomorrow 

xiv

THE 1974 Conservation Seminar on Glass and Library 

Materials AT THE CORNING MUSEUM OF 

GLASS IN CORNING, NEW YORK: 

ANNOUNCEMENT, LECTURERS, PARTICIPANTS 

On June 23, 1972, the Chemung River, swollen by persistent rains from 

Hurricane Agnes, broke through containing dikes and flooded surrounding 

communities, including the city of Corning, New York. The floodwaters 

inundated the Corning Museum of Glass, damaging one of the 

world's finest collections of glass and the most comprehensive body of literature 

on that subject. Although only three percent of the glass objects 

were broken, more than half of the museum's library holdings were lost 

or seriously damaged. Helping in the rescue operation that was established 

were conservators and other staff from various museums, including 

the New York State Historical Association and the Winterthur 

Museum. Some of the damaged objects eventually became conservation 

treatment projects for students in the conservation programs. Dr. Robert 

H. Brill, research scientist for the Corning Museum of Glass, was 

appointed museum director for the three years needed to complete the 

flood recovery effort. 

Before joining the Corning Museum as the administrator of scientific 

research, Dr. Brill served for six years as associate professor of chemistry 

at Upsala College. He received his Ph.D. in physical chemistry from 

Rutgers University, has contributed more than 140 scholarly papers, and 

is a member of numerous scientific and archaeological organizations. 

Dr. Brill is completing a multivolume work, Chemical Analyses of Early 

Glasses, that will present the cumulative results of his glass studies over 

many years. His research, for which he has received nearly a dozen professional 

awards, is on subjects related to ancient glass, lead isotope studies, 

and early glass technology and conservation. In 1977 he directed a 

field expedition to Herat, Afghanistan, where he filmed his remarkable 

documentary, The Glassmakers of Herat, recording glassmaking in a oneroom 

factory that was still hand-producing glass by traditional methods. 

Upon completion of the recovery effort, Dr. Brill, returned to his glass 

studies in his present capacity as the museum's research scientist. The 

recovery effort provided useful experiences that Dr. Brill, as a former professor, 

wanted to share with conservation students through a seminar at 

the museum. He invited students and faculty of the conservation programs 

to a five-day conservation seminar on glass and library materials. 

xv

In November 1974, the seminar brought together for the first time the faculty 

and students from the five American programs as well as a contingent 

from the Canadian Conservation Institute. 

The announcement of the seminar contained the description of its purpose 

and list of participants that are given below: 

The seminar has a dual purpose and is aimed specifically towards 

graduate students specializing in the conservation and examination 

of archaeological materials and works of art. The first purpose 

is to present to these students a survey of the methods used for scientific 

investigation of early glass, the techniques by which they 

can be restored, and various conservation problems in glass. The 

second purpose is to present to these same students a comprehensive 

picture of how the museum is recovering from the damage 

inflicted by the 1972 flood. The flood recovery will be treated in 

terms of immediate salvage procedures, the philosophy adopted, 

the procedures encountered, the actual restoration procedures 

enacted, and the fundamental chemical research used to support 

the practical work of restoration. For the most part, these latter 

subjects will deal with the restoration of library materials and 

paper research, since it is in this area that new and unconventional 

methods are being explored. 

SEMINAR LECTURERS (affiliated with the Corning Museum of Glass) 

Kristin A. Amylon 

Robert H. Brill 

Thomas W. Duncan 

Charleen K. Edwards 

Raymond F. Errett 

Albert Fehrenbacher 

David J. Fischer 

Norma R H. Jenkins 

John H. Martin 

Virginia L. Wright 

Conservation Assistant 

Director and Research Scientist 

Paper Conservator 

Assistant to the Paper Conservator 

Conservator—Photographer 

Model Maker 

Chemist—Paper Conservation 

Associate Librarian 

Administrative Officer 

Associate Librarian 

CURATORS (affiliated with the Corning Museum of Glass) 

David P. Donaldson 

Sidney Goldstein 

Dwight P. Lanmon 

Jane S. Spillman 

Assistant Curator, Contemporary Glass 

Associate Curator, Ancient Glass 

Curator, European Glass 

Assistant Curator, American Glass 

xvi

CONFERENCE PARTICIPANTS 

Cooperstown Graduate Program 

Faculty Katherine Eirk Sheldon Keck 

Caroline K. Keck F. Christopher Tahk 

Students Patricia Doscher-Freelove Antoinette Owen 

Elizabeth Flavin Leni Potoff 

Michael Heslip Judith Rieniets 

Clyde R. Jones Anne Rosenthal 

Sian Jones Janet Ruggles 

Dan Kushel Gregory Thomas 

Richard Lorenz Linda Tucker 

Robert McGiffin Karen Wallace 

David Miller Judith Walsh 

Kenneth Morris Connie Wanke 


Faculty Virginia Greene Peter G. Sparks 

Don B. Heller 

Students Carol Forsythe Shelley Reisman 

Christine Leback Denise Thomas 

Margaret Loew Timothy Vitale 

Intermuseum Conservation Association 

Faculty Marigene H. Butler Abraham Rosenzweig 

Students Gary Alden Ann Hoenigswald 

John Bertalan Lance Mayer 

Karen Crenshaw Bruce Miller 

Betty Engel Martin Radecki 

Marie Fox 


Faculty Noel Kunz 

Students Mary Ballard Trudy Schwartzman 

Michelle Gewirtz Jack Soutanian 

Nancy Harris Robert Tichane 

Nancy Lee Steven Weintraub 

Sarah Riley 

Canadian Conservation Institute 

Students Michael Gates Michele LaRose 

Deborah Jewett Glen Sisk 

Fogg Art Museum 

Staff Arthur Beale 

Apprentices Evi Holmberg 

xvii 

Leon Studolski 

Barbara Kroll

A BRIEF HISTORY OF CONSERVATION TRAINING AT THE 

FOGG ART MUSEUM/STRAUS CENTER FOR 

CONSERVATION, HARVARD UNIVERSIT Y ART MUSEUMS 

The history of conservation at the Fogg Art Museum is intimately 

linked to one of its early directors, Edward Waldo Forbes. Forbes's interest 

in the technical studies of artworks purportedly began in 1899, when 

he bought Girolamo di Benvenuto's Virgin and Child with Saints Nicholas 

of Tolentino, Monica, Augustine, and John the Evangelist (Fogg Art 

Museum, ace. no. 1927.206). During his directorship (1909 to 1944), 

Forbes's efforts to guide the treatment and study of this painting spanned 

many years and could be considered a guiding thread in the early development 

of conservation and technical research at the Fogg. The museum's 

newly renovated Straus Center for Conservation and its training program 

have grown out of the long tradition of conservation activities that began 

with Forbes's preoccupation with understanding the deterioration and 

treatment of this painting. 

Under Forbes's directorship, the Fogg Art Museum evolved into a 

teaching art museum, a place that he considered an "art laboratory" for 

the students. Forbes repeatedly emphasized the importance of training 

museum professionals in the fine arts to care for the works in their col- - 

lections as fragile physical objects. According to Forbes, "A curator's 

guardianship calls for expert knowledge of physics and chemistry as they 

apply to his profession. 

1. This material was compiled by Henry Lie in collaboration with Francesca 

Bewer and Ron Spronk, who are currently working on a research project initiated 

by the Harvard University Art Museums on the early history of conservation and 

technical studies at the Fogg Art Museum (1920-1950). An important unpublished 

source is R. Spronk, "Art History, Science, and the Mongrel Pup that Had 

Crawled Through the Academic Fence': The First Two Decades of Conservation 

at the Fogg Art Museum." The description of the later history of the center is 

largely taken from Arthur Beale's article in the National Institute for 

Conservation's 1984 publication, The History and Future Directions of 

Conservation Training in NorthAmerica. 

2. See Elizabeth H Jones, "A Saga of Conservation," in exhibit catalogue, 

Edward Waldo Forbes, Yankee Visionary (Cambridge: Fogg Art Museum, 1971), 

99-123. 

3. E. W. Forbes, "The Fine Arts in a Laboratory," Harvard University, Division of 

Fine Arts, Fogg Art Museum, March 1924, 7ff 

21

The detection of forgeries was, in his mind, another important function 

of the museum professional, requiring a good technical understanding of 

works of art. 4 There was no formal conservation training program at the 

Fogg in the early days. Many students of art history at Harvard during the 

twenties and thirties took Forbes's course on "Methods and Processes of 

Painting"—commonly known as the "egg and plaster" course. Students 

learned how to prepare wooden panels with gesso ground for egg tempera 

paintings and to make fresco paintings. They were even taught the restorer's 

strappo technique in a project to remove frescoes from Forbes's home 

and later from the walls of the museum. 

Forbes also taught a graduate course, "Problems in Attribution in Light 

of Recent Developments in the Technical Study of Paintings." A large 

number of his students from the Division of the Fine Arts at Harvard 

University (as the Department of History of Art and Architecture was then 

called) went on to become curators and directors in museums around the 

country. Through them, Forbes's interests in the care of collections (i.e., 

toward conservation) and in scientific research spread to other influential 

organizations. 

Some students became fascinated by the conservation problems and 

practical work that was being done at the Fogg. Forbes had initiated a formal 

program for the cleaning and preservation of the museum's collections 

in 1927, and in 1928 established an independent department for conservation 

research—the first such museum department in the United 

States. For over two decades, the Department for Technical Studies 

(renamed Department for Conservation and Technical Research in 1931 

and the Center for Conservation and Technical Studies in 1976) played a 

crucial role in establishing conservation science as a new academic discipline 

in the United States. One of the means by which they achieved this 

was through the publication of Technical Studies in the Field of the Fine 

Arts—often abbreviated to Technical Studies—that was published 

between 1932 and 1942 and was the first scholarly journal in English to 

provide an international arena for discussion of conservation-related 

issues and technical research. The department's initial staff consisted of 

an art historian (George Stout), a radiographer (Alan Burroughs), a 

chemist (Rutherford John Gettens), and a restorer (Charles Durham, soon 

to be followed by Arcadius Lyon), and provided an early example of successful 

multidisciplinary research. 5 

4. Ibid. 

5. R. Spronk, "The Early Years of Conservation at the Fogg Art Museum: Four 

Pioneers," Harvard University Art Museums Review 6 (1996), no. 1, Iff. 

22

Over the years, enthusiastic students would apprentice themselves to 

members of the department. The first to do so was Sheldon Keck, who 

practiced "benchwork" under Arcadius Lyon; others followed suit and 

many became distinguished conservators. 6 

Forbes and members of the department were involved in important discussions, 

regarding professional training of conservators, that arose both 

in national and international arenas from the twenties onwards. In 1920 

Forbes presented his views on conservation and preservation to the larger 

audience of the College Art Association. 7 He encouraged art collectors 

in the United States to take better care of their newly acquired objects and 

to consider factors such as temperature and humidity control, as well as 

"noxious gasses, dirt, flies, and physical injury of various sorts," 8 principles 

and ideas that were well ahead of the times. 

Rutherford Gettens and Elizabeth Jones in their laboratories. 1950. 

6. See A. Beale, "Conservation Training at the Fogg: Moving into the Second 

Half Century," in The History and Future Directions of Conservation Training 

in North America (Washington, D.C.: National Institute for the Conservation 

of Cultural Property, Inc., 1984), 5. 

7. E. W. Forbes, "The Technical Study and Physical Care of Paintings," Art 

Bulletin 2 (1920), 160-170. 

8. Ibid., 164. 

23

In 1930, George Stout represented the United States in Rome at the 

International Conference on the Examination and Conservation of Works 

of Art, organized by the International Museum Office. 9 The meeting was 

the very first attempt to establish international regulations for restorers 

and their training, in response to a growing dissatisfaction with the field 

of art restoration, which "was a trade, a craft in which the craftsmen could 

lay claim to diverse and irregular funds of knowledge and ability." 10 

Stout presented a paper titled "Technical Research at the Fogg Art 

Museum, Harvard University." Years later he was credited as "the person 

who first laid down the ideas of modern conservation and took the subject 

a complete step forward." 11 In his lecture he also described the museum's 

important role in connection with the teaching of art history and 

concluded that "throughout this work of teaching and investigation...not 

the least important part of the problem is to find, as nearly as we can, the 

proper limits of the technical field... and we shall have to hope that experience 

will help us to bring all of it together into an ordered region of 

study." 12 

During World War II, conservation training at the Fogg nearly ceased, 

as much of the collection was taken to safety and members of the department 

were called to service. After the war, George Stout and Rutherford 

Gettens drafted a proposal for the reorganization of the Department of 

Conservation at the Fogg, which included recommendations for training 

"designed to prepare qualified persons for the practice of museum conservation; 

study programs to be adjusted as far as possible to the requirements 

of the Graduate School." 13 The proposal was commented on and 

supported by numerous conservators and museum directors, including 

Harold Plenderleith, Helmut Ruhemann, Paul Coremans, Murray Pease, 

and Sheldon Keck. Many reviewers agreed on the urgent need for professionally 

trained conservators. 

9. G. L. Stout, "Thirty Years of Conservation in the Arts: A Summary of Remarks 

to the IIC American Group in New York, June 1963," Studies in Conservation 

9, August 1964, 126. 

10. Ibid. 14. 

11. R. J. Gettens, "IIC, an International Association of Conservators," Museum 

News 47 (1969). 

12. G. L. Stout, "Technical Research at the Fogg Art Museum, Harvard 

University," in Actes du Xlle congres international de l'histoire de Part, 

Brussels, 20-29 September 1930, Brussels, Musees Royaux des Beaux-Art 

deBelgique, 282-291. 

13. Quoted by A. Beale, 1984, 5. 

24

Stout left the Fogg in the same year, and the proposed "reorganization" 

of the department did not take place. The question of training was, however, 

further investigated by the new museum director, John Coolidge, 

who, after consulting with a large number of museum directors around the 

country, decided not to develop a professional training course at the Fogg. 

Nevertheless, throughout the 1950s and 1960s, the connection between 

the Fine Arts Department and the Conservation Department (then run by 

Elisabeth Jones) continued. Fine arts graduate students could arrange for 

special tutorials and research in the department, which also accepted a 

limited number of apprentices—for three-year periods, on average. 

During this period the Fogg trained numerous conservators. These 

include Marigene Butler, who recently retired as head of the Conservation 

Department at the Philadelphia Museum of Art; Jean Woodward, who is 

now at the Museum of Fine Arts, Boston; Arthur Beale, who later headed 

the Harvard University Art Museums' objects and sculpture laboratory, 

directed the center, and is currently director of conservation and scientific 

research at the Museum of Fine Arts, Boston; and Marjorie Cohn, who 

later headed the paper laboratory and also served as director of the center 

and as interim director of the Harvard Art Museums. 

Throughout this period the Fogg Conservation Department was in part 

dependent on funds derived from fee-for-service work. The examinations 

and unique conservation problems inherent in projects from other collections 

have been a rich resource for both training and research, which continues 

to this day. 

Two of the conservators trained at the Fogg were instrumental in establishing 

some of the existing conservation training programs in the United 

States. Sheldon Keck, among the department's earliest conservation students, 

helped create the programs at New York University and later at 

Cooperstown. Richard Buck, having been brought up in this tradition, 

formalized the approach when he left the Fogg and started the 

Intermuseum Conservation Association (ICA) at Oberlin College in 1952. 

ICA had a conservation training history that in many ways parallels the 

Fogg's. It formed a close association with its host college, so that by 1968 

Oberlin offered a combined undergraduate major in conservation. In 1969 

they formalized their laboratory internship, and the following year a generous 

Ford Foundation grant saw the development of the ICA/Oberlin 

College graduate conservation training program. This program was 

administered for eight years with National Endowment for the Arts 

(NEA) and Andrew W. Mellon Foundation support. It graduated fifteen 

students. 

25

The Fogg's formal apprenticeship program began in 1972 and in the 

eight years of its existence awarded certificates to eleven graduates. 

Elizabeth Jones, Marjorie Cohn, and Arthur Beale were responsible for 

formalizing the apprenticeships. In a memo dated December 10, 1971, to 

Daniel Robbins, then director of the Fogg, Miss Jones initially argued 

against undertaking a large-scale conservation training program for several 

reasons. First, she was concerned about job placement, noting that 

"unless the economy takes an enormous leap forward, there will be severe 

competition for jobs. . .." Second, she felt it was inappropriate to undertake 

an extensive program of professional training until a "research laboratory" 

was in working order. Saving her strongest argument for last, she 

proposed the following: 

. . . We can make our greatest contribution in the unique function 

we have here teaching our own students of Fine Arts about 

the history of materials and techniques and about conservation, 

and in continuing our collaboration with the curators, faculty, 

and students in investigating problems in art history and in 

archaeology. We should like to extend these aspects of our work 

in a more substantial and organized format. 

The first prerequisite for the preservation of a work of art is an 

intelligent understanding of the physical nature of its materials 

and handling during its previous existence. The time, energy, and 

money spent in training your professionals in conservation will 

be wasted if the next generation of museum men, archaeologists 

and art historians, trustees and collectors (who will be hiring the 

professionals) are left in a state of ignorance. 

In the end, a small formal program was initiated, and in February of 

1972 two proposals went to the NEA to "expand and regularize our contribution 

to the training of professional "conservators" and "to increase a 

research facility." By the fall of 1972, a basic curriculum for the apprenticeship 

program had been developed and was being put into practice. 

Throughout the year, much was discussed and written about the role of 

science in the Fogg's training efforts, which was simply stated in an early 

document: "Our expanded program of training new conservators brings 

an obligation to provide a solid ground in the aspects of modern science 

which relate to the problems of the conservation of works of art." 

Although the Fogg did receive NEA support that year for the conservation 

training program, it was not initially successful with the funds for the 

26

scientific research facility. Part of the conservation training award from 

the NEA in 1973 permitted the renovation of space for the new laboratory, 

and more significant funding for the science facility ultimately came 

in December of 1973 as a grant from the Mellon Foundation. After 1973, 

the training programs and the center as a whole grew steadily each year. 

The conservation library was expanded, guest specialists participated, and 

the curriculum was further refined. 

View of a portion of the objects and sculpture laboratory in the newly renovated 

Straus Center for Conservation. 1996. 

27

In 1975 when ICA accepted its last students (who would graduate in 

1978), it reasoned that resources could not be adequately divided between 

the training of beginning conservation students and the demands of a 

regional conservation production facility. In anticipation of this potential 

conflict, the Fogg program had accepted a relatively small number of students, 

who were a mix of apprentices enrolled for a three-year training 

period and advanced-level interns accepted for a one-year formal program. 

The goal was to put one intern and one apprentice in each laboratory 

discipline. Nevertheless, after the end of the ICA program, pressure 

mounted from the NEA and from a majority of the conservators at the 

Fogg to end the apprentice program. Hence, as each apprentice graduated, 

his or her position was replaced by a formal internship. The overall 

number of six trainees was thereby maintained through this transitional 

period. Dwindling annual support from Mellon and NEA in the later 

1980s and early 1990s resulted in lowering the number of students to 

three, one in each of the conservation laboratories. As of this date, the 

program has trained 111 students. 

The department changed its name in 1994 from the Center for 

Conservation and Technical Studies to the Philip A. and Lynn Straus 

Center for Conservation in recognition of the generous support of these 

long-term benefactors of the museums. The purpose of the Straus gift was 

to provide significant initial funding for the renovation of the laboratories 

and to endow treatment and research activities related to the museums' 

collections. The endowment has made it possible for the center to cut 

back on its fee-for-service regional center activities and to limit outside 

work to projects that match the teaching and research needs of the program. 

The completely renovated center opened in November of 1996. 

Two years of careful planning with Samuel Anderson Architect and all 

staff members resulted in beautiful and efficient climate-controlled spaces 

for the paintings, paper, analytical, and objects and sculpture laboratories. 

A new wing was also added in order to accommodate a new library, 

offices, seminar room, and an X-ray facility, greatly increasing the space 

available for all of the laboratories. 

Under the leadership of the Museums' director James Cuno, the future 

of teaching and research at the Straus Center remain bright. Two research 

associate positions were recently added for technically inclined art historians 

to work with the center's scientists, conservators, and students for 

three-year intervals. More than at any time in the past, the University is 

offering both financial and intellectual support for the training of conservators. 

28

A HISTORY OF THE CONSERVATION CENTER, 

INSTITUTE OF FINE ARTS, 

NEW YORK UNIVERSITY 

The Conservation Center of the Institute of Fine Arts at New York 

University is dedicated to the study of the technology and conservation of 

works of art and historic artifacts. The center prepares students for careers 

in conservation through a four-year graduate-level program that combines 

practical experience in conservation with art historical, archaeological, 

architectural, anthropological, curatorial, and scientific studies. 

The Conservation Center is located in the Stephen Chan House, which, 

together with the James B. Duke House, comprises New York 

University's Institute of Fine Arts. In addition to the Institute's faculty and 

library, the Center enjoys ready access to the curators and collections of 

the Metropolitan Museum of Art and other nearby museums, galleries, 

private collections, auction houses, historic properties, and monuments. 

The Center acts as a focal point for the learning and doing of conservation 

in all its aspects. A lively program of visiting professionals, averaging 

over forty per year, enhances the formal course offerings, which are 

supported by a distinguished faculty, flexible and well-equipped studios, 

and a library supporting the research needs of students and over 200 visiting 

scholars a year. The Center also reflects the broader community of 

conservators in the New York area by hosting numerous professional 

events. 

Beginnings 

In the late 1950s, when the Fogg Museum at Harvard University ceased 

to accept apprentices, no opportunities for formal academic training in 

conservation existed in North America. To foster the idea of a training 

program under the jurisdiction of a university, Sheldon Keck suggested to 

Craig Hugh Smyth, director of the Institute of Fine Arts, that the school 

consider introducing coursework in art conservation. As the Institute's 

mission was to provide graduate education in art, archaeology, and museum 

training, conservation seemed a logical addition to its curriculum. A 

conference that included lectures by Carolyn and Sheldon Keck, conservators 

at the Brooklyn Museum, was sponsored by the Rockefeller 

Foundation to explore the prospect of conservation education. The outcome 

was a statement justifying the need for such a program. The statement 

convinced the Institute of Fine Arts to move forward and provided 

a compelling argument for funding. 

29

In 1958, a proposal was submitted to the Rockefeller Foundation 

requesting initial financial support. In addition to Sheldon Keck and Craig 

Hugh Smyth, other signees included George Stout, director of the Isabella 

Stewart Gardner Museum; Murray Pease, conservator at the Metropolitan 

Museum; and Frederick B. Adams, Jr., director of the Pierpont Morgan 

Library. 

The application was successful, and in 1960 the Conservation Center 

opened its modest laboratory in the cellar and sub-basement of the James 

B. Duke House. Five students were accepted into the first class, which 

included such well-known names as Mary Todd Glaser, Phoebe Dent 

Weil, and Benjamin Johnson. Shouldering the mantle of directorship in 

1961, Sheldon Keck guided the Center through its formative years until 

1965. Over time, consultants and instructors were hired, including 

Lawrence J. Majewski, who became chairman in 1966, and Norbert S. 

Baer, who first came as a graduate student in September 1964 in the 

Department of Chemistry. Dr. Baer joined the faculty in 1969 and today 

is Hagop Kevorkian Professor of Conservation. George Stout, Murray 

Pease, Robert L. Feller, Seymour Z. Lewin, Edward V. Sayre, and 

Rutherford J. Gettens all shared their knowledge and expertise during 

these early years. Other conservation notables, among them Harold P. 

Plenderleith, Stephen Rees Jones, Hubertus von Sonnenburg, Nathan 

Stolow, and Leonetto Tintori, served on a Board of Consulting Fellows, 

later joined by Joyce Plesters, a frequent visitor and guest lecturer. 

The Curriculum 

The curriculum was based, in George Stout's words, on a "three-legged 

stool" of science, art history, and practice. Time has proven it to be sound 

and, at the same time, responsive to changes in the field. 

In the first two years, while requirements for the master's degree in art 

history are being completed, students follow a mandatory two-year cycle 

of introductory courses in conservation. These courses are designed to 

complement one another and include lecture as well as laboratory instruction. 

Students may enroll in practical courses in areas of their specialization 

as prerequisite coursework is fulfilled. Students gain more intensive 

conservation experience through advanced fieldwork during the third 

year, culminated by the internship in the fourth year. Advanced conservation 

projects and internships are typically carried out in major museums 

in the New York area, as well as leading cultural institutions across the 

country and abroad. 

30

Other degree requirements, including French and German language 

exams and two qualifying papers of publishable quality, are also satisfied. 

Upon graduation, a master's degree in art history and an advanced certificate 

in conservation are conferred. 

The Stephen Chan House, Conservation Center, Institute of Fine Arts, New York 

University. 

31

The Program Grows 

In 1983, after over two decades in the Duke House, the Center moved 

into the nearby Stephen Chan House. Originally a private town house, its 

1917 facade was kept intact, while its interior was demolished to create 

twelve thousand square feet of functional space. Designed by architect 

Michael Forstl with guidance from then co-chairman Norbert S. Baer, the 

new Conservation Center was equipped with teaching and research laboratories, 

library and study rooms, photo studios, office spaces, and versatile 

studio spaces flooded with northern light. 

The newly expanded facility could accommodate more students and 

offer more diverse courses. For example, the cooperative agreement with 

the School of Library Service of Columbia University, begun by Paul 

Banks and Norbert S. Baer in 1981, flourished. A total of twenty-six 

Columbia University students attended courses and carried out research 

at the Center until 1989. 

Following the retirement of Lawrence J. Majewski, Margaret Holben 

Ellis became chairman in 1987. Under new leadership, the program continued 

to evolve in response to shifts in the profession and external 

reviews. Certain aspects of the existing curriculum were modified and 

entirely new course offerings were designed and implemented. 

Recognizing the national need for improved instruction in the conservation 

of archaeological and ethnographic materials, a pilot course of 

studies was introduced in 1988-89 which later became a permanent part 

of the curriculum. In addition to formal seminars, the program includes 

colloquia on timely topics such as repatriation, related legislation, and 

current issues within Native American communities. These colloquia are 

open to the local conservation community and provide a forum for lively 

discussion. The Institute's involvement since 1963 in archaeological 

excavations also supplements classroom instruction. To date, over seventy 

students have traveled to such disparate sites as Greece, Turkey, Italy, 

Egypt, Crete, Australia, Israel, Cyprus, and the southwest United States to 

participate as on-site conservators. Instruction in the conservation of 

material culture collections continues to be in high demand and has been 

bolstered by support from the National Endowments for the Arts and for 

the Humanities. 

In 1991, the paintings conservation curriculum was augmented by the 

establishment of the Samuel H. Kress Program in Paintings Conservation. 

The basis of this program is the examination and treatment of predomi- 

32

nantly early Italian Renaissance paintings selected from Kress Regional 

Collections around the United States. The students are supervised by 

Dianne Dwyer Modestini, with two supporting staff holding three-year 

positions of associate conservator and fellow respectively. The Kress program 

has met with great success; to date, 131 paintings have been examined, 

treated, and extensively documented. The paintings have provided 

highly effective learning experience for both conservation and art history 

students, and have, in several instances, resulted in qualifying papers 

written in fulfillment of the requirements for the art history degree. 

The long overdue recognition of photographs and negatives as significant 

cultural materials led to the introduction, in 1994, of a pilot workshop 

organized by Nora Kennedy in the fundamentals of photograph conservation. 

It was received with great enthusiasm, and, with the generosity 

of Joseph E. Seagram and Sons, was expanded into a full semester 

course now offered biannually. In the years since the inception of the 

introductory class, several students have pursued this specialization. 

Thanks to the Andrew W. Mellon Foundation, they can now continue 

their studies through graduate fellowships offered at designated museums 

and the George Eastman House and by attending a series of advanced 

workshops. 

Officially inaugurated in 1990, the summer program has become a significant 

aspect of the Conservation Center's activities. Designed to provide 

midcareer training for museum professionals, the program is also a 

means of utilizing the Center's facilities during summer months and intersession. 

Offerings have included gilding, housekeeping in historic properties, 

twentieth century materials, and the indoor environment, among 

others. 

The Conservation Center Community 

The Conservation Center has always been a dynamic gathering place 

for conservation students and professionals from around the world. In 

addition to the eight matriculating students accepted each year, special 

students from abroad, invited Fulbright scholars and postgraduate fellows, 

and a continuous stream of international visitors add diversity to the 

in-house community. Augmenting the ranks is an impressive roster of 

adjunct faculty made up, on average, of twenty-three leading conservators 

and scientists. 

33

Despite the hectic present, the past must be remembered if it is to be 

kept alive. In 1995, the thirty-fifth anniversary of the Center was marked 

by a symposium attended by students, faculty, friends, and alumni. Noted 

speakers included graduates W. Thomas Chase, Shelley Fletcher, Norman 

Kleeblatt, Joyce Hill Stoner, Michele Marincola, Heather Lechtman, and 

Mary Todd Glaser. 

Milestones of those associated with the Center have also been celebrated. 

In March 1999, a symposium in honor of the eightieth birthday of 

Lawrence J. Majewski was hosted. The festive day marked the publication 

of a Festchrift and the establishment of a rare book fund to strengthen 

the Center's collection of books and manuals on historic techniques, 

materials largely acquired through the efforts of Larry Majewski and 

Harry Bober. 

Graduate, faculty, students, and friends gathered for a symposium to commemorate 

Lawrence J. Majewski's eightieth birthday. 

34

Future Directions 

In keeping with the mission of the Conservation Center, new programs 

that address underserved areas of the profession continue to be introduced 

on a trial basis. In 1999 a course was begun on the conservation of the 

built environment, a pilot project catalyzed by current interest in the 

preservation of historic buildings. The course does not focus on structural 

conservation, but rather on the architectural ornamentation integral to 

an often still-functioning building. A New York City historic house serves 

as the laboratory for the course. 

The Conservation Center has expanded its teaching venues to New 

York University's recently acquired estate in Italy. The property is located 

in the hills above Florence and comprises vineyards, orchards, and five 

villas scattered across fifty-seven rolling acres. The centerpiece of the 

estate is the fifteenth-century Villa La Pietra, donated to the university in 

1994 by Sir Harold Acton. The villa houses an extensive and relatively 

undisturbed collection of early Italian paintings, polychrome sculpture, 

eighteenth-century furniture, porcelains, and textiles. Conservation 

Center personnel are currently developing programs to survey and treat 

portions of the collection and to provide on-going assistance in its maintenance. 

As the Conservation Center enters its sixteenth year in the Chan House, 

its physical spaces must be reevaluated. When the building was originally 

designed, spaces were designated according to prevailing areas of specialization. 

Since that time, the scope of the profession has expanded and 

new directions have evolved. In order to accommodate these changes, 

five floors of the Center need to be reconfigured and renovated. 

Improvements such as these highlight the need for continued funding 

initiatives in support of the Center and, especially, to provide financial 

assistance for its students, who are weighed down by ever-increasing 

tuition and costs of living. The Center has been fortunate to have had 

many long-time supporters, including among others, the J. Paul Getty 

Trust, Hagop Kevorkian Fund, Hebrew Technical Institute, Conservation 

Analytical Laboratory (Smithsonian Institution), National Endowment 

for the Arts, Samuel H. Kress Foundation, Andrew W. Mellon 

Foundation, Shelby White and Leon Levy, National Endowment for the 

Humanities, Dedalus Foundation, Ida and William Rosenthal Fund, 

Joseph Seagram and Sons, Lauder Foundation, Plumsock Fund, Thaw 

Charitable Trust, Alcoa Foundation, Sherman Fairchild Foundation, Lila 

Acheson Wallace Fund, Trust for Mutual Understanding, Loeb 

35

Foundation, Pew Memorial Trust, and a multitude of additional gifts and 

grants from friends, alumni, and corporations. Without their support, the 

Center could not maintain its tradition of excellence in conservation education. 

It seems appropriate on the occasion of ANAGPIC's twenty-fifth 

anniversary to observe that conservation education in general and the 

graduate programs in particular have had an enormous positive impact on 

the profession. ANAGPIC's graduates are the reason. They bear witness 

to the strengths of the North American graduate programs and will guarantee 

the continued viability of conservation education in the new millennium. 

36

HISTORICAL SKETCH OF THE GRADUATE 

CONSERVATION TRAINING PROGRAM, 

INTERMUSEUM CONSERVATION ASSOCIATION, 

OBERLIN COLLEGE 

The Intermuseum Conservation Association (ICA) was founded in 

1953 by the directors of six major Midwest museums to provide professional, 

high-quality, and cost-effective art conservation services. The conception 

of Charles Parkhurst, director of Oberlin College's Allen 

Memorial Art Museum, and Richard Buck, who was then working at 

Harvard University's Fogg Museum, the ICA was established within the 

Allen to provide its staff with access to the faculty of Oberlin's chemistry 

and art history departments. Under the direction of Mr. Buck, the laboratory 

grew rapidly, expanding its staff to meet the demand of the many 

local museums that turned to it for much-needed conservation services. 

Buck's development of an innovative treatment of wood panel paintings 

led the ICA to host numerous visiting conservators and an international 

conference on picture varnishes, as well as to publish a ground-breaking 

book on that subject by Stolow, Feller, and Jones. 

In 1970, the ICA formally initiated a conservation training program 

with a particular focus on the training of paintings conservators. 

Supported by Ford Foundation funding, the new program provided students 

with three years of training. The plan was to train a total of nine 

conservators over a five-year period; instead, the program was later continued 

for three additional years. Ms. Marig ene Butler was hired in 1973 

to direct the ICA's conservation laboratory, while Mr. Buck continued as 

head of the training program. He left the following year, however, to 

establish the Balboa Conservation Center, which operated on the same 

principles as the ICA. 

The responsibility of maintaining both the conservation laboratory and 

the training program placed excessive demands on the ICA staff. Despite 

the training program's success in graduating conservators who went on to 

distinguished careers in conservation (as is evident in the list of its graduates 

in this history of the programs), the program was terminated in 

1978. The ICA conservation laboratory continues through the present. 

37

HISTORY OF THE 

ART CONSERVATION DEPARTMENT, 

BUFFALO STATE COLLEGE 

Early Years in Cooperstown 

In September 1970, the Cooperstown Graduate Program in the 

Conservation of Historic and Artistic Works, located in the small historic 

village of Cooperstown in upstate New York, admitted its first class. It 

was the second of its kind in the United States, a three-year program 

awarding graduates a master's degree and a certificate of advanced study 

in art conservation. Affiliated with the State University College at 

Oneonta, the program was located twenty-five miles north of the college 

in a facility adjacent to the headquarters of the New York State Historical 

Association (NYSHA) on the shores of Lake Otsego, James Fenimore 

Cooper's "Glimmerglass." NYSHA provided the new program with 

important resources, notably its research library and fiscal services. With 

the financial backing of the Rockefeller Brothers Fund, the John D. 

Rockefeller III Fund, and the National Endowment for the Arts, the program 

had been designed by the distinguished American paintings conservators, 

Sheldon and Caroline Keck, who served as its first co-directors 

and instructors. Both Kecks looked back on preeminent conservation 

careers that began with studies at the Fogg Art Museum and continued, in 

the 1930s, with the establishment of conservation laboratories at both the 

Brooklyn Museum and the Museum of Modern Art. As advocates and 

educators, they introduced the public and museum professionals to the 

importance of modern conservation. They apprentice-trained a number of 

new professionals in the 1950s and helped establish the first graduatelevel 

training program at New York University for which Mr. Keck served 

as the first director. The first announcement brochure for their new independent 

program in Cooperstown described the three-year course of studies 

as being "for persons who want a career preserving and restoring collections 

of documents and artifacts of man's past." The curriculum was 

noted as providing students with two years of "comprehensive study in 

conservation methods and techniques," followed by a "one year's internship 

applying acquired skills under the supervision of an established conservator." 

The program occupied the second floor of a new building that had been 

designed specifically for the teaching of paintings, paper, and objects conservation, 

as well as the areas of conservation science and technical 

examination and documentation. The conservation facility included two 

39

large studios, a photography suite with darkrooms, a science laboratory, 

an examination room, two artifact storerooms, a chemical storage room, 

a classroom, a conference room, and a wood-metal workshop. The latter 

three spaces were shared with the college's Biology Department, which 

infrequently used them except in summer months. The laboratories were 

furnished with then-modem equipment that included a hot-table for the 

treatment of paintings; a small radiography unit; binocular, research, and 

student microscopes; a spectrophotometer and other basic analytical 

instrumentation; and hand and power tools for wood and metal working. 

The program also established the nucleus of its present conservation 

library. 

In the first program year, the faculty, supported by a secretary, consisted 

of the Kecks, both on half-time appointments as co-directors and professors, 

teaching the paintings and examination documentation courses, 

and a full-time Ph.D. scientist, Dr. Donald Sebera, teaching conservation 

science. Two other instructors joined them the following year. Marilyn 

Kemp Weidner, a well-known Philadelphia paper conservator, taught 

paper conservation on a contract basis. The courses in objects were first 

given in the second year by the internationally known Polish conservator, 

Dr. Hannah Jedrzejewska, and then by the New York City conservator, 

Rostislav Hlopoff. Occasional guest speakers complemented the instruction 

provided by the faculty, although the rather isolated site of the program 

made such visits difficult and hence infrequent. Over the rest of that 

decade a number of different instructors taught the paper, objects, and science 

specialties. 

Under the Kecks' guidance and with the generous support of private 

foundations and endowments, notably the Andrew W. Mellon Foundation 

and the National Endowment for the Arts, the program thrived. Lecture 

classes acquainted students with traditional materials and manufacturing 

techniques, while laboratory sessions provided direct experience in replicating 

the latter. Students learned the technical and scientific methods 

employed in the examination and documentation of artifact structure and 

materials and the chemical and physical causes of their deterioration. 

Then, irrespective of their planned area of specialization, all students 

completed paintings, objects, and paper treatment projects during their 

first three semesters. It was only in the fourth semester and third-year 

internship that students focused singly on the chosen specialty. This firsthand, 

broad introduction to all areas of conservation was, and remains, an 

essential aspect of the curriculum. Such experience allowed graduates to 

draw on materials and techniques from all specialties in devising conser- 

40

vation treatments in their chosen area of specialization and ensured that 

each graduate had learned to work effectively with colleagues in other 

specialties. 

Other courses covered the ethics of conservation practice and required 

each student to carry out a special project consisting of a complex treatment, 

a research project, or a combination of both. Although not a formal 

academic requirement, students spent two of the summer months on conservation 

work projects arranged by the department. These projects provided 

them with valuable first-hand experience and allowed them to 

serve as advocates to the public on the value and importance of professional 

conservation in the care of collections. Today, students continue to 

spend the summers in similar activities; since 1990, however, projects 

have been arranged directly between students and supervising conservators, 

with the department serving as a clearinghouse for these employment 

or fellowship opportunities. 

The program's reputation for graduating conservators possessing an 

appropriate balance of knowledge and skills quickly grew. Students 

secured third-year internships under leading senior conservators in their 

chosen specialty, and the ten new graduates each year were offered prestigious, 

often very responsible positions in laboratories of individual 

museums or of a sponsoring consortium of member museums. These 

developments also resulted in application to the program of ever-betterqualified 

applicants from throughout the United States and abroad. 

The Art Conservation Department at Buffalo State College 

Although the program was successful in Cooperstown, by the end of 

the 1970s persistent questions had been raised about the suitability of its 

site and the adequacy of its physical plant. Enrichment of instruction 

through visiting lecturers occurred less frequently than desired due to the 

isolated location of the program, and interactions between the college and 

the program occurred only at the administrative level. The original building 

was proving insufficient in terms of both available work space and climate 

control, and its configuration precluded separate laboratories for the 

paintings and objects specialties. 

As a result of discussions among all concerned parties, the administration 

of the State University of New York (SUNY) realized that the needs 

of the Cooperstown program could be far better met by a larger, betterdesigned 

facility on the campus of a preferably urban parent institution. 

Shortly after the resignation of the Kecks in 1981, Buffalo State College, 

41

which has substantial strengths in the visual arts, agreed to assume 

responsibility for the program and to invest $1 million in the creation of 

a modern space designed by the program's faculty specifically and solely 

for instruction and research in conservation. In doing so, the college also 

formalized the positions of a number of the temporary faculty so that all 

six of the program's full-time instructors were on tenure-track appointments. 

By administrative transfer in 1983, the program became the Art 

Conservation Department of Buffalo State College, relocating in its 

entirety to the college's campus in the summer of 1987 upon completion 

of the new teaching facility. 

Within the next several years, Buffalo State provided its new department 

with more than $200,000 for additional equipment for conservation 

treatments, instrumental methods of analysis, technical examination, and 

radiography. The department's environmentally controlled laboratories 

are now well provided with the most modern instruments and tools used 

in conservation, examination, documentation, and conservation science. 

The department is one of the few on the college campus that manages its 

own library, which has holdings exceeding 2000 volumes and 40 periodical 

subscriptions. Computers in all work spaces provide access to electronic 

library and internet databases. 

Besides these dramatic improvements in facilities, the move to Buffalo 

State College permitted growth in curriculum and other educational initiatives. 

Substantial grants and endowments, that together amount to 

approximately $4.5 million, have provided the department with a solid 

financial basis for student fellowship support and for many other crucial 

department operations. The latter include support of the guest lecturer 

program and the institution of special lectureships on the conservation of 

ethnographic and archaeological objects, and, most recently, photographic 

and book conservation. Twenty to thirty lectures and workshops by 

guest-consultant conservators and other professionals from North 

America and abroad enrich the program every year. A substantial grant 

from the J. Paul Getty Trust enabled the department to host four Getty 

Senior Fellows for temporary research projects (Irene Bruckle, 1990-93; 

Regina Mangio, 1993; Robert Proctor, 1996; and Jan Burandt, 1997). 

The curriculum has also been enlarged. Technical examination and documentation, 

which began as a one-semester course, was gradually 

expanded to four semesters in the early 1990s in response to the rapid 

growth of technology in this area and through the acquisition of state-ofthe-art 

equipment, especially in the areas of radiography, infrared imag- 

42

ing, and, most recently, digital imaging. In the past few years, special supplemental 

training in photograph and book conservation has been offered 

to a growing number of students wishing to specialize in those areas. This 

training is enhanced via attendance at external workshops, visiting consultants, 

and the pioneering use of electronic long-distance interactive 

The faculty of the Art Conservation Department. From left to right, back row: 

Dr. Jennifer Mass, Dr. F. Christopher Tahk, James Hamm. Front row: Dan A. Kushel. 

Jonathan Thornton, Irene Bruckle. 

43

learning, the latter made possible by access to the college's state-of-theart 

distance-learning facilities. These activities have contributed to the 

national and international recognition of the department as an important 

center of conservation education and development. 

Faculty and Instructors 

Underlying these dramatic changes and ensuring the continuity of the 

original educational mission of the department to provide "comprehensive 

study in conservation methods and techniques," has been a stable, 

full-time faculty, half of whom have been teaching in the department 

twenty or more years. Two of the latter, Dr. F. Christopher Tahk and 

Dan Kushel, are recipients of the AICs Sheldon and Caroline Keck 

Award for conservation education, and both have been recognized by the 

State University of New York through conferal of Distinguished 

Professorships. A third, Jonathan Thornton, was awarded a 1999 Rome 

Prize in Conservation by the American Academy in Rome. The faculty 

continues its commitment to the program's effective and long-standing 

cross-disciplinary approach to conservation education: a continuous, parallel 

two-year course structure involving theory and extensive in-depth 

treatment or practical experience in all major areas of specialization and 

in the supporting areas of science and technical examination, followed by 

a department-monitored one-year internship. 

Conservation Science. During the program's first three years, conservation 

science was taught by Dr. Donald Sebera, previously a college 

chemistry professor with a personal interest in art, and then by Dr. John 

Eklund, Curator of Chemistry at the Smithsonian Institution. In 1974, 

Dr. Christopher Tahk, previously an associate professor of organic chemistry 

at Kent State University, began his long tenure on the faculty. On a 

leave from Kent State in 1972-74, he had completed the first two program 

years to pursue his personal interests in historic artifacts and the 

applications of science in their preservation, and was awarded the M.A. 

and Certificate of Advanced Study in 1975. In his first years with the program, 

he made substantial contributions to the science curriculum, but in 

subsequent years, his duties became increasingly administrative. After 

serving the program as coordinator of academic affairs (1981-83) following 

the Kecks' departure, he was appointed director and chairperson 

of the department. Among his initial responsibilities were the administrative 

and subsequent physical transfer of the department to Buffalo State 

and its growth and expansion since. Beginning in 1980, other scientists 

have assumed principal responsibility for teaching the science courses: 

Stephen Bonadies (1980-81, during Dr. Tahk's sabbatical leave); Dr. Tay 

44

Tahk (1983-1984); Dr. James Argo (1984-85); Dr. John Messinger 

(1986-1993); Dr. Karen Trentelman (1993-95); Dr. Judith Bischoff 

(1995-1997); and beginning in 1999, Dr. Jennifer Mass, an inorganic 

chemist with a specialization in ancient glass and a career that has included 

an advanced fellowship at the Metropolitan Museum of Art and 

research in Europe. 

Paper Conservation. In the area of paper conservation, Marilyn Kemp 

Weidner provided instruction beginning in the program's second year. It 

was during her three-year association with the department that she developed 

and introduced the first suction table to the field of conservation. 

After Ms. Weidner, the curriculum was taught by Katherine Eirk, a specialist 

in bleaching techniques, followed by pioneering photograph conservator 

Jose Orraca. In the following year, the eminent paper conservator 

Keiko Keyes joined the department. It was during this time that 

Ms. Keyes first began to explore the technique of light bleaching—now a 

standard conservation procedure. The year following, English paper conservator 

Keith Holmes taught at the program, followed by Nigerian conservator 

Joseph Nkrumah. In 1978, Cathleen Baker, an American conservator 

trained in England, was hired. Over her twelve-year tenure at the 

department, she laid the foundations of the present paper conservation 

curriculum. Interested in the technology of treatments, she contributed to 

research in enzyme use and established the popular short workshops on 

papermaking and printing that are still taught to first-year students by the 

college's fine arts faculty. 

When Ms. Baker resigned in 1993 to pursue a career in writing and 

book arts, Irene Briickle, a paper conservator and bookbinder trained in 

her native Germany, replaced her. Ms. Briickle came to the department as 

a Getty Senior Fellow in 1990, began teaching in 1991 during Ms. Baker's 

sabbatical year, co-taught with Ms. Baker the following year, and began 

her present full-time teaching role upon Ms. Baker's departure. Under Ms. 

Briickle's guidance, the paper conservation curriculum has developed significantly, 

especially in the areas of conservation history, finishing techniques, 

and connoisseurship. Ms. Briickle also developed new instructional 

programs for students specializing in book and photograph conservation. 

The former area is supported by student access to workshops of 

the distinguished Canadian book conservator Betsy Palmer Eldridge, and 

the latter, by the department's consultant Paul Messier, a program graduate 

and private photograph conservator in Boston. Mr. Messier is accessible 

to students during visits to the department and at other times through 

long-distance learning systems and an interactive web site. 

45

Paintings Conservation and Technical Examination and 

Documentation. From 1970 through 1978, the Kecks were responsible 

for covering both the paintings conservation and examination curricula, 

with Mr. Keck offering lab and lecture courses in historic painting materials 

and technology and in examination and documentation techniques. 

Mrs. Keck was primarily responsible for the paintings treatment portion 

of these courses with assistance from Mr. Keck. In 1978, Dan Kushel, a 

program graduate and then assistant conservator at the Brooklyn 

Museum, returned to the program to co-teach the paintings treatment 

classes with Mrs. Keck and to take over full responsibility for the examination 

and documentation curriculum. Upon the departure of the Kecks 

in 1981, Gregory Thomas, a program graduate, taught the course in historic 

painting technology for the next five years and also co-taught the 

paintings treatment courses with Mr. Kushel. In 1986, James Hamm, a 

program graduate and paintings conservator who had spent a decade in 

private practice, joined the faculty to teach in the same capacity as Mr. 

Thomas. During these years, the paintings curriculum grew substantially 

in depth and breadth. In 1993, Mr. Kushel ceased co-instruction in the 

paintings treatment courses to develop the expanding curriculum in technical 

examination and documentation, and Mr. Hamm became fully 

responsible for the paintings curriculum and its continued growth. Jill 

Whitten, a program graduate in private practice, came to teach the paintings 

conservation classes during Mr. Hamm's one-semester leave in 

spring 1996. 

The technical examination and documentation curriculum, begun in 

1970 as a one-semester course, was expanded to two semesters in 1992 

and to four semesters in 1993. The profession's substantial development 

in this area necessitated these expansions, and dramatic improvements in 

the department's technical examination facilities, especially in the areas 

of radiography, infrared examination, and more recently, image processing 

and digital imaging, made them possible. 

Objects Conservation. Noted Polish objects conservator Hanna 

Jedrezejewska came to the department to teach the objects conservation 

courses during the program's second year. In the following year, 

renowned Russian-American conservator Rostislav Hlopoff, known for 

his work on the Wrightsman collection at the Metropolitan Museum and 

the decorative arts holdings at the Frick Collection, was hired to develop 

and teach the department's first objects conservation curriculum. He continued 

to do so during his memorable seven-year tenure. In the year following 

Professor Hlopoff's 1979 retirement, the objects conservation 

46

classes were taught by Victor von Reventlow, then a member of the staff 

of the Metropolitan Museum. In 1980, upon completion of his internship 

at the Victoria and Albert Museum, program graduate Jonathan Thornton 

began his current teaching at the department. Under Mr. Thornton, the 

objects conservation curriculum has grown substantially in structure and 

breadth, particularly in decorative arts and picture frame conservation. 

Activities at the Art Conservation Department (clockwise from top left): 

Irene Briickle advising student Deborah Linn in the paper conservation laboratory; 

Paul Messier presenting a photograph conservation lecture to a 

group of students via video conference; Jonathan Thornton demonstrating 

historic doll making technology to student Betsy Geiser; student Maria 

Curtis working on a panel painting; Dan Kushel demonstrating infrared 

equipment to student Sara Shpargel. 

47

Additionally, since the move to Buffalo, the curriculum has expanded in 

ethnographic and archaeological conservation through the contributions 

of both Mr. Thornton and adjunct faculty. Most notable among the latter 

are Dale P. Kronkright, a private conservator, who taught full-time during 

Mr. Thornton's 1993 semester sabbatical, and more recently, Ruth E. 

Norton, who taught full-time during Mr. Thornton's spring 1999 leave as 

a fellow at the American Academy in Rome. 

Graduates 

Of the program's 266 graduates (as of 1999) nearly all remain conservation 

professionals. Graduates hold significant positions in major museums 

and conservation facilities in North America and abroad, including: 

the National Gallery of Art, the Phillips Collection, and the National 

Museum of American History, in Washington; the Metropolitan Museum 

of Art, the Brooklyn Museum, and the Museum of Modern Art, in New 

York; the Los Angeles County Museum of Art; the San Francisco 

Museum of Modern Art; the Art Institute of Chicago; the Museums of 

New Mexico; the Bergen Museum of Art in Norway; the Kunsthaus in 

Zurich; and the Kunsthistorisches Museum in Vienna. Many others have 

successful private practices serving museums and individuals. Program 

graduates are also active in professional organizations, where many hold 

leadership positions. 

The Future 

The department's instructional program has undergone a remarkable 

evolution since its 1970 inception. Courses have increased in number and 

content; instruction is provided in new specializations; a wealth of conservation 

equipment, scientific instrumentation, and computers has been 

added; and the department library has expanded manyfold. Yet, through 

these changes, the department has maintained its commitment to provide 

its students with a broad introduction to all major areas of conservation. 

As the field of conservation continues its explosive growth, the department 

faculty look forward to meeting the challenge of ensuring that its 

graduates are prepared for productive careers as conservators working to 

protect the future of the artifacts of human culture. 

48

THE HISTORY OF THE WINTERTHUR/UNIVERSITY 

OF DELAWARE PROGRAM IN ART CONSERVATION 

Introduction 

The Winterthur/University of Delaware Program in Art Conservation is 

a cosponsored three-year curriculum designed to educate and prepare 

graduate students to serve comprehensive needs in the preservation of 

cultural property. Upon satisfactory completion, the student is awarded a 

master of science degree and a certificate in conservation. 

This curriculum is designed to develop essential skills in critical thinking 

and communication; improve hand skills and introduce a spectrum of 

techniques and analyses in the assessment and ethical treatment of cultural 

property; and develop an awareness of conservation literature, connoisseurship, 

and the history of the technology of cultural property. 

Students in this program study with a full-time and adjunct faculty of 

conservators, scientists, and art historians in the preservation of paintings, 

furniture, photographs, books and archival materials, ethnographic and 

archaeological objects, metals, ceramics, glass, stone, natural history collections, 

and textiles. 

Twenty-six conservation studios, analytical laboratories, examination 

rooms, and workshops are used by faculty and students at the Winterthur 

Museum, Library, and Gardens. Students have regular access to the widely 

recognized collections—nearly 100,000 American decorative art 

objects housed in 180 period-room settings and an exhibition building— 

as well as an American material culture library, rare books and collections, 

and a slide library. The University of Delaware campus in Newark, 

Delaware, houses an artists' technique studio, science laboratories, a photographic 

materials conservation and microscopy laboratory, and administrative 

offices. Conservation students utilize analytical equipment in 

many of the university science departments, and the university gallery 

provides additional collection materials for examination and treatment. 

Our graduates—209 as of 1998—are now employed as conservators at 

museums, libraries, archives, and historic houses throughout the world. 

All but four living graduates to date work in the field of conservation or 

allied fields of conservation science, materials science, curatorship, art 

history, publications, or environmental control. 

49

Program Establishment and Curriculum Objectives 

Discussions about the Winterthur/University of Delaware Program in 

Art Conservation began in the mid-1960s with an ever-increasing perception 

at Winterthur and the University of Delaware that both institutions 

had a unique opportunity to collaborate. This perception was coupled 

with a conviction on the part of the Winterthur Board of Trustees and 

staff that what were needed were an expansion of collections care activities 

and an initiative to educate and train individuals to preserve decorative 

as well as fine arts. At that time, it was conceived that this program 

would parallel the previously existing Winterthur Program in Early 

American Culture established in 1952. 

In January 1969, the Winterthur Board of Trustees approved the creation 

of a coordinated program in museum conservation that would utilize 

Winterthur's new conservation laboratories and the facilities of the 

science and humanities departments at the University of Delaware. 

Accordingly, a Winterthur and University of Delaware committee was 

appointed to develop a preliminary proposal for a graduate program in art 

conservation. During the ensuing years, the proposal was refined, and a 

realistic assessment of both financial and staff costs was made. 

Concurrently, an interdisciplinary undergraduate program in the history 

and technology of art materials was developed. This program was intended 

to better prepare interested students for graduate study. 

During 1972, Peter G. Sparks, Ph.D. associate chair of the Chemistry 

Department at the University of Delaware, and Charles F. Hummel, curator 

at Winterthur, worked with the staff and administrators at both institutions 

to further develop and articulate the program's goals, curriculum, 

and graduate admission requirements. Admission requirements would 

include academic prerequisites in chemistry (originally a full year each of 

general, organic, and physical chemistry), art history, and studio art; manual 

dexterity and color blindness tests; a portfolio; letters of recommendation 

addressing suitability for the field; and an in-person interview. As 

a part of this process, existing graduate programs in art conservation were 

studied and analyzed, and leading conservators in the United States and 

Europe were consulted. 

The proposed curriculum was designed to augment the established 

graduate programs by offering teaching specialization and experiences 

not readily available elsewhere, including instrumental analysis and the 

conservation of furniture, textiles, costumes, and the decorative arts. As 

stated in 1973, the objective of this program was to train assistant con- 

50

Pictured are members of the first class of students accepted by the 

Winterther/University of Delaware Program in Art Conservation in the summer of 

1974. From left to right, bottom row: Denise Thomas, Meg Loew Craft. Middle row: 

Christine Leback Sitwell, Shelly Reisman Paine. Top row: Timothy Vitale, Carol 

Forsythe. 

51

servators who were competent in restoring and conserving art and cultural 

objects, who were familiar with analytical techniques that may be utilized 

for materials characterization, and who understood the fundamental 

physical and chemical properties of art materials. 

The curriculum was developed, allowing for a broad introduction to 

conservation practice in the first year, followed by an in-depth second 

year of one-on-one study in a chosen major discipline. A series of coordinated 

conservation blocks and related coursework that focused on the history 

of technology, deterioration, and preservation of specific materials 

such as paintings or works of art on paper became the backbone of the 

first year of study. An examination system was established to evaluate the 

development of students as they progressed through the various phases of 

the program. 

It was agreed that the program graduate would be strong in science and 

art history, as well as an expert craftsperson who could competently 

restore art objects. The value and importance of practical work and the 

need for a carefully selected third-year, off-site internship were also 

strongly noted. This balance of academic, analytical, and practical skill 

was designed to better prepare future conservation professionals. 

By the end of 1973, funding for the first three years of the joint program 

was assured, and both institutions moved forward to implement the mutually 

agreed-upon plans. Owing to its innovative character, an immediate 

national need for highly trained conservation professionals, the availability 

of federal funding subsidies, and high-quality faculty, the program, 

under the directorship of Dr. Peter G. Sparks, was awarded provisional 

status in December 1973. In the spring of 1974, the University of 

Delaware Board of Trustees approved the master of science degree program 

in the conservation of artistic and historic objects. During this same 

year, the first class of six students was accepted. 

In the years to follow, the program faculty worked diligently to maintain 

and improve the high quality of the art conservation program. An 

aggressive development campaign began, focused on securing long-term 

financial support. At the same time, working in partnership with the programs 

at Oberlin, New York University, Cooperstown, and the Fogg 

Museum, a nationwide effort was undertaken to raise the level of awareness 

among museum administrators and curatorial staff about the importance 

and value of academically trained conservators. 

52

Changes in the program requirements during the early years included 

the introduction of a one-credit seminar focused on professional practice 

and involving expert speakers on subjects relating to museum management, 

ethics, art history and connoisseurship, and scientific examination, 

and two eight-week summer work projects. These projects were designed 

to complement coursework with practical application in collection survey 

or remedial conservation. As originally conceived, these projects were to 

take place in cultural institutions lacking conservation programs. 

These summer experiences allowed the student to utilize broad knowledge 

and general skills to address real-world preservation challenges, 

work in a collaborative way with volunteers, trainees, and professional 

peers, and assure a better understanding of the reality of preservation 

needs and priorities in large and small cultural institutions. Since 1976, 

our students have participated in on-site projects throughout the world, 

assisting with the preservation and treatment of archaeological sites and 

house museums, historic wallpaper, mosaics, and wall murals; outdoor 

sculpture, natural history specimens, and collections of quilts, paintings, 

photographs, works of art on paper, ceramics, and aircraft. 

Funding Needs and External Support 

In the early 1980s the program, under the directorship of Dr. William T 

Alderson (1980-1982), faced a severe and seemingly untenable financial 

crisis; it was suggested that the program might be too costly to maintain. 

The subsequent provision of university "hard money," coupled with 

receipt of external support, assured the program's continuation. 

Subsequent grants have been received from many sources, including 

the Ahmanson Foundation, Bay Foundation, Brunschwig & Fils, Gladys 

Brooks Foundation, Carpenter Foundation, Chichester duPont 

Foundation, Conservation Resources, Inc., Crystal Trust, Eastman Kodak 

Company, Getty Grant Program, Gould Foundation, Institute of Museum 

Services, Laffey-McHugh Foundation, Samuel H. Kress Foundation, 

Andrew W. Mellon Foundation, National Endowment for the Arts, 

National Endowment for the Humanities, Nielsen and Bainbridge 

Corporation, The Questers, Sloan Foundation, Unidel Foundation, and 

University Products, Inc., as well as private donors and graduate alumni. 

The program is grateful for this support. 

Meeting the Needs of the Field: Program Changes 

The art conservation program was formally evaluated by external peer 

review teams in 1975-76, 1982-83, and 1995. A "blue ribbon" review of 

53

all U.S. programs was performed by the Getty Conservation Institute and 

the National Institute for Conservation in 1983-84. The latter review, in 

particular, was instrumental in securing significant external support for 


In response to these reviews, as well as to continuing faculty discussion 

and the changing needs of the profession, important adjustments to the 

three-year curriculum were implemented. Many changes, including the 

establishment of a broader range of specialty subjects, an increased 

emphasis on fundraising, as well as art historical study and connoisseurship, 

preventive conservation, public outreach, and the application of scientific 

analysis and research, took place under the leadership of Dr. Joyce 

Hill Stoner, who served as director from 1982 to 1997. 

During this time, the program continued to focus the first year on the 

development of a broad-based knowledge of the many aspects of conservation 

practice, including examination, analysis, documentation, treatment, 

and preventive care. Subject areas were broadened to include specialty 

block study in photographs, library and archival holdings, and 

ethnographic and natural history materials. An agreement with the 

University of Pennsylvania Museum allowed for access during the first 

and second year to ethnographic and archaeological materials in need of 

conservation treatment and preservation. Objects requiring stabilization 

and treatment were also secured from local cultural institutions and private 

collectors at a free, once-a-month public conservation clinic hosted 

by students and faculty. This clinic provided an opportunity for students 

to practice public outreach and object assessment skills. 

Preventive conservation or collections care has become a special focus 

of the conservation profession nationally and of our program in particular. 

Working in partnership with the Getty Conservation Institute in the 

early 1990s, program faculty developed a preventive conservation curriculum. 

Topics included exhibitions, microclimates, storage and lighting 

concerns, building systems and HVAC, packing and shipping, environmental 

monitoring, housekeeping, pest control and management, survey 

and assessments, and disaster preparedness, response, and recovery. 

Preventive conservation training was augmented by case studies, discussions, 

exercises, and didactic visits to local cultural institutions that aim 

to present technical issues within the museum organizational context. 

Implications focusing on the ethics and practice of preventive conservation, 

including respect for native peoples regarding the preservation of 

54

their collections, as well as objects considered to be sacred by other cultures, 

were also incorporated into the curriculum. 

In the mid-1980s changes to the admissions prerequisites included an 

increase in the number of required art history credits. Subsequent changes 

allowed for prerequisite coursework in art history as well as anthropology, 

archaeology, and/or museum management. At all times, emphasis was 

placed on the value and importance of continuing connoisseurship and art 

historical studies. During the first two years of graduate study, students 

were expected to take a total of four elective courses in the following topics: 

history of technology of cultural property; connoisseurship and 

provenance studies; reconstruction studies in studio arts and crafts; and 

museum studies. In the late 1980s, several grants from the Getty Grant 

Program allowed third-year fellows to travel internationally to study art 

and artifacts. The ongoing development of connoisseurship skills and a 

familiarity with these issues as they relate to a student's major specialty 

remain primary curriculum goals. Efforts continue to secure additional 

funding for student international travel and object-based research. 

Professors Joyce Hill Stoner (left) and Wendy Samet (right), class of 1985, discuss 

with Mark Lewis, class of 1996, connoisseurship and the conservation treatment of a 

nineteenth-century copy of the Domenichino Cumean Sibyl. 

55

Over the years, science coursework evolved to further incorporate and 

coordinate material science within the first-year curriculum and to ensure 

a basic familiarity with the fundamental physical and chemical properties 

of art and cultural materials and the cause and mechanism of their deterioration. 

Second-year coursework specifically focused on instrumental 

analytical techniques, and the preparation, interpretation, and writing of 

experimental research were further refined. A comprehensive scientific 

research paper required students to identify, formulate, design, conduct, 

interpret, and present scientific research. Since that time, science research 

projects have ranged from technical studies to the evaluation of treatment 

methodologies. 

In 1990, a doctoral program in art conservation research—the first program 

of its kind in North America—was established. Recognizing that art 

conservation research is an interdisciplinary endeavor, this unique program 

drew upon the resources and faculty expertise of the 

Winterthur/University of Delaware Program in Art Conservation as well 

as many cooperating university departments in the sciences and humanities, 

including Art History, Chemistry, Geology, and Materials Science. 

The Ph.D. program gave practicing conservators training in research 

methodology, an opportunity to fully investigate problems in their field of 

study, and a deeper grounding in the scientific and humanistic disciplines 

pertinent to this research. Required coursework, seminars, and informal 

gatherings assured collaboration between students in both the master's 

and doctoral programs. 

Departmental status was awarded by the University of Delaware Board 

of Trustees in May 1990. At this time, the Art Conservation Department 

offered degrees at the undergraduate (this pregraduate study expanded to 

include a focus on collections care for students who sought employment 

as collection managers and conservation technicians), master's, and Ph.D. 

levels. Departmental status allowed full-time faculty the opportunity to 

apply for tenure within Art Conservation (previously tenure could be held 

only in allied departments, including Art and Art History). 

Future Directions 

In May 1997, Debbie Hess Norris was appointed director of the 

Winterthur/University of Delaware Program in Art Conservation. Since 

that time, considerable attention has continued to focus on fundraising, 

policy, and programmatic review. Fundraising priorities have included the 

need for graduate stipend endowment, equipment and expendable supplies, 

guest-speaker expenses, and professional development for faculty 

56

and students. Increasing graduate stipend support remains the program's 

highest funding priority. Additional lectures on examination techniques, 

electronic media, modern materials, preventive conservation, the maintenance 

and care of outdoor sculpture, leadership skills, team building, and 

time management have been incorporated into the curriculum. The faculty 

work to provide an appropriate balance between the theoretical and the 

practical. Students are encouraged to participate in public outreach and 

advocacy activities and to collaborate with students in allied fields, 

including art history, anthropology, and material culture. The development 

of strong and effective communication skills continues to be emphasized. 

Ongoing curriculum review and refinement ensure that program 

graduates are well trained to meet the real needs of the field. 

57

THE MASTER OF ART CONSERVATION PROGRAM 

AT QUEEN'S UNIVERSITY: A RECENT HISTORY 

The Master of Art Conservation Program (MAC) at Queen's University 

in Kingston offers the only full-time graduate-level training program in 

the field of art conservation in Canada. Since its beginnings in 1974, the 

program has continued to produce a steady stream of graduates who have 

found employment in many major museums and galleries both in Canada 

and abroad. 

In 1984, Ian Hodkinson, professor and founder of the Art Conservation 

Program at Queen's University, reported on the history and organization 

of the program after its first ten years of operation. 1 He outlined how the 

adoption of a new National Museums Policy in Canada in 1972 fostered 

the development of museums across the country. The shortage of experienced 

personnel resulting from this rapid growth led to the establishment 

of several museum training programs, including the MAC Program at 

Queen's University. 

Hodkinson described the planning and approval process required to 

establish this specialized degree program before proceeding to a thorough 

description of the curriculum and facilities as they existed between 1974 

and 1984. Since that time, the MAC Program has continued to respond to 

the changing nature of the field, and, as a consequence, there are a number 

of new developments to report. 

Curriculum 

When the previous report was published, the program was about to 

establish a separate treatment stream for the conservation of paper 

objects, including works of art on paper, archival materials, and books. 

Renovations to the program laboratory space were carried out during the 

academic year 1984-85. The second floor of the building was extended 

by an additional sixteen hundred square feet in order to accommodate a 

small materials-testing laboratory and individual laboratories for the conservation 

of books and paper objects. New equipment was purchased and 

an additional full-time faculty position was created. The first class was 

admitted in September 1985, and full enrollment has been maintained 

since that date. 

1. The History and Future Directions of Conservation Training in North 

America (Washington, D.C.: National Institute for the Conservation of 

Cultural Property, Inc., December 1984). 

59

This move effectively expanded the range of treatment specializations 

available to prospective students from the original two choices of fine art 

conservation (combining paintings and paper conservation) and artifact 

conservation. As a consequence, three separate treatment specializations 

have been offered since 1985 in the Conservation of Paintings, 

Conservation of Paper Objects, and Conservation of Artifacts. All of these 

specializations take two years to complete. They include academic and 

laboratory components, two summer internships—each of twelve weeks 

duration, completion of a research project, and submission of the results 

via a formal research project report. The range of research topics investigated 

by Queen's students is diverse. Many of the research project reports 

are available from the libraries of the Canadian Conservation Institute 

(CCI) and the International Centre for the Study of the Preservation and 

the Restoration of Cultural Property (ICCROM). 

Students wishing to train as conservation scientists were offered the 

option of registering for a research-oriented MAC degree or in rare 

instances, for an M.Sc. degree. Both options consisted of a two-year program 

following the traditional university model of coursework, research, 

and completion of a thesis. There were a number of graduates in the early 

years of the program, and important theses were completed on topics such 

as the analysis of domestic and imported earthenwares and the degradation 

of cellulose in conservation bleaching treatments. 

In recent years, a renewal of interest in conservation science training 

from outside the country has led to a revitalization of this program. A student 

from Japan is currently enrolled in her first year of studies, while 

recent graduates hail from Mexico and the United States. Areas of 

research have included chemical and physical characterization of the 

degradation of vulcanized natural rubber and plastination as a consolidation 

technique. 

Another option was added in 1988: the MAC (Research) degree. 

Applicants wishing to pursue this degree path must have a minimum of 

five years' prior experience in the field of art conservation in addition to 

the usual program prerequisites. Designed primarily for busy professionals 

with limited time available for further studies, this option allows conservators 

to complete course requirements at Queen's within a period of 

eight months. No laboratory work is required; however, each research 

student must complete a master's thesis. 

60

Research for the thesis may be carried out at Queen's or elsewhere, thus 

introducing an additional element of flexibility. Areas of research investigated 

to date include the desalination of salt-contaminated ceramics, outdoor 

inpainting media for porous inorganic substrates, the preservation of 

pyroxyline paintings by Mexican artist Siqueiros, and the migration of 

volatile degradation products in the accelerated aging of paper. 

In recent years, cooperative research programs have been set up for 

MAC (Research) students at the Canadian Conservation Institute in 

Ottawa, utilizing the facilities and expertise available at that institution. 

We look forward to developing similar partnerships with other institutions 

in the future. To date, five students have graduated with the MAC 

(Research) degree and two are currently in progress. This degree path has 

also attracted a number of international students, a factor that has significantly 

enriched the MAC Program as a whole. 

Facilities 

Since 1975, its second year of operation, the MAC Program has been 

housed in a specially designed extension to the Agnes Etherington Art 

Centre on the campus of Queen's University. Covering an area of ten 

thousand square feet on two levels, the program facilities include studio, 

laboratory, and office space. Designed as a self-contained unit, the building 

includes a photography studio and darkroom, a woodworking shop, 

and a microscopy laboratory. Computer stations are located in the treatment 

laboratories. 

In the summer of 1998, most of the Agnes Etherington Art Centre was 

demolished to make way for updated and more spacious gallery and storage 

facilities. At the time of writing, the MAC Program is continuing to 

operate within its portion of the building, in spite of being in the midst of 

a construction site. The rebuilding of the art center will be completed by 

the spring of 1999. 

The MAC Program makes use of other facilities on campus, including 

the art library, which contains extensive holdings relating to the subject 

areas of art history, art conservation, and fine art. This includes textual 

resources and periodicals in addition to slides and other audiovisual material. 

Other important on-campus resources include the collections at 

Stauffer Library, which is the main university library; the science collections 

at the Douglas Library; and other specialized collections housed in 

branch libraries across campus. 

61

A new multimedia facility containing state-of-the-art computer, scanning, 

and video equipment has been set up in the art department for the 

use of students and faculty in art conservation, fine art, and art history. 

The multipurpose facility will allow for a wide range of activities, including 

studio production, graphic design, digital imaging, and art research. 

This facility will make it possible, in the near future, for the MAC 

Program to offer training in the recording and analysis of art works and 

artifacts via the application of digital-imaging techniques. 

The MAC Program has strong links to other science departments at 

Queen's University. Frequent use is made of analytical facilities and 

equipment at the departments of Chemistry, Physics, Materials and 

Metallurgical Engineering, and Geology, as well as at the Royal Military 

College in Kingston. More specialized facilities and equipment such as 

laser scanning are available through collaboration with the National 

Research Council in Ottawa. 

Enrollment and Graduation 

From 1974 to the present, 302 students have been enrolled in the MAC 

Program. Due to the continuing excellent reputation of the program, large 

numbers of applications are received, and admission remains highly competitive. 

Because of the exceptionally high caliber and motivation of the 

applicants accepted, failures and drop-outs are rare. The program is now 

attracting an increasing number of international students. The largest 

group is from the United States; however, we have also had students from 

Europe, the Middle East, and Asia, as well as Mexico and South America. 

Graduates of the MAC Program have found employment in institutions 

in Canada, the United Kingdom, the U.S., Australia and Western Europe, 

primarily. With the growing scarcity of institutional positions in Canada, 

more graduates are now entering private practice or considering positions 

abroad. The career prospects remain good, particularly for graduates with 

mobility. 

Faculty Research 

Due to an increasing emphasis on research at Queen's University, fulltime 

faculty in the MAC Program have become more heavily involved in 

academic research and grantsmanship. MAC faculty compete successfully 

for internal and external research awards on a regular basis. Faculty 

publications are featured in national and international conservation journals 

and conference proceedings, as well as in journals in related fields. 

62

Faculty research interests cover a wide range of subjects, including the 

methodological investigation of the materials and techniques of European 

drawings ca. 1500-1900 (T. Burns), the history and philosophy of conservation 

(B. Keyser), the effect on materials from conservation treatments 

and deterioration processes (A. Murray), and the preservation and 

reconstruction of ancient wooden furniture from archaeological contexts 

(K. Spirydowicz). 

Professor Thea Burns (extreme right) discussing conservation techniques in the paper 

conservation laboratory. 

Collaborative projects within the university or external to it expand the 

range of opportunities available to faculty and students alike. Barbara 

Keyser, along with other MAC Program faculty, has been engaged in 

establishing the conservation of contemporary art as a specialty within the 

program in partnership with colleagues in art history and fine art. 

The involvement of Krysia Spirydowicz in archaeological excavations 

and special projects abroad has allowed numerous MAC students to complete 

challenging internships in Italy (excavation of Roccagloriosa by the 

University of Alberta) and Turkey (Gordion Furniture Project sponsored 

by the University of Pennsylvania). 

63

The research activities of Thea Burns concerning the history of drawing 

materials and techniques have allowed students access to unique samples 

of historical papers, pigments, drawing media, and other materials 

for analytical and historical research projects related to their studies within 


A large-scale project recently initiated by Alison Murray on the cleaning 

of contemporary art works involves the participation of MAC students 

from both research and treatment specializations, as well as students 

from the art history program. This project is supported by a four-year 

grant from the Natural Sciences Engineering Research Council of 

Canada, with additional funding provided for equipment by the Canadian 

Foundation for Innovation. 

New Directions 

From its beginnings, the MAC Program was loosely affiliated with the 

Department of Art at Queen's University. In 1995, an administrative 

restructuring was initiated by the university, and closer departmental linkages 

were developed. The Department of Art now consists of three programs: 

art conservation, art history, and fine arts, offering a variety of 

undergraduate and graduate degrees. 

Closer ties with the Department of Art have led to a number of positive 

developments. Enrollment in some courses has been opened up to students 

in other programs, and teaching exchanges are encouraged. For 

example, upper-year undergraduates in art history may now enroll in the 

introductory MAC course entitled "Principles of Conservation." In addition, 

MAC Program faculty have, for several years, taught a component 

of the introductory art history course, which is presented to over 130 firstyear 

students. Both of these developments will introduce the field of art 

conservation to a wider audience and may have the additional benefit of 

attracting an even larger number of potential students to the MAC 

Program. This early exposure to conservation will also give future art historians 

and curators a better understanding of the concepts and requirements 

of our field. 

The art history program has also benefitted from closer linkages. MAC 

students are now encouraged to enroll in relevant art history courses at the 

graduate level. In 1998, for the first time, two MAC graduates were 

admitted to the Ph.D. program in art history at Queen's. 

64

The expertise of MAC students is being utilized in the department in a 

variety of ways. Numerous MAC students are now employed as teaching 

assistants in the art conservation, art history, and fine art programs. Their 

duties include acting as lab assistants, which offers them valuable supervisory 

experience. Work-study positions available to those in financial 

need, offer additional possibilities for students to assist professors with a 

variety of tasks such as computer operations, academic research, and 

maintenance of program facilities, including the photography studio and 

wood shop. 

Dr. Barbara Keyser, with MAC student Chantal Bernicky, examines a painting of 

the Flemish school. 

Among the long-term objectives of the MAC Program are a thorough 

review and potential expansion of the program curriculum, including the 

addition of a small business management component. The possibility of 

extending the current Ph.D. program in art history to include a concentration 

in art conservation is currently under discussion at the departmental 

level. Finding more financial support for students is an important priority. 

Long-term plans include an increasing focus on the conservation of 

contemporary art involving training and research aspects and the possible 

creation of a center for the study of contemporary artists' materials. 

65

As the MAC Program marks its twenty-fifth anniversary, it is fitting to 

acknowledge the enormous contribution of the first professors including 

Ian Hodkinson, Henry Hodges, Ron Irvine, Uwe Erb, John Poland, and 

Jim Hanlan, who helped to establish the reputation for excellence that the 

program continues to enjoy to this day. 

The new millennium invites us to reflect on the past, as well as to look 

optimistically to the future. To a large extent, the MAC Program has 

shaped the direction of the field of art conservation in Canada over the 

past twenty-five years. It is our intention to retain a leadership role in conservation 

training in the twenty-first century. 

66

HISTORY OF THE PRESERVATION AND CONSERVATION 

STUDIES PROGRAM AT THE UNIVERSITY OF TEXAS AT 

AUSTIN, FORMERLY THE CONSERVATION EDUCATION 

PROGRAM AT COLUMBIA UNIVERSITY 

"The conservation of the nation's cultural property is beginning to 

assume the proportions of a recognizable national priority," began the 

prospectus for what shortly would become the Conservation Education 

Program of Columbia University. The statement reflected a growing concern 

over the preservation of the collections and holdings of the nation's 

libraries and archives, which, in the history of conservation education in 

the United States, had not received any separate attention. It made more 

evident the lack of any degree program crafted specifically for such materials. 

To address this large and growing problem, the School of Library 

Service of Columbia University convened in 1978 a four-week Institute 

supported by the National Endowment for the Humanities to train experienced 

librarians to plan and administer programs for preservation of 

library materials. Thus, Columbia University, through its School of 

Library Service—the first in this country and founded by Melvil Dewey 

himself—laid the foundation from which grew the Conservation 

Education Program (CEP). The new program accepted its first students in 

1981. 

The design of the Conservation Education Program incorporated a new 

and expanded concept of conservation. The word "conservation" in its 

title carried a definition broader and deeper than had been attached to it 

previously. "One of the most fundamental problems of library and 

archival conservation is that the majority of items which have research 

value, even including some unique ones, have such limited monetary 

value that it is difficult to justify the cost of proper physical treatment," 

the prospectus stated. "Thus a major area of current library conservation 

activity is bibliographic and administrative: the replacement of deteriorated 

materials by microform or purchase of reprints." Clearly the traditional 

focus on item treatment alone could not guide leaders of libraries 

and archives to a solution that would serve more than a small percentage 

of the collections and holdings of libraries and archives. "An even greater 

problem," the prospectus continued, "is an acute shortage of skilled conservators 

of library materials and of librarians trained to plan and administer 

preservation programs." 

67

It was the concept of planning and administering preservation programs 

that not only set the CEP apart from other programs in conservation, but 

also made it and its graduates the leaders of a new movement within the 

conservation, the library, and the archival communities. "The most useful 

distinction between a library or archives conservator and a preservation 

administrator," the prospectus stated, "seems to be that the conservator is 

the technical specialist and the preservation administrator is the managerial 

specialist. This is the distinction that is at the heart of the Columbia 

conservator program." It is a distinction that continues to guide the program 

20 years later. In practical terms, it means that preservation administration 

students prepare to direct large-scale activities (such as program 

management, securing funding, and directing public relations) to ensure 

long-term access to the large bodies of material at the core of library collections 

and archival holdings, while conservation students develop the 

judgment and skills fundamental to controlling environmental systems, 

managing basic repair programs, and overseeing, as well as carrying out, 

individual treatments. 

The program that opened its doors in 1981 consisted of two concentrations: 

(1) a three-year course of study for conservators leading to a master 

of library and information science degree and an advanced certificate 

in library and archives conservation, and (2) a two-year course of study 

for preservation administrators leading to a master of science degree and 

an advanced certificate in preservation administration. Applicants who 

already had a master's degree in library service could complete either certificate 

program in one full-time academic year. Throughout the planning 

work that led to opening of what quickly came to be called "the Columbia 

program," the Conservation Center of the Institute of Fine Arts at New 

York University lent strength and advice, and even accepted Columbia 

students into its conservation and conservation science classes. From the 

beginning, the National Endowment for the Humanities and the Andrew 

W. Mellon Foundation provided major support to launch and sustain the 

program as the only one with a focus particularly on book and paper 

material, the only one concentrating on the needs of the nation's libraries 

and archives. 

Beyond the course work focused specifically on management and treatment 

of library and archival material, the CEP program assumed that the 

position of conservators in the library and archival environment had to be 

based on a solid intellectual foundation, including a knowledge of the history 

of books and printing, descriptive bibliography, as well as the deterioration 

of library materials, and the chemistry of preservation and con- 

68

servation. Also deemed important was an understanding of the institutional 

setting and the scholarly milieu to which the conservator's work 

would contribute. The curriculum included these all, plus a grounding in 

archival administration. In addition to their class work, conservation students 

undertook field experiences during the summers and concluded the 

program with a seven-month internship in an established institution under 

the supervision of a recognized conservator. 

Program founder Paul N. Banks with former student Ann Massmann in the book 

laboratory of the Preservation and Conservation Studies Program. 

Paul N. Banks, who developed the concept of preservation administration 

while serving as Conservator of the Newberry Library, and who consequently 

had been called to conduct the 1978 Institute, was engaged as 

the first director of CEP. The new program enrolled six conservators and 

twelve preservation administrators per year. Seven years after the program 

opened its doors, and with it off to a good start, in 1988 Banks 

stepped down as director in order to devote himself to teaching conservation 

full-time in the program. Book conservator Guy Petherbridge, who 

had been hired in the fall of 1987 to replace Gary Frost, took Banks' place 

as director. Roberta S. Pilette of the New York Historical Society joined 

the faculty as a part-time instructor in 1988, followed the next year by 

Carolyn Harris, a participant in the 1978 Institute and Head of the 

69

Preservation Program of the Columbia University Libraries. Harris joined 

the faculty to teach the preservation administration curriculum, replacing 

Carolyn Clark Morrow, who herself had replaced the first instructor in 

preservation administration, Pamela Darling. 

In June, 1990, the Trustees of Columbia University voted to phase out 

the School of Library Service. During its nine years at Columbia, the CEP 

graduated 54 conservators and 108 preservation administrators. 

To begin the process of finding a new home and managing relocation, 

new program director Carolyn Harris convened a panel of key professionals 

in preservation and conservation to help assess options. The 

University of Texas at Austin was the group's first choice, because it provided 

"a vital library school environment, a strong archival program, conservation 

programs in the Harry Ransom Humanities Research Center, a 

considerable preservation program in the library, as well as a local community 

of conservators, librarians, and archivists." The relocation caused 

CEP graduate Ellen McCrady to move the Abbey Newsletter, founded by 

her earlier in New York, to Austin, further enriching the community. 

In July 1992, the Conservation and Preservation Education Program 

settled on the University of Texas at Austin campus in the Graduate 

School of Library and Information Science (GSLIS), where it was 

renamed Preservation and Conservation Studies (PCS) to reflect the 

increasing prominence of the preservation administration specialization. 

As part of the relocation agreement, GSLIS provided two laboratories 

designed by Banks especially for teaching book and paper conservation, 

as well as office, and classroom space; moved existing laboratory equipment 

and other essential materials from New York to Austin; and provided 

faculty and staff support. The National Endowment for the Humanities 

extended its support to continue PCS, which remained the nation's premier 

program in preservation and conservation for libraries and archives. 

The first preservation administration students were admitted to PCS in 

autumn 1992, while the first class of conservators did not arrive until the 

following year on account of the time required to complete construction 

of the conservation laboratories designed by Banks. As a result of the 

move, the number of students accepted annually into the conservation 

program was increased from 6 to 8, and the cap of 12 new students annually 

in the preservation administration program at Columbia was dropped. 

All academically qualified applicants would be accepted. 

70

One in the annual series of workshops and Forum Lectures that bring outstanding 

professionals, such as Timothy Barrett, Director of both the Center for the Book and 

the Oakdale Paper Research and Production Facility, University of Iowa (middle of 

the picture), to enrich the established classroom presentations and laboratory work. 

During the decade of the 1990s, PCS experienced substantial turnover 

in its faculty punctuated by two significant losses. First, in January 1994, 

after having led the program through the challenging period of the move 

and reestablishment, Carolyn Harris died. Second, in 1997, Paul Banks 

retired after 16 years of leading the program—twice administratively and 

at all times intellectually. Replacing Harris in mid-April, 1995, both as 

director and in responsibility for the preservation courses was Karen 

Motylewski, former director of Field Services at the New England 

Document Conservation Center. During the 16-month interim before 

Motylewski arrived, Banks and Roberta Pilette, who had come to Texas 

to teach the book laboratory courses, took on the additional responsibilities 

of program direction. Characterizing her years with the program, 

Motylewski devoted considerable energies to two concerns: first, enriching 

the curriculum with study of preservation issues in digital materials 

and use of digital technologies in preservation; and second, opening PCS 

courses to students outside of the program. Joining Motylewski on the 

faculty were Karen Pavelka, Head of the Paper Laboratory of the 

Humanities Research Center who, in 1997, after three years teaching in 

71

an adjunct capacity, accepted a fulltime appointment to teach the paper 

conservation sequence. After Pilette returned to New York, Gary Frost 

returned almost fulltime offering the four courses in the book lab. 

A thread of continuity characterized the decade as well, though. On the 

one hand, the bulk of the continuing faculty had participated in the program 

at Columbia, so that change in the program at Texas progressed well 

within the intellectual context established at Columbia. On the other 

hand, at UT-Austin PCS found in Harold "Hal" Erickson an instructor in 

conservation science remarkable for his ability to cover all aspects of the 

field. In addition, following the loss of Carolyn Harris, Tom Clareson of 

Amigos Bibliographic Services anchored the preservation administration 

courses. 

Between 1992 and 1998, PCS graduated eighteen conservators and 

twenty-two preservation administrators. Graduates of both programs are 

working in preservation programs in large institutions including the 

University of Texas at Austin, the National Archives, the Smithsonian 

Institution, the Huntington Library, and Harvard, Yale, and Princeton universities 

among others, where they conduct research, teach, are establishing 

and directing preservation programs, and play leadership roles in professional 

organizations. In addition to the impact the program has had, 

and continues to have through its graduates, it has made a significant contribution 

through the field work and internship experiences required of its 

students, particularly the conservation students, who have conducted surveys 

and honed their skills in institutions of local, national, and international 

reputation throughout the United States and abroad. 

As the period of this history ended, U.S. News and World Report in 

1999 published its first-ever ranking of preservation programs (joining 

them with archival programs). Preservation and Conservation Studies 

stood proudly at the top of the ten most prestigious institutions offering 

similar education. Nevertheless, PCS looks forward to serving the field 

yet more effectively in educating leaders to manage the information 

resources of humanity, no matter the medium, and especially those 

resources assembled in the library and archival environments as those 

evolve into the future. 

72

HISTORY OF THE FURNITURE CONSERVATION 

TRAINING PROGRAM, SMITHSONIAN CENTER FOR 

MATERIALS RESEARCH AND EDUCATION 

Originally established in the early 1960s as a collections restoration and 

characterization laboratory, the Conservation Analytical Laboratory 

(CAL) saw its programmatic emphases shift and expand in its third 

decade. Beginning with the mid-1970s conceptualization of the Museum 

Support Center (MSC) as a "state-of-the-art" collection care and research 

facility and CAL's residency within the MSC, CAL was promoted within 

the U.S. House of Representatives and the Senate as a vehicle for training 

collections caretakers, conservators in particular, nationwide. An early 

point in the record indicates a projection of multidisciplinary education 

programs at CAL with fifty to seventy-five conservation graduates per 

year. 

Against this backdrop, the Conservation Analytical Laboratory was 

moved from its cramped and restrictive spaces in the basement of the 

National Museum of American History, and the staff was expanded 

through new federal funding and appointments. It was explicitly expected 

that this quintupling of space and nearly doubling of staff would result 

in CAL taking a prominent role, at that point undefined, in conservation 

education. Thus, the atmosphere of 1984—with a huge new space for 

CAL, dramatically increased budgets, a new director, and new furniture 

conservators—encouraged the creation and implementation of wide-ranging 

projects and programs, especially in conservation education. 

In response to instructions from the CAL director, CAL furniture conservators 

embarked on a plan to create a furniture conservation education 

presence at CAL. Initial efforts were confined, both in concept and practice, 

to short workshops on restoration techniques. Simultaneous with 

week-long courses in decorative finishes, carving, and marquetry, CAL 

furniture conservators extensively reviewed the opportunities for both 

education and employment in their discipline, looking both to the immediate 

past and projecting into the coming decade. In addition, they canvassed 

colleagues as to the usefulness and form of any concerted furniture 

conservation education programming. 

As a result of detailed interviews and reviews of the profession, the 

Conservation Analytical Laboratory in 1985 identified a need for in-depth 

formal training in furniture conservation. Prior to 1985 only three indi- 

73

viduals had received master's degrees in furniture conservation, while in 

the five years preceding 1985, fifteen new institutional positions had been 

created. CAL projected that the increased demand for furniture conservators 

would continue indefinitely and would surpass the availability of 

trained practitioners. 

To meet these needs, CAL decided to formally establish its Furniture 

Conservation Training Program (FCTP). In its form, content, and constituency, 

the FCTP was, from the beginning, a divergence from the established 

conservation programs already extant in North America. Perhaps 

the most profound influence on those changes revolved around the conclusion 

that furniture conservation is a discipline requiring the fundamental 

skills of the craft practitioner: in other words, the foundation of 

furniture conservation was furniture-making and woodworking skills. 

This realization had some very serious implications for the nature of the 

program. Since the candidates for study had to be accomplished artisans 

in their own right, it was very likely that they would be mature adults, presumably 

(and in reality) persons with levels of responsibility and accomplishment 

that would not allow for suspending their lives for four, three, 

or even two years to pursue an arcane education, no matter how useful. 

Thus, the intent of the program was to train experienced and skilled 

woodworkers who desired to reorient their skills toward a career in the 

preservation, stabilization, and restoration of historic furniture and wooden 

objects. 

The constituency also influenced the structure and content of the curriculum. 

Weighing the benefits and costs of various structures to formalized 

learning, CAL in the end decided on a modular program with twelve 

two-week curriculum units spaced over three years, followed by a oneyear 

full-time funded internship with a practicing furniture conservator. 

This approach, combined with the expertise of the students, allowed for 

in-depth, albeit somewhat narrow, studies. The intensive nature of the 

two-week graduate-seminar atmosphere of each course precluded the 

fullest review of all aspects of any particular subject, although major subjects 

were certainly covered. Any gaps in the learning experience and 

exercises were addressed through project assignments to be completed by 

the student between courses and by tailoring the internship program to be 

most useful to each individual student. Approximately one-fifth of the 

internship was to be spent on research resulting in a publishable thesis. 

The project could address theoretical or technical issues related to the history 

and preservation of wooden artifacts. 

74

Based on our review of the subject of furniture conservation and the 

resource and logistical limitations imposed by reality, the course of study 

was comprised of the following twelve courses, briefly described: 

Wood Technology for Furniture Conservation. Subject areas include 

anatomy; identification; physical, mechanical and chemical properties; 

biodeterioration and control; and other environmental interactions of 

wood. Knowledge of these factors as they contribute to deterioration 

allows the prospective conservator to provide advice about and response 

to the problems. A session on conservation ethics and philosophy is 

included in this initial course of the sequence. 

Melissa Carr and John Driggers (class of 1993) construct an upholstery "cap" for 

an eighteenth-century chair. 

Examination, Analysis, and Documentation of Furniture. The theory 

and application of examination, documentation, and analysis techniques 

is introduced. This includes information obtained from relatively 

simple techniques as well as sophisticated instrumental methods. 

Specific areas include photography, documentation reports, microscopy, 

radiography, and various forms of instrumental analysis modified from 

other research fields or specifically developed for characterizing museum 

objects and cultural artifacts. 

75

Furniture History. European, American, and some non-Western furniture 

design, manufacture, and construction is surveyed to provide connoisseurship 

and an ability to communicate effectively with curators and 

other furniture caretakers. Specific emphasis is placed on national and 

regional variations in design, materials, and construction techniques, in 

addition to chronology and progression of styles. A research paper and 

oral/visual presentation are required for this course. 

Survey of Non-Wood Materials for Furniture Conservation. The 

technology, deterioration, and conservation of various materials are 

addressed, including metals, ceramics, glass, leather, plastics, textiles, 

upholstery, paper, and others. Applied conservation treatment of these 

materials is included, providing a basis for effective interaction with specialists 

in these disciplines. 

Adhesives for Furniture Conservation. Subject areas include adhesive 

theory and technology for wood, a survey of adhesives and their 

properties, adhesives used in conservation, and treatment of adhesive 

deterioration or failure. Particular emphasis is placed on delamination, 

i.e., treatment of veneered objects (e.g., marquetry, Boulle-work). 

Structural Conservation of Furniture. The causes and treatment of 

structural deterioration are surveyed, including damaged joinery, upholstery 

substructure, carving, and turning. The technology and practice of 

consolidating degraded structural materials and the ethical concerns of 

reconstructing and reproducing objects for interpretation or utility are discussed. 

Coatings for Furniture Conservation I, II, and III. The history, technology, 

chemistry, properties, deterioration, and treatment of coating 

materials and colorants are studied, along with color theory, finishing 

techniques, treatment, and manipulation of existing coatings. The third 

coatings course emphasizes painted finishes, e.g., polychrome sculpture, 

decorated furniture finishes, and consolidating and inpainting surfaces. 

Conservation of Gilt Wood. Topics include the history and technology 

of gilding materials and techniques, and the causes and treatment of 

deterioration. Fabrication and repair of gilding substrates are emphasized. 

Exhibition, Storage, and Handling of Furniture. This is primarily a 

study of collections management for furniture collections, including environmental 

interaction and control, collections care, and disaster prepared- 

76

ness. Additional discussion focuses on exhibition concerns, storage and 

handling, and the problems of art in transit. 

Conservation Administration. This course provides the practical 

background of administrative procedures in both institutional and private 

conservation practices. It includes museum philosophy, organization, and 

administration; business management and law; marketing; grants; insurance; 

and laboratory administration and design. 

John Driggers, Keith Bakker, and John Ryan (left to right), carve cabriole legs. 

Building on CAL's institutional commitment to cultivate the broadest 

possible audience for the information being created or transmitted, portions 

of each course, with one exception, were open to any interested 

member of the public on a tuition-fee basis. As a result, more than 500 

furniture restoration practitioners (and others) were able to learn more 

about conservation and, in effect, change the way they approach the problems 

to which they must respond. 

One final decision resulted in what we believe is the ultimate strength 

of the program. Although the furniture conservation staff at CAL were 

experienced and capable, they were not in a position to address every pertinent 

subject with definitive authority, nor was there enough time to fully 

develop each subject adequately for each course. Even if they could, a 

77

oader view of the discipline was preferable to the finite and restricted 

views and experiences of only two professionals. To that end we determined 

to integrate, whenever appropriate, external expert faculty from the 

conservation world, as well as commercial or industrial representatives. 

In the final recounting, approximately 100 visiting faculty conducted 

about fifty percent of the total student instruction. This resulted in not 

only the most catholic educational experience practicable under the circumstances, 

but also allowed the FCTP students to become well acquainted 

with the professional community they would eventually join. 

Very early in the program's history, communication flowed between 

CAL furniture conservation staff and Antioch University regarding the 

possibility of FCTP students receiving university credits for their studies 

with us. While this issue was not terribly important for us, as we were certain 

of the quality and effect of the education the FCTP students would 

receive, it was somewhat more important for both the FCTP students and 

colleagues external to the institution. In response to requests from the 

FCTP students—transmitted to Antioch via CAL staff—the faculty of the 

Antioch University MacGregor School (of Independent and Experiential 

Learning) engaged in a thorough evaluation of the program curriculum 

and concluded that with each course being worth four academic credits, 

the program was "considerably more than necessary" for granting an 

M.A. degree from that university. Participation in the credit aspect of the 

program was optional for each student. 

The FCTP was offered in discrete rather than concurrent cycles, with 

incoming classes beginning in the fall of 1986, 1989, 1992, and 1996. 

Admission was very competitive, with a target of six students accepted 

into the program with each incoming class. In fact, the target of six was 

never met, as the classes of 1990, 1993, and 2000 enrolled seven members, 

and the class of 1996, five. 

As the history of the program unfolded, much of the dynamic for its 

creation changed. At the conclusion of each program cycle, we engaged 

in an in-depth review of the program's role in the profession. Internal to 

the institution, as time went by funding became less generous and pressures 

for expanded "outreach" programming grew. This reorientation, 

along with several other changes in organizational priorities, was formally 

recognized when CAL was renamed the Smithsonian Center for 

Materials Research and Education (SCMRE) in 1998. External to the 

institution, the continued growth in museum furniture conservation 

employment did not expand as had been envisioned at the program's 

78

inception. Rather, institutional employment stalled and the real growth 

occurred in the private sector. We did not view either development as a 

hindrance, but rather as an impetus to interpret our own past efforts and 

focus future ones. 

Notwithstanding the fact that our constituency would continue to provide 

highly qualified and motivated applicants and students into the foreseeable 

future, with the enrollment of the class of 2000, we seriously considered, 

and ultimately decided, to make this current cycle the final one 

of the FCTP in its current configuration. Instead of continuing our successful 

conservation training hybrid, we decided to create a new one. Our 

previous incarnation served to focus and, to a certain degree, codify the 

objectives and practices of furniture conservation, placed our graduates in 

most high-profile institutional and private-sector furniture conservation 

enterprises, and raised awareness of furniture conservation to audiences 

of consumers and service providers. 

We will continue to offer periodic special-topic furniture conservation 

courses and workshops. However, our primary efforts will be in creating 

a new information product that encapsulates everything we have learned 

and compiled over the past fifteen years. That which was formerly classroom-based 

learning experience will become a multimedia reference tool 

for furniture restoration practitioners worldwide. In so doing, our audience 

and impact on behalf of preserving patrimony will likely grow in a 

manner not yet imaginable. 

79

CONTRIBUTORS TO THE HISTORIES OF THE 

CONSERATION GRADUATE PROGRAMS 

Straus Center for Conservation 

Harvard University Art Museums 

Harvard University 

Henry Lie, Ron Spronk, Francesca Bewer, Arthur Beale 

Conservation Center 

Institute of Fine Arts 


Margaret Holben Ellis, Susan Anne Mathisen 

Intermuseum Conservation Association 

Oberlin College 

Paul Himmelstein 

Art Conservation Department 

Buffalo State College 

F. Christopher Tahk, Dan Kushel 



Debra Hess Norris, Joyce Hill Stoner 

Art Conservation Program 

Queen's University 

Krysia Spirydowicz 

Preservation and Conservation Studies 

Graduate School of Library and Information Science 

The University of Texas at Austin 

David Gracy 

Furniture Conservation Training Program 

Smithsonian Center for Materials Research and Education 

Mel Wachowiak, Donald Williams 

81

STRAUS CENTER FOR CONSERVATION, HARVARD 

UNIVERSITY ART MUSEUMS, HARVARD UNIVERSITY 

Name 

(† Deceased) 

Student 

Specialty 

Albright, Gary objects 

Alexiou, Maria 

Aronson, Mark 

Bowen, 

Craigen W. 

Bunting, Victoria 

Burandt, Janice 

Burns, Thea 

paper 

paintings 

Barbour, Daphne objects 

Berrett, Kory R. objects 

paper 

paper 

paper 

paper 

Present Position(s) and Location (if known) 

Date of Graduation from Program 

Photograph Conservator, Advanced 

Residency Program, George Eastman House, 

Rochester, N.Y. 1978 

1989 

Chief Conservator/Conservator/Lecturer, Yale 

University Art Gallery/Yale Center for British 

Art, Yale University, History of Art 

Department, New Haven, Conn. 1986 

Objects Conservator, National Gallery of Art, 

Washington, D.C. 1987 

Objects Conservator in Private Practice, 

Berrett Conservation Studio, Oxford, 

Penn. 1980 

Philip and Lynn Straus Conservator of Works 

of Art on Paper/Deputy Director, Straus 

Center for Conservation, Harvard University 

Art Museums, Cambridge, Mass. 1978 

1996 

Paper Conservator, Private Practice, Newton, 

Mass. 1993 

Associate Professor/Paper Objects 

Conservator, Art Conservation Program, 

Queen's University, Kingston, Ont., 

Can. 1980 

85

Campbell, Felicity paintings 

Carmichael, paintings 

Theresa Byington 

Carpenter, Janet objects 

Coombs, Elizabeth paper 

Craine, Clifford objects 

Culver, Marie E. paper 

Cunningham- paintings 

Adams, Christy 

Dajnowski, objects 

Andrzej 

Davis, Mary Jo paper 

DeCristofaro, paintings 

Paula 

Dennis, John R. objects 

DeSantis, Pia paper 

DiLisio, Monica objects 

Driesse, Anne paper 

Private Practice, Phoenix Fine Art 

Restoration, New York, N.Y. 1990 

Conservator, Private Practice, Carmichael Art 

Conservation, Bedford, Mass. 1987 

1985 

1987 

President, Daedalus, Inc. Art Conservation, 

Cambridge, Mass. 1976 

Paper Conservator, Bureau of Historic Sites, 

New York State Office of Parks, Recreation 

and Historic Preservation, Peebles Island, 

N.Y. 1984 

Independent Conservator, Fine Arts Painting 

Conservation, Sandy Hook, Conn. 1981 

1989 

Director, Vermont Collections Care Program, 

St. Johnsbury, Vt. 1994 

Paintings Conservator, San Francisco 

Museum of Modern Art, San Francisco, 

Calif. 1981 

Senior Objects Conservator/Department 

Head, Dallas Art Museum, Dallas, Tex. 

1979 

1985 

Assistant Conservator, Williamstown Art 

Conservation Center, Williamstown, 

Mass. 1994 

Associate Conservator of Works of Art on 

Paper, Straus Center for Conservation, 

Harvard University Art Museums, Cambridge, 

Mass. 1989 

86

Easterbrook, paintings 

Marilyn Joan 

Fabian, 

Daniel M.E. 


Fabian, paintings 

Joan Samuels 

Fairbanks, Theresa paper 

Felker-Dennis, 

Csilla 

objects 

Paintings Conservator, Private Practice, 

Saskatoon, Sask., Can. 1985 

Paintings Conservator, Collection of the 

Prince of Liechtenstein, Vaduz, Liecht. 

2984 

Conservator, Private Practice, Stala, 

Switz. 1984 

Chief Conservator, Yale Center for British 

Art, New Haven, Conn. 1980 

Conservator of Objects and Visiting Lecturer, 

Private Practice, Dallas, Tex. 1982 

Fishman, paper Paper Conservator, Pierpont Morgan Library, 

RebaGolda New York, N.Y. 1986 

Forsythe, Carol objects Conservator of Sculpture and Decorative Arts, 

The Detroit Institute of Arts, Detroit, 

Mich. 1978 

Foster, paper 

Christopher G. 

Fox, Judith C. objects 

Fulton, paintings 

Elizabeth Leto 

Garcia-Anoveros, paintings 

Paloma 

Gimbel, Victoria paintings 

Gottschaller, Pia paintings 

Associate Conservator, Detroit Institute of 

Arts, Detroit, Mich. 1988 

Conservator, Private Practice; Sculptor, 

Amann Conservation Associates, New York, 

N.Y. 1984 

Assistant Conservator of Special Paintings 

Projects, Isabella Stewart Gardner Museum, 

Boston, Mass. 1994 

Collections Manager, Archives, Lucasfilm, 

Ltd., San Rafael, Calif. 1996 

1976 

Fellow, The Menil Collection, Houston, Tex. 

1998 

Gotz, Stephan paper Publisher of Art, Architectural, Fotobook, 

and Fine Art Prints, DACO-Verlag, Stuttgart, 

Germ. 1990 

87

Gumprecht, Hope objects 

Hall, Lisa Isbell paper 

Hatchfield, Pamela objects 

Hensick, Teri paintings 

Hykin, Abigail objects 

Johnston, Rebecca paper 

Jones, Clio paper 

Jouris, Jaime analytical 

Kalish, Debra J. paintings 

Katz, Melissa paintings 

Knipe, Penley paper 

Kolch, David† paintings 

Kroll, Barbara objects 

Kruth, Leslie paper 

Leavengood, 

Patricia 

objects 

Applying to medical school, North Carolina 

1990 

Conservator of Works of Art on Paper, Private 

Practice, Fairfax, Va. 1990 

Head of Objects Conservation, Research 

Laboratory, Museum of Fine Arts, Boston, 

Mass. 1985 

Conservator of Paintings, Straus Center for 

Conservation, Harvard University Art 

Museums, Cambridge, Mass. 1977 

Assistant Conservator, Decorative Arts and 

Sculpture, The J.P. Getty Museum, Santa 

Monica, Calif. 1993 

Assistant Paper Conservator, Williamstown 

Art Conservation Center, Williamstown, 

Mass. 1992 

1992 

1992 

1979 

Assistant Curator, Davis Museum and 

Cultural Center, Wellesley College, Wellesley, 

Mass. 1994 

Fellow for Advanced Training in Paper 

Conservation, Museum of Fine Arts, Boston, 

Mass. 1998 

1977 

1976 

Conservator/Paper Conservator, Private 

Practice; Stanford University, Libraries 

Conservation Department, Stanford, 

Calif. 1981 

Sculpture/Objects Conservator, Private 

Practice, Seattle, Wash. 1984 

88

Levenson, Rustin paintings Conservation Director, Rustin Levenson Art 

Conservation Associates, New York, N.Y.; 

Miami, Fla. 1972 

Levinson, Judith objects Chief Conservator. Anthropology Department, 

Museum of Natural History, New York, N.Y. 

1983 

Lewis, Mark paintings Associate Paintings Conservator, High 

Museum of Art Regional, Conservation 

Center, Atlanta, Ga. 1997 

Lie, Henry objects Director/Conservator of Objects and 

Sculpture, Straus Center for Conservation. 


Mass. 1981 

Lloyd Buschini, objects 

Nancy 

Associate Conservator of Objects and 

Sculpture, Straus Center for Conservation. 


Mass. 1992 

Lunning, Elizabeth paper Conservator of Works of Art on Paper, The 

Menil Collection, Houston, Tex. 1976 

Maheux. Anne paper 

Mangum, Barbara objects 

Manick, paper 

Annette Marie 

Masschelein- paintings 

Currie, Christina 

Mau, Laura objects 

Mayer, Debora paper 

McGrath, Mary paintings 

McNally, 

Rika Smith 

1982 

Chief Conservator, Isabella Stewart Gardner 

Museum, Boston. Mass. 1983 

Associate Paper Conservator, Museum of 

Fine Arts, Boston, Mass. 1987 

Agent scientifique, l'Institut royal du 

Patrimoine artistique, Brussels, Belg. 1992 

1992 

objects 1986 

Conservator, Private Practice, Portsmouth, 

N.H. 1982 

Chief Conservator, Hugh Lane Municipal 

Gallery of Modern Art, Dublin, Ire. 1983 

89

Merritt, Scott 

Mickelson, 

Meredith 

objects 

paper 

Mitchell, Francesca painting 

Morrow, Anik paintings 

Moser, Kenneth paintings 

Newman, Richard objects/ 

analytical 

Newman paper 

Reynolds, Jerri 

Newton, 

H. Travers, Jr. 


Paisley, Leslie Hill paper 

Pocobene, 

Gianfranco 


Purinton, Nancy paper 

Rajer, Anton paintings 

Rennie, Sarah Jane objects 

Ridge, Jacqueline paintings 

Head of Collections Management, National 

Museum of the American Indian, 

Smithsonian Institution, New York, N.Y. 

1990 

Consultant and Conservator of Fine Art, 

Private Practice, Chevy Chase, Md. 1981 

1990 

Lawyer-Intellectual Property Litigation, Bar 

of Ontario and New York, Toronto, Ont., Can. 

1989 

Chief Conservator/Vice Director for 

Collections, Brooklyn Museum of Art, 

Brooklyn, N.Y. 1978 

Conservation Scientist, Museum of Fine Arts, 


1984 


Santa Barbara, Calif. 1980 

Conservator of Paper, Williamstown Art 

Conservation Center, Williamstown, Mass. 

1983 

Associate Conservator of Paintings, Straus 

Center for Conservation, Cambridge, Mass. 

1989 

Paper Conservator, National Park Service, 

Harpers Ferry, W.Va. 1985 

Director, Save Outdoor Sculpture; Part-time 

Instructor, University of Wisconsin, Madison, 

Wis. 1987 

1994 

Paintings Conservator, Tate Gallery, London, 

Eng. 1988 

90

Rinne, David† objects 1972 

Rogers paintings 

Gambrell, Catherine 

Rosenfield, Lenora paintings 

Roth, Kendra objects 

Russell, Maureen objects 

Sander, Eva objects 

Scheifler-Marks, objects 

Linda 

Conservator, Private Practice, Charlestown, 

S.C. 1992 

1993 

Conservation Assistant, Sherman Fairchild 

Center for Objects Conservation, 

The Metropolitan Museum of Art, New York, 

N.Y. 1997 

Associate Conservator of Objects and 

Sculpture, Los Angeles County Museum of 

Art, Los Angeles, Calif. 1989 

Conservator, Private Practice, Signal 

Mountain, Tenn. 1987 

Head of Conservation, Asian Art Museum, 

San Francisco, Calif. 1981 

Shank, J. William paintings Chief Conservator, San Francisco Museum of 

Modern Art, San Francisco, Calif. 1983 

Slgel, Anthony objects Associate Conservator of Objects and 

Sculpture, Straus Center for Conservation, 


Mass. 1993 

Smith, Pauline M. paintings Senior Collections Manager (Conservation), 

Glasgow Museums & Art Galleries, Glasgow, 

Scot. 1981 

Spohn, paintings 

Jennifer Elizabeth 

1986 

Spronk, Ron special Research Associate for Technical Studies, 

Straus Center for Conservation, Harvard 

University Art Museums, Cambridge, 

Mass. 1997 

Stevenson, Mark paper 

Stojkovicova, 

Danica 

paintings 1992 

Paper Conservator, Private Practice, Kansas 

City, Mo. 1988 

91

Swope. James paintings President/Chief Conservator, Swope Fine 

Arts Conservation, Inc., West Palm Beach, 

Fla. 1982 

Talland. Valentine objects Associate Objects Conservator, Isabella 

Stewart Gardner Museum, Boston, Mass. 

2988 

Tandon, Aparna paper 

Thomas, Denise 

Tomkiewicz, 

Carolyn J. 

Tsu, C. Mei-An 

paper 


objects 

Vagts, Lydia paintings 

Vanderlip, Katrina paintings 

van der Reyden, paper 

Dianne 

Warner, Carol paper 

Warner, Dorothy paper 

Webber, Sandra paintings 

Wharton, Glenn objects 

Wolfe, Julie objects 

Associate Curator, Amar Mahal Museum & 

Library, Jammu, J&K, India 1997 

1979 

Paintings Conservator, Brooklyn Museum of 

Art, Brooklyn, N.Y. 1985 

Project Coordinator/Samuel H. Kress Fellow, 

Isabella Stewart Gardner Museum/Semitic 

Museum, Harvard University, Boston, Mass. 

1996 

Assistant Paintings Conservator, Museum of 

Fine Arts, Boston, Mass, 1993 


Darien, Conn, 1977 

Conservator of Works of Art on Paper, 

Smithsonian Center for Materials Research 

and Education, Washington, D.C. 1982 

Objects Conservator, National Park Service, 

Lowell, Mass. 1992 

1973 

Conservator of Paintings, Williamstown Art 


1980 

1982 

Assistant Conservator of Objects/Preservation 

Outreach, Williamstown Art 


1998 

92

Worhach, Marlene paintings 1991 

Zachariades objects 1977 

-Holmberg, Evie 

Zebala, Aneta K. paintings Paintings Conservator, Private Practice, Santa 

Monica, Calif, 1988 

CONSERVATION CENTER, INSTITUTE OF FINE 

Name 


ARTS, NEW YORK UNIVERSITY 

Student 

Specialty 



Abramitis, objects Associate Conservator, Objects 

Dorothy Conservation, The Metropolitan Museum of 

Art, New York, N.Y. 1986 

Alderson, objects Assistant Conservator of Objects, 

Samantha Anthropology Department, American 

Museum of Natural History, New York, 

N.Y. 1994 

Alexander, teaching/ 

Shirley M. research 

Appelbaum, objects/ 

Barbara paintings/ 

textiles 

Ardrey, paintings 

Elizabeth 

Ash, Nancy paper 

Professor, Early Medieval Art History, 

University of Texas at Austin, Austin, Tex. 

1965 

Private Practice, Appelbaum & Himmelstein, 

New York, N.Y. 1974 

Paintings Conservator, Chrysler Museum of 

Art, Norfolk, Va. 1988 

Senior Conservator of Works of Art on Paper, 

Philadelphia Museum of Art, Philadelphia, 

Penn. 1978 

Ayvazian, Kim paper Formerly Conservator, Monastery Hill 

Bindery, Chicago, 111. 1980 

93

Bachmann, 

Konstanze 

Baldwin, Ann 

Ballard, Mary 

paper 

paper 

textiles 

Barbour, Daphne objects 

Barten, Julie paintings 

Be, Kenneth paintings 

Beaubien, Harriet objects 

Becker, Lawrence objects 

Bede, Deborah textiles 

Bennett, Wendy Far 

Eastern 

art 

Berman, Maria textiles 

Bertalan, Sarah paper 

Brostoff, Lynn paper 

Paper Conservator, Cooper-Hewitt National 

Design Museum, Smithsonian Institution, 


Private Practice, Art Conservation Services of 

Greenwich, Conn.; Contractor, The 

Metropolitan Museum of Art, New York, N.Y. 

1998 

Senior Textile Conservator, Smithsonian 

Center for Materials Research and Education, 

Smithsonian Institution, Washington, D.C. 

1979 

Objects Conservator, National Gallery of Art, 


Assistant Conservator of Paintings, Solomon 

Guggenheim Museum, New York, N.Y. 1993 

Associate Conservator of Paintings, 

Cleveland Museum of Art, Cleveland, Ohio 

1987 

Objects Conservator, Smithsonian Center for 

Materials Research and Education, 


1986 

Chief Conservator of Objects, Worcester 

Museum of Arts, Worcester, Mass. 1982 

Textile Conservator, Stillwater Textile 

Conservation Studio. Bradford, N.H. 

1982 

Private Practice, Fine Art Paper Conservation, 

Pittsburgh, Penn. 1985 

1998 

Associate Conservator, The Metropolitan 

Museum of Art, New York, N.Y. 1986 

Conservation Scientist, National Gallery of 

Art, Washington, D.C. 1987 

94

Brown, Trudy paper 

Schwartzman 

Buchberg, Karl paper 

Champe, Peter objects 

Chase, W. Thomas objects 

Chevalier, Andrea paintings 

Cleveland, Carlie objects 

Connell, Patricia textiles 

Craddock, Ann paper 

Danzing, Rachel paper 

Davis, Suzanne objects 

Deal, Suzanne paintings 

Delacorte, Malcolm textiles 

de Laperouse, objects 

Jean-Francois 

DeSantis, Pia paper 

1976 

Senior Paper Conservator, Museum of 

Modern Art, New York, N.Y. 1984 

Architectural Conservator, Robert Silman 

Associates, PC. Consulting Engineers, New 

York, N.Y. 1995 

Private Practice, Chase Art Services; 

Research Associate, Freer Gallery of Art and 

Arthur M. Sackler Gallery, Smithsonian 

Institution, Washington, D.C. 1967 

Assistant Paintings Conservator, 

Intermuseum Conservation Association, 

Oberlin, Ohio 1988 

Formerly Associate Conservator, The 


1980 

1981 

Registrar, Cleveland Center for Contemporary 

Art, Cleveland, Ohio 1991 

Assistant Paper Conservator, The Brooklyn 

Museum of Art, Brooklyn, N.Y. 1992 

Conservator, Washington Navy Yard, 


Founder, Friends of Heritage Preservation, 

Los Angeles, Calif. 1984 

Consultant, New York, N.Y. 1965 



Formerly Senior Assistant Paper Conservator, 

National Gallery of Art, Washington, D.C. 

1984 

95

DiLisio, Monica objects 

Dommermuth, 

Jean 

Dunn, Emily 

Ellis, 

Margaret Holben 

Estabrook, 

Elizabeth 

Fishman, Reba 

Flotte, Jack 

Foulke, Rikke 


objects 

paper 


paper 

Fletcher, Shelley paper 

objects 


Fox, Judith objects 

Frantz, James H objects/ 

metallurgy 

Fredericks, 

Suzanne 

Objects Conservator, Williamstown Art 


2994 

Paintings Conservator, Private Practice, New 

York, N.Y. 1996 

Assistant Conservator, Special Projects, Art 

Institute of Chicago, Chicago, 111. 1990 

Sherman Fairchild Chairman and Professor, 


New York University; Director of 

Conservation Planning, Pierpont Morgan 

Library, New York, N.Y. 1979 

Paintings Conservator, Amann Conservation 

Associates, New York, N.Y. 1989 

Associate Paper Conservator, Pierpont 

Morgan Library, New York, N.Y. 1986 

Head of Paper Conservation, National Gallery 

of Art, Washington, D.C. 1973 

Lila Acheson Wallace Contract Conservator, 

The Cleveland Museum of Art, Cleveland, 

Ohio 1996 

Culpepper Fellow, Paintings Conservation, 


1996 

Sculpture Conservator, Amann Conservation 

Associates, New York, N.Y. 1984 

Conservator in Charge, Objects Conservation, 

The Metropolitan Museum of Art; Adjunct 

Professor of Conservation, Conservation 

Center, Institute of Fine Arts, New York 

University, New York, N.Y. 1975 

paintings Private Practice, Brandon, Vt. 1985 

96

Friedman, Mindy paper 

Fronek, Joseph paintings 

Galloway, Heather paintings 

Gerhard, Claire paintings 

Gewirtz, Michelle paper 

Glaser, Mary Todd paper 

Goldberg, Lisa objects 

Gordon, Eric paintings 

Greaves, James L. paintings 

Griffin, Patricia objects 

Grossbard, Elayne objects 

Harris, Nancy paper 

Hatchfield, Pamela objects 

Private Practice, Conservation of Art and 

Historic Works on Paper, Weston, Conn. 

1985 

Head of Paintings Conservation, Los Angeles 

County Museum of Art, Los Angeles, Calif. 

1981 

Assistant Paintings Conservator, Intermuseum 

Conservation Association, Oberlin, Ohio 

1994 

Paintings Conservator, Rustin Levenson Art 

Conservation Associates, Ltd., New York, 

N.Y.; Consultant for Swedish Agency for 

International Development, Mozambique 

1993 

Private Practice, New York, N.Y 1977 

Director of Paper Conservation, Northeast 

Document Conservation Center, 

Andover, Mass. 1964 

Private Practice, Corning, N.Y. 1987 

Head of Paintings Conservation, Walters Art 

Gallery, Baltimore, Md. 1980 

Private Practice, Conservation Services, Santa 


Assistant Conservator of Objects, Cleveland 

Museum of Art, Cleveland, Ohio 1992 

Private Practice, San Francisco, Calif. 1979 

Paper Conservator, General Library, 

University of California at Berkeley, 

Berkeley, Calif. 1977 

Head Conservator of Objects and Sculpture, 

Museum of Fine Arts, Boston, Mass. 1986 

97

Heidelberg, paintings Private Practice, New York, N.Y 1986 

Michael 

Helms, Gertrude architecture 

Hendrix, Elizabeth objects 

Heywood, Ann objects 

Hirx, John objects 

Hoffman, paintings 

Laurence 

Hotchner, Holly paintings 

Howard, James† paintings 

Iosifescu, Maria paintings 

Irgang, Harriet paintings 

Jenssen, Victoria objects 

Joel, Abraham 

Johnson, 

Benjamin† 

Jones, Gwendolyn 

Kargere, Lucretia 

paintings/ 

paper/ 

objects 


Ph.D. Candidate, Institute of Fine Arts, New 

York University, New York, N.Y. 1980 

Ph.D. Candidate, Institute of Fine Arts, New 




Special Research Fellow, Los Angeles County 

Museum of Art, Los Angeles, Calif. 1997 

Chief Conservator, Hirshhom Museum and 

Sculpture Garden, Smithsonian Institution, 


Director, American Craft Museum, New York, 

N.Y. 1982 

Formerly Conservator, Isabella Stewart 

Gardner Museum, Boston, Mass. 1970 

Private Practice, New York, N.Y. 1983 

Director, Rustin Levenson Art Conservation 

Associates, Ltd., New York, N.Y. 1985 

Formerly Senior Archaeological Conservator, 

National Historic Parks and Sites, Ottawa, 

Ont., Can. 1976 

Private Practice, Fine Arts Conservation Inc., 


Formerly Lecturer, Graduate School of the 

Art History Department, Los Angeles County 

Museum of Art, Los Angeles, Calif. 1965 

paintings Private Practice, Rotterdam, Neth. 1994 

paintings/ Frohlich Fellow, The Metropolitan Museum 

objects of Art, New York, N.Y. 1996 

98

Keynan, Daria paper Private Practice, New York, N.Y. 1986 

Kim, Youngja Lee paintings/ 

objects 

Kinsolving, Lucie paintings 

Kleeblatt, Norman paintings 

Koehnline, Evelyn paper 

Kowall, Richard paintings 

Krieg, Nancy paintings 

Krill, John paper 

Kroll, Naomi objects 

Kunz, Noel paintings 1970 

Lechtman, Heather teaching/ 

research 

Lee Papay, Nancy textiles 

Leonard, Mark paintings 

Artist, Boston, Mass. 1975 

Paintings Conservator, National Academy of 

Design, New York, N.Y. 1989 

Susan and Elihu Rose Curator of Fine Arts, 

The Jewish Museum, New York, N.Y. 1975 

Paper Conservator, Ackland Art Museum, 

University of North Carolina at Chapel Hill, 

Chapel Hill, N.C. 1984 

Associate Paintings Conservator, The 

Brooklyn Museum of Art, Brooklyn, 

N.Y. 1986 


Senior Paper Conservator, Henry Francis 

DuPont Winterthur Museum, Winterthur, 

Del. 1970 

Conservator, U.S. Department of the Interior, 

Northeast Cultural Resources Center, National 

Park Service, Lowell, Mass. 1998 

Director, Center for Materials Research in 

Archaeology and Ethnology/Professor of 

Archaeology and Ancient Technology, 

Department of Humanities/Department of 

Materials Science and Engineering, 

Massachusetts Institute of Technology, 


Private Practice, Kennett Square, Penn. 1977 

Conservator of Paintings, J. Paul Getty 

Museum, Los Angeles, Calif. 1980 

99

Levinson, Judith objects 

LiCalsi, Michele wall 


Lins, Philip A. objects 

Lockwood, Anne paper 

Lowinger, Rosa objects 

MacKennan, Edith paper 

Mahon, Dorothy paintings 

Mahon, Terrence paintings 

Marincola, objects 

Michele 

Markus, 

Nancy Fryer 

Meighan, Melissa objects 

Melnitzky, paintings 

Michael 

Mishara, Joan† research 

Head Conservator, Department of 

Anthropology, American Museum of Natural 

History, New York, N.Y.; Adjunct Professor 

of Conservation, Conservation Center, 

Institute of Fine Arts, New York University, 

New York, N.Y 1984 

Painter; Middle School Art Teacher, The 

Trevor Day School, New York, N.Y; 

Painting Instructor, The National Academy of 

Design, New York, N.Y; Lecturer, Pratt 

Institute, Brooklyn, N.Y. 1989 

Senior Conservator of Decorative Arts and 

Sculpture, Philadelphia Museum of Art, 

Philadelphia, Penn. 1975 

1986 

Private Practice, Los Angeles, Calif. 1982 

Private Practice, Poughkeepsie, N.Y. 1975 

Conservator, The Metropolitan Museum of 

Art; Adjunct Professor of Conservation, 


New York University, New York, N.Y. 1980 


Associate Conservator, The Cloisters, The 


1990 

paintings Private Practice, New York, N.Y. 1995 

Conservator of Decorative Arts and Sculpture, 


Penn. 1983 

Private Practice; Conservator of Paintings, 

Sotheby Parke Bernet, New York, N.Y. 1966 

Formerly Museum Scientist, Conservation 

Analytical Laboratory, Smithsonian 


100

Montegut, Denyse textiles 

Muller, Norman paintings 

Mustalish, Rachel paper 

Instructor, Conservation Science, Museum 

Studies Graduate Program, Fashion Institute 

of Technology, New York, N.Y. 1992 

Conservator, Art Museum, Princeton 

University, Princeton, N.J. 1972 

Assistant Conservator, Metropolitan Museum 

of Art, New York, N.Y. 1997 

Nadolny, Jilleen paintings Ph.D. Candidate, Art History/Conservation, 

Courtauld Institute of Art, London, Eng. 

1994 

Nelson, Jerri paper Paper Conservator, Massachusetts Archives, 


Ng, Won Yee objects 

Nunberg, Sarah objects 

Objects/Textile Conservator, The Brooklyn 

Museum of Art, Brooklyn, N.Y. 1994 

Advanced Conservation Fellow, Worcester 

Art Museum, Worcester, Mass. 1997 

O'Donoghue, Elma paintings Conservator, Los Angeles County Museum of 

Art, Los Angeles, Calif. 1996 

Otis, Helen paper Formerly Head Conservator, The 

Metropolitan Museum of Art, New York, 

N.Y; Retired 1968 

Paglia, Lenora paintings Associate Paintings Conservator, Wadsworth 

Atheneum, Hartford, Conn. 1988 

Pancaldo, Susanna objects Kress Fellow, Museum of London, London, 

Eng. 1997 

Pearlstein, Ellen objects 

Penichon, Sylvie photo 

Objects Conservator, The Brooklyn Museum 

of Art, Brooklyn, New York; Adjunct 

Professor of Conservation, Conservation 

Center, Institute of Fine Arts, New York 

University, New York, N.Y. 1982 

Andrew W. Mellon Fellow in Photography 

Conservation, Art Institute of Chicago, 

Chicago, 111. 1998 

101

Perry, Jennifer Far 

Eastern 

art 

Phelan, paper 

Wynne Hutchinson 

Pilosi, Lisa 

Pratt, Ellen 

Rushfield, 

Rebecca 

Sass, Shelley 

objects 

objects 

Preston, Irene paper 

Rankin, Quentin paintings 

Ransick, Leslie objects 

Rieger, Caroline paper 

Riley, Sarah paper 

Roberts, James objects 

textiles 

Salzman, Ellen objects 

Samuel, Laurie paper 

architecture 

Asian Paintings Conservator, Oka Bokkado 

Co., Ltd., Kyoto, Jap. 1993 

Director of Conservation, The Museum of 

Fine Arts, Houston, Tex. 1972 


Museum of Art, New York, N. Y. 1988 

Partner, Sherman and Pratt Studio, LLP; 

Project Conservator, Museum of Modern Art, 


Private Practice, Oberlin, Ohio 1981 

Paintings Conservator, National Museum of 

American Art, Smithsonian Institution, 



Private Practice, Rieger Art Conservation, 


Private Practice, Boston, Mass. 2975 

Conservator/Supervisor, Museum Curator, 

National Park Service, Springfield Armory 

National Historic Site, Springfield, Mass. 

1981 

Private Practice, Editor/Abstractor, 

Flushing, N.Y. 1980 

Assistant Conservator, The Metropolitan 


1992 

Private Practice, Brooklyn, N.Y; Adjunct 

Associate Professor of Conservation and 

Program Coordinator, Conservation Center, 



102

Scafetta, Stefano 

Schorsch, 

Deborah 

paintings Senior Conservator of Paintings, National 

Museum of American Art, Smithsonian 


objects Associate Conservator, The Metropolitan 


Schwartzbaum, paintings Chief Conservator and Assistant Director for 

Paul Technical Services, Solomon R. Guggenheim 

Museum, New York, N.Y. 1972 

Seibert, Ann 

Severson, Kent 

Shank, J. William 

paper Paper Conservator, Library of Congress, 


objects Private Practice, Boston, Mass.; Senior Field 

Conservator, Aphrodisias Expedition, New 


paintings Chief Conservator, San Francisco Museum of 


Shelley, Marjorie paper Head Conservator, Prints and Drawings 

Conservation, The Metropolitan Museum of 


Sherman, Jennifer 

Shino, Kaoru 

Siano, Suzanne 

paintings Partner, Sherman and Pratt Studio, LLP; 

Adjunct Associate Professor of Conservation, 



paintings Private Practice, Honolulu, Hawaii 1981 

paintings Associate Paintings Conservator, Rustin 

Levenson Art Associates, Ltd., New York, 

N.Y. 1996 

Singer, Martha objects Fellow, Objects Conservation, Centre de 

Conservation du Quebec, Quebec City, Que., 

Can. 1996 

Soultanian, objects Conservator, The Metropolitan Museum of 

Jack, Jr. Art; Adjunct Professor of Conservation, 



103

Steckling, paintings 

Friederike 

Stoner, Joyce Hill 

Ph.D. 

Stratis, Harriet paper 

Thumm Mackey, objects 

Meghan 

Offentliche Kunstsammlung Basel 

(Kunstmuseum Basel), Basel, Switz. 1998 

paintings Professor, WinterthurAJniversity of Delaware 

Program in Art Conservation; Adjunct 

Paintings Conservator, Henry Francis DuPont 

Winterthur Museum, Winterthur, Del. 1973 

Conservator of Prints and Drawings, The Art 


Assistant Conservator of Decorative Arts and 

Sculpture, Museum of Art, Philadelphia, 

Penn. 1997 

Tichane, Robin paintings Studio Artist, New York, N.Y. 1976 

Tokumaru, paintings Associate Conservator of Paintings, Kimbell 

Isabelle Art Museum, Fort Worth, Tex. 1994 

Trupin, Deborah textiles Textile Conservator, New York State Office of 

Parks, Recreation, and Historic Preservation, 

Bureau of Historic Sites, Peebles Island, 

Waterford, N.Y. 1982 

Urry, Serena 

Vance, Philip 

van der Reyden, 

Dianne 

paintings Associate Painting Conservator, Detroit 

Institute of Arts, Detroit, Mich. 1989 

paintings Formerly Conservator of Paintings, 

Los Angeles County Museum of Art, 


paper Senior Paper Conservator, Head of Paper 

Conservation Laboratory, Smithsonian Center 

for Materials Research and Education, 


1980 

Volent, Paula paper M.A. Degree Candidate, Yale School of 

Management, Yale University, New Haven, 

Conn. 1988 

von Nostitz, 

Charles 

paintings Private Practice, New York, N.Y. 1981 

104

Watters, Mark paper 

Weber, Jane paintings 

Weingarten, Carol paintings 

Weintraub, Steven objects 

Wheeler, George objects 

Williams, Jane objects 

Wypyski, Mark objects 

Younger, Kirsten paintings 

Zycherman, objects 

Lynda Aussenberg 

Private Practice, Aitchison and Watters, Inc., 


M.A. Degree Candidate, Management 

Program, Clark University, Worcester, Mass. 

1989 


Principal, Art Conservation Services; 

Conservator/Environmental Consultant, 


Research Chemist, The Metropolitan Museum 

of Art; Adjunct Professor of Conservation, 



Assistant Conservator, The Brooklyn Museum 

of Art, Brooklyn, N.Y. 1991 

Associate Research Scientist, The 


1995 

Conservator, Krieg Paintings 

Restorer, New York, N.Y. 1997 

Associate Conservator, Sculpture 

Conservation, Museum of Modern Art, 


GRADUATE CONSERVATION TRAINING PROGRAM, 

INTERMUSEUM CONSERVATION ASSOCIATION, 

Name 


OBERLIN COLLEGE 

Student Present Position(s) and Location (if known) 

Specialty Date of Graduation from Program 

Alden, Gary paintings Santa Barbara, Calif. 1976 

Bertalan, John paintings Left before completing the program, 

Birmingham, Ala. (1975) 

105

Crenshaw, Karen paintings Pittsburgh, Penn. 1977 

Engel, Betty paintings Engel & Hubert, Del Mar, Calif. 1975 

Fox, Marie paintings Santa Monica, Calif. 1976 

Greenspan, Stuartt paintings Left program after two years and did not 

practice conservation (1973) 

Grissom, Carol objects Smithsonian Center for Materials Research, 

Museum Support Center 1974 

Himmelstein, Paul paintings Paintings Conservator, Private Practice, 

Appelbaum and Himmelstein, New York 

1973 

Hoenigswald, Ann paintings Paintings Conservator, National Gallery of 


Horns, James paintings Minneapolis, Minn. 1974 

Keyser, Barbara paintings The Art Conservation Program, Art Centre 

Extension, Queen's University, Kingston, 

Ont., Can. 1973 

Leisher, Williamt paintings Left before completing the program (1975) 

Mayer, Lance paintings Lyman Allyn Art Museum, New London, 

Conn. 1977 

Merrill, Ross paintings Chief of Conservation, National Gallery of 


Meyers, Gay paintings Lyman Allyn Art Museum, New London, 

Conn. 1978 

Miller, Bruce paintings Redmond, Wash. 1976 

Richard, Mervin paintings Deputy Chief of Conservation, National 

Gallery of Art, Washington, D.C. 1978 

Veliz, Zahira paintings Studio 3, London, Eng. 1978 

106

Name 


ART CONSERVATION DEPARTMENT 

BUFFALO STATE COLLEGE 

Includes graduates of the Cooperstown Graduate Program in the Conservation 

of Historic and Artistic Works, Stale University College at Oneonta. 



Ackerman, Alfred paintings Paintings Conservator, Conservation 

Department, Detroit Institute of Arts, Detroit, 

Mich. 1979 

Aiken, Carol objects 

Ph.D. 

Albano, paintings 

Albert Paul 

Albro, paper 

Sylvia Rodgers 

Alessi, Doreen objects 

Anderspon, Holly paper 

Andrews, paper/ 

Theresa M. photog. 

Artal-Isbrand, objects 

Paula 

Augerson, objects 

Christopher 

Bailey, Forrest R. paintings 

Museum of 

Baird, objects 

Genevieve A. 

Objects Conservator, Coproprietor, Aiken & 

Ramer, Baltimore, Md. 1974 

Executive Director, Intermuseum 

Conservation Association, Oberlin, Ohio 

1980 

Senior Paper Conservator, Graduate 

Internship Supervisor, Conservation Division, 

Library of Congress, Washington, D.C. 1982 

Collections Conservator, Adirondack 

Museum, Blue Mountain Lake, N.Y. 1994 

Paper Conservator, Private Practice, Fulton, 

Calif. 1995 

Photograph and Paper Conservator, San 

Francisco Museum of Modern Art, 


Objects Conservator, Worcester Art Museum, 

Worcester, Mass. 1994 

Objects Conservator, Private Practice, Paris, 

Fr. 1992 

Formerly Chief Conservator, Nelson-Atkins 

Art, Kansas City, Mo. 1975 

Objects Conservator, Coproprietor, Baird, 

Rief, and Associates, Georgetown, Calif. 

1978 

107

Barden, Richard objects 

Barry, Claire 

Basset, Jane L. 

Bauer, David C. 

Beardsley, 

Barbara H. 

Beaudin, 

Jill Sterrett 

Bedford, Clarke 

Berry, April 

Berry, 

Cynthia Kuniej 


objects 



paper 


Bernstein, James paintings 

objects 


Blackard, Sandra paintings 

Senior Objects Conservator, Preservation 

Services, National Museum of American 

History, Smithsonian Institution, Washington, 

D.C. 1991 

Paintings Conservator, Kimbell Art Museum, 

Fort Worth, Tex. 1981 

Associate Conservator, Decorative Arts 

Conservation, J. Paul Getty Museum of 

Decorative Arts, Los Angeles, Calif. 2985 

Paintings Conservator, Private Practice, Point 

Richmond, Calif. 1983 

Paintings Conservator/Proprietor, Art 

Conservation Lab, Inc., Raymond, N.H. 

1973 

Paper Conservator, San Francisco Museum of 


Paintings Conservator, Hirshhorn Museum & 

Sculpture Garden, Smithsonian Institution, 


Paintings Conservator/Proprietor, James 

Bernstein Art Conservation, San Francisco, 

Calif. 1974 

Artifact Conservator, Commonwealth 

Conservation Center, Division of Architecture 

& Conservation, Harrisburg, Penn. 1989 

Assistant Paintings Conservator of Special 

Projects, Art Institute of Chicago, Chicago, 

111. 1988 

Art Conservation Consultant, Bedford, Tex. 

1980 

Bonadies, paintings Chief Conservator, Cincinnati Art Museum, 

Stephen D. Cincinnati, Ohio 1979 

Boulton, Ann objects Objects Conservator, Private Practice, 

Baltimore, Md. 1985 

108

Branchick, paintings 

Thomas J. 

Brevig, Lorraine paintings 

Brooke, objects/ 

Stephen W. paintings 

Director, Williamstown Art Conservation 

Center, Williamstown, Mass. 1981 

Paintings Conservator, Richmond 

Conservation Studio, Richmond, Va. 1993 

President/Conservator, Private Practice, 

Hallowell, Maine 1973 

Brown, Katherine objects Collections Conservator, Mt. Vernon Ladies 

Association, Alexandria, Va. 1997 

Brown, William P. paintings 

Buckley, 

Barbara A. 


Associate Conservator, North Carolina 

Museum of Art, Raleigh, N.C. 1989 

Paintings Conservator/Proprietor, Barbara A. 

Buckley & Associates, West Chester, Penn. 

1983 

Burandt, Jan paper Paper Conservator, Private Practice, Wayland, 

Mass. 1993 

Buschini, Nancy objects 

Buschor, Elizabeth paper 

Assistant Objects Conservator, Straus Center 

for Conservation, Harvard University Art 

Museums, Cambridge, Mass. 1991 

Senior Paper Conservator, Upper Midwest 

Conservation Association, Minneapolis, 

Minn. 1986 

Calinescu, Irena objects Assistant Objects Conservator, Los Angeles 


1993 

Campano, Beth A. paintings Paintings Conservator, Private Practice; 

Consultant, Cleveland Museum of Art, 

Cleveland, Ohio 1996 

Carlson, Lage paper Senior Book Conservator, Phased 

Conservation, Library of Congress, 

Conservation Division, Washington, D.C. 

1989 

Carroll, Scott objects Objects Conservator, National Museum of the 

American Indian, Smithsonian Institution, 

Suitland, Md. 1992 

109

Chase, Susan paintings 

Clark, Karen N. textiles 

Clement, Daniel paper 

Cleveland, 

Rachel Ray 

paper 

Cockerline, Neil C. paintings 

Collas, Tania objects 

Collum, Malcolm objects 

Conforti, 

Stephanie 


Contompasis, paintings 

Margaret 

Culver, Marie E. paper 

Daffner, Lee Ann paper/ 

photog. 

Dandridge, Peter objects 

Davis, Mary Jo paper 

Dirda, Marian Peck paper 

1973 

Senior Textile Conservator, Textile 

Conservation Workshop, South Salem, 

N.Y. 1974 

Paper Conservator/Proprietor, Clement Art 

Conservation, Inc., Ithaca, N.Y. 1983 

Paper Conservator, Baha'i World Center 

Library, Haifa, Isr. 1993 

Director of Field Services, Upper Midwest 



Objects Conservator, Private Practice, Los 

Angeles, Calif. 1995 

Objects Conservator, Henry Ford Museum & 

Greenfield Village, Preservation Management, 

Dearborn, Mich. 1995 

Paintings Conservator, Postgraduate Intern, 

Colonial Williamsburg Foundation, 

Williamsburg, Va. 1998 

Paintings Conservator, Indiana University Art 

Museum, Bloomington, Ind. 1992 

Paper Conservator, New York State Bureau of 

Historic Sites, Waterford, N.Y. 1983 

Photograph Conservator, Museum of Modern 


Objects Conservator, Sherman Fairchild 

Center, The Metropolitan Museum of Art, 


Project Director for Collections Care, 

Vermont Museum & Gallery Alliance, c/o 

Vermont Historical Society, Montpelier, 

Vt. 1994 

Paper Conservator/Proprietor, Art on Paper 

Conservation, Silver Spring, Md. 1975 

110

Dixon, Thomas paintings Chief Conservator, National Gallery of 

Victoria, Conservation Department, 

Melbourne, Victoria, Austral. 1973 

Doscher, Patricia 

Downey, Anne E. 

Downey, Laura 

Farrell, Donna 

paper 

paper 

paper 

Duhl, Susan paper 

Eckmann, paper 

Inge-Lise 

Elgar, Jacki A. Asian art 

on paper 

English-Heller, paper 

Janet 

Epley, Bradford paintings 

Erisoty, Steven B. paintings 

Fahey, Mary M. objects 

objects 

Fernandez, Amy objects 

Findley, David E. paintings 

Boeing Corporation, Kent, Wash. 1977 

Senior Conservator of Works of Art on Paper, 

Conservation Center for Art & Historic 

Artifacts, Philadelphia, Penn. 1993 

Photograph Conservator; Fellow, Mellon 

Advanced Residency, George Eastman 

House, Rochester, N.Y. 1994 

Paper Conservator, Susan Duhl Art 

Conservation, Bala Cynwyd, Penn. 1987 

Chairman, Heritage Preservation, 

Washington, DC 1974 

Assistant Conservator, Asiatic Department, 


Paper Conservator, Private Practice, Oberlin, 

Ohio 1988 

Paintings Conservator, The Menil Collection, 

Houston, Tex. 1997 



Director of Preservation, Henry Ford Musem 

& Greenfield Village, Historical Resources, 


Objects Conservator, Private Practice; 

Contract Conservator, Philadelphia Museum 

of Art, Philadelphia, Penn. 1993 

Objects Conservator, Getty Fellow, Colonial 

Williamsburg Foundation, Williamsburg, 

Va. 1998 

Paintings Conservator, North Carolina 

Museum of Art, Raleigh, N.C. 1982 

111

Flavin, objects 

Elizabeth M. 

Fleischman, objects 

Matthew 

Floyd, Susan B. paintings 

Gann, Lyzanne paper/ 

photog. 

Garland, objects 

Kathleen M. 

Gerbracht, Amy paper 

German-Carter, paintings 

Ria 

Gifford, Melanie paintings 

Dr. 

Gillette, Helene C. objects 

Goist, David paintings 

Gorman, Joan H. paintings 

Graham, Karen W. paintings 

Gramly, Suzanne paper 

Grant, Kenneth paper 

Retired, Hanover, N.H. 1976 

Objects Conservator, Carnegie Museum of 

Art, Pittsburgh, Penn. 1987 



Photograph Conservator, Private Practice, 

Paris, Fr. 1996 

Objects Conservator, Nelson-Atkins Museum, 

Kansas City, Mo. 1985 

Postgraduate Mellon Fellow, Yale Center for 

British Art, New Haven, Conn. 1998 

Paintings Conservator, Private Practice, San 

Francisco, Calif. 1994 

Research Conservator for Paintings 

Technology, National Gallery of Art, 

Scientific Research Department, Washington, 

D.C. 1979 

Associate Objects Conservator, Indianapolis 

Museum of Art, Indianapolis, Ind. 1986 

Paintings Conservator/Proprietor, Goist Art 

Conservation, Raleigh, N.C. 1975 

Senior Paintings Conservator, Upper Midwest 



Director, Audit and Evaluation, Canadian 

Museum of Civilization, Hull, Que., Can. 

1977 

Paper Conservator, Strong Museum, 


Paper Conservator, Harry Ransom 

Humanities Research Center, University of 

Texas at Austin, Austin, Tex. 1995 

112

Grant, objects 

Martha Simpson 

Gregory, Mina objects 

Grewe-Mullins, objects 

Patricia 

Griffin, Jr. 

Joseph D. 


Griswold, Stefanie objects 

Gutman, Nica paintings 

Hamm. James paintings 

Hamm. Patricia paper 

Haner, Paul F. paintings 

Harbeck, Cair objects 

Harbison, objects 

Diane Russell 

Hargrove, Suzanne objects 

Harnly, Marc W. paper 

Proprietor, Martha Simpson Grant Art 

Conservator, Austin, Tex.; Contract 

Conservator, San Antonio Museum of Art, 

San Antonio, Tex., and Houston Museum of 

Natural Science, Houston, Tex. 1994 

Objects Conservator, Museum of New 

Mexico, Santa Fe, N.Mex. 1998 

Franklin, Ky. Class of 1995 


Objects Conservator/Coproprietor, Griswold 

Conservation Associates, Beverly Hills, 

Calif. 1997 

Paintings Conservator/Postgraduate Fellow, 


Penn. 1997 

Associate Professor, Art Conservation 

Department, Buffalo State College, Buffalo, 

N.Y. 1978 

Paper Conservator/Proprietor, Fine Arts 

Conservation & Technical Services, Clarence 

Center, N.Y. 1975 

Paintings Conservator, Saint Louis Art 

Museum, St. Louis, Mo. 1978 

National Park Service, Harpers Ferry Center, 


Assistant Objects Conservator, Gerald R. Ford 

Conservation Center, Omaha, Nebr. 1998 

Head of Objects Conservation, Saint Louis 

Art Museum, St. Louis, Mo. 1984 

Conservator/Head of Paper Conservation, 

J. Paul Getty Museum, Los Angeles, Calif. 

1986 

113

Hartmann, paintings Chief Conservator, Commonwealth 

E. John Jr. Conservation Center, Pennsylvania Historical 

& Museum Commission, Harrisburg, Penn. 

1982 

Healey, Margot paper 

Hebb, Kathryn E. paintings 

Heffley, Scott A. paintings 

Heslip, Michael L. paintings 

Hessling, Janet W. paintings 

Heugh, Nancy 

Hird, Kathryn H. 

Hoevel, Claire L. 

Holden, Maria S. 

paper 


paper 

paper 

Howard, Brian R. objects 

Howe, Ellen G. objects 

Hulbert, Gary N. paintings 

Assistant Paper Conservator, Los Angeles 


1998 


Whittlesford, Cambridge, Eng. 1992 

Paintings Conservator, Nelson-Atkins 

Museum of Art, Kansas City, Mo. 1983 

Associate Paintings Conservator, 

Williamstown Art Conservation Center, 

Williamstown, Mass. 1976 

Paintings Conservator/Proprietor, Fine Art 

Conservation Collections Care, Durham, 

N.C. 2984 

Paper Conservator/Coproprietor, Heugh- 

Edmondson Conservation Services, 

Kansas City, Mo. 1980 

Amarillo, Tex. 1985 

Paper Conservator, Indianapolis Museum of 

Art, Indianapolis, Ind. 1984 

Preservation Administrator, New York State 

Archives, Albany, N.Y. 1985 

Objects Conservator, Commonwealth 

Conservation Center, Pennsylvania Historical 

& Museum Commission, Harrisburg, 

Penn. 1987 

Objects Conservator, Sherman Fairchild 

Center for Objects Conservation, 

The Metropolitan Museum of Art, New York, 

N.Y. 1979 

Paintings Conservator/Coproprietor, Engel 

& Hulbert, Del Mar, Calif. 1985 

114

Hunt, Valerie Reich objects Senior Objects Conservator, Shelburne 

Museum, Shelburne, Vt. 1986 

Hykin, Abby 

Ingalls, Helen 

Isbell, Lisa Hall 

objects 

objects 

paper 

Jaworski, Monica paintings 

Johnston, Rebecca paper 

Jolly, E. Renee objects 

Jones, Clyde R. objects/ 


paper 

Jones, Sian B. paintings 

Jorgensen, objects/ 

Elizabeth paper 

Kaldany, Mary textiles 

Katz, Kenneth B. paintings 

Kerschner, objects 

Richard L. 

Kiseljev, Dubravka 

Klayman, Emily paper 

Assistant Objects Conservator, Decorative 

Arts & Sculpture Conservation, J. Paul Getty 


Objects Conservator, National Museum of 

American Art, Washington, D.C. 1984 

Conservator of Works of Art on Paper, Private 

Practice, Fairfax, Va. 1989 

Proprietor, Peregrine Brushes & Tools, San 

Diego, Calif. 1986 

Paper Conservator, Williamstown Art 


Mass. 1991 

Associate Conservator, Museum of New 


Conservator/Adjunct Professor, New York 

State Historical Association, Cooperstown 

Graduate Program, Cooperstown, N.Y. 1977 


Paper Conservator, American Antiquarian 

Society, Worcester, Mass. 1988 

Textile Conservator, Textile Conservation 

Workshop, South Salem, N.Y. 1988 

Paintings Conservator/Proprietor, 

Conservation & Museum Services, Inc., 

Detroit, Mich. 1979 

Director of Collections Preservation, 

Shelburne Museum, Shelburne, Vt. 1982 

Did not complete the program. (1996) 

Paper Conservator, National Portrait Gallery, 


115

Knight, Karin 

Kornhauser, 

Stephen 



Koszewnik, Fred paintings 

Paintings Conservator, Private Practice, Santa 

Fe, N.Mex. 1985 

Chief Conservator, Wadsworth Atheneum, 

Hartford, Conn. 1975 


Marlton, N.J. 1979 

Kronthal, Lisa objects Associate Conservator, Anthropology 

Department, American Museum of Natural 

History, New York, N.Y. 1993 

Krueger, Holly paper Senior Paper Conservator, Graduate 

Internship Supervisor, Library of Congress, 


Krueger, Jay paintings Senior Conservator of Modern Paintings, 


1982 

Krumrine, 

Christina 

Kurtz, Daniel E. 

Kushel, Dan A. 

Lauffenburger, 

Julie 

Lawson, Dorothy 

Lawson, Eric 

Lawson, 

Margaret R. 

Lee. Michael K. 

Leto, Elizabeth L. 

objects Objects Conservator, Private Practice, New 

York, N.Y. 1989 

objects Objects Conservator/Proprietor, Lexington 

Conservation Associates, Inc., Pennsauken, 

N.J. 1996 

paintings SUNY Distinguished Teaching Professor, 

Art Conservation Department, Buffalo State 

College, Buffalo, N.Y. 1976 

objects Associate Objects Conservator, Walters Art 


paper Retired 1973 

objects Retired 1973 

paper Associate Conservator, The Metropolitan 


paper Gibsonville, N.C. 1985 

paintings Assistant Paintings Conservator, Isabella 

Stewart Gardner Museum, Boston, Mass. 

1994 

116

Lignelli, Teresa A. 

Lloyd, Bronwyn 

Lorenz, Richard A. paintings 

Lubick, Amy 

Luk, Cynthia 

paintings Associate Paintings Conservator, Philadelphia 

Museum of Art, Philadelphia, Penn. 1987 

objects Field Museum of Natural History, Chicago, 

111. 1998 

paper 


Maish, Jeffrey P. objects 

Mangum, Barbara objects 

Marti, 

Marianne Russell 

May, 

Katherine Stuart 

Maynor, 

Catherine I. 

objects 

objects 

paper 

Mazur, Tracey S. objects 

McCIintock, 

Emily Nord 

McCIintock, 

Thomas K. 

McElroy, Sara 

Paintings Conservator, San Francisco 

Regional Art Conservation Center, Oakland, 

Calif. 1977 

Paper Conservator/Postgraduate Fellow, 

National Park Service, Division of 

Conservation, Harpers Ferry, W.Va. 

1998 

Associate Conservator of Paintings, 



Assistant Conservator, Antiquities 

Conservation, J. Paul Getty Museum, Los 


Chief Conservator, Isabella Stewart Gardner 

Museum, Boston, Mass. 1983 

President, Russell-Marti Conservation 

Services, Inc., California, Mo. 1987 

Mellon Fellow in Objects Conservation, 


1997 

Paper Conservator, National Museum of 

American Art, Washington, D.C. 1983 

Intel Museum, Intel Corporation, Santa Clara, 

Calif. 1993 

paintings Cambridge, Mass. 1980 

paper Paper Conservator/Proprietor, T. K. 

McCIintock Ltd., Somerville, Mass. 1980 

paintings Conservator, A. M. Huntington Art Gallery, 

University of Texas, Austin, Tex. 1982 

117

McGiffin, 

Robert F. 

objects 

Mear, Cecile Davis paper 

Merritt, Scott H. objects 

Merz, Liisa L. paintings 

Messier, Paul paper/ 

photog. 

Miller, David A. paintings 

Minault, Dee paintings 

Modestini, paintings 

Dianne Dwyer 

Mohr, Pauline paintings 

Montague, 

Meredith 

textiles 

Morris, Kenneth objects 

Morris, Patricia paper 

Mullins, L. Cleo paintings 

Munzenrider, paintings 

Claire 

Nash, Susan A. paper 

Objects Conservator, Antique Rehabilitation 

Studio, Toluca Lake, Calif. 1976 

Associate Conservator, Cincinnati Art 

Museum, Cincinnati, Ohio 1990 

Collections Manager, National Museum of the 


Bronx, N.Y. 1990 

Assistant Paintings Conservator, Indianapolis 


Photograph Conservator/Proprietor, Boston 

Art Conservation, Brighton, Mass. 1990 

Senior Paintings Conservator, Indianapolis 


Paintings Conservator/Coproprietor, 

Cumberland Art Conservation, Nashville, 

Tenn. 1978 



Paintings and Paper Conservator, Private 

Practice, Berkeley, Calif. 1975 

Associate Conservator, Textile and Costume 

Conservation, Museum of Fine Arts, Boston, 

Mass. 1991 

Senior Product Manager, Mobil Chemical 

Co., Pittsford, N.Y. 1976 

Paper Conservator, Private Practice, Santa Fe, 

N.Mex. 1980 

Paintings Conservator/Proprietor, Richmond 

Conservation Studio, Richmond, Va. 1974 

Chief Conservator, Museum of New Mexico, 

Santa Fe, N.Mex. 1979 

Paper Conservator, Private Practice, 

Shepherdstown, W.Va. 1973 

118

Neuman, Ingrid A. objects Objects Conservator/Proprietor, Berkshire Art 

Conservation, Williamstown, Mass. 1987 

Newman, Walter E. paper 

Nieuwenhuizen, objects 

Linda S. 

Nishio, Yoshiyuki paper 

Nolley, Scott W. objects 

O'Connell, paintings 

Anthony 

O'Donnell, objects 

A. Alexandra 

Ockershausen, paintings 

Cindy Lou 

Ocon, Noelle paintings 

Otterson, objects 

Nathan P. 

Owen, Antoinette paper 

Pace, Laurence A. paintings 

Page, Arthur H. paintings 

Parkin, Helen Mar paintings 

Paper Conservator, Northeast Document 

Conservation Center, Andover, Mass. 1978 

Objects Conservator/Proprietor, Give Me a 

Break Conservation Services, Inc., Long 

Island City, N.Y. 1990 

Conservator of Asian Paintings/Proprietor, 

Nishio Conservation Studio, Washington, 

D.C. 1978 

Conservator of Decorative Arts, Colonial 


Va. 1996 

1975 

Portsmouth, R.I. 1975 

Paintings Conservator, National Portrait 

Gallery, Washington, D.C. 1981 

Assistant Paintings Conservator, North 

Carolina Museum of Art, Raleigh, N.C. 

2996 

Objects Conservator/Postgraduate Fellow, 


Paper Conservator, Brooklyn Museum of Art, 


Paintings Conservator/Proprietor, Pace Art 

Conservation Enterprises, Honolulu, Hawaii 

1981 

Paintings Conservator/Proprietor, Page 

Conservation, Inc., Washington, D.C. 

1982 

Chief Conservator, Taft Museum, Cincinnati, 

Ohio 1974 

119

Pavitt, paper/ 

Rebecca Billings textiles 

Penn, Suzanne paintings 

Perkins, Beverly N. objects 

Vancouver, B.C., Can. 1987 

Paintings Conservator, Philadelphia Museum 

of Art, Philadelphia, Penn. 1981 

Objects Conservator/Proprietor, Art 

Conservation of Los Angeles, Murrieta, 

Calif. 1986 

Poiss, Isleen Susan objects National Museum of the American Indian, 

Bronx, N.Y. 1997 

Porter, Mary Kay photographs 

Portue, Thomas paintings 

Potoff, Leni paintings 

Consultant, Wilton, Conn. 1978 


Resurgence, San Francisco, Calif. 1979 



Primeau, Thomas J. paper Assistant Paper Conservator, Baltimore 

Museum of Art, Baltimore, Md. 1996 

Proctor, Robert G. paintings Paintings Conservator/Coproprietor, Whitten 

& Proctor Fine Art Conservation, Houston, 

Tex. 1992 

Raphael, Bettina objects Objects Conservator/Proprietor, Southwest 

Conservation Lab, Sante Fe, N.Mex. 1973 

Remba, Alina paintings Contract Conservator, de Young Museum and 

San Francisco Museum of Modern Art, San 


Reutter, Laura A. objects 

Richwine, Beth A. objects 

Rieniets, 

Judith Ann 


paper 

Associate Objects Conservator, Indianapolis 


Supervisor Conservator, National Museum of 

American History, Smithsonian Institution, 

Washington, D. C. 1988 

Proprietor, Judith Rieniets Fine Arts 

Conservation, Petaluma, Calif. 1976 

120

Rogers, 

Catherine G. 

Rosenthal, Anne paintings/ 

paper 

Rosston, Jean F. paintings 

Roth, Kendra E. objects 

Ruggles, Janet E. paper 

Rupprecht, paintings 

Annette 

Sagerman, Abigail objects 

Schell, Laura paper 

Schmalz, textiles 

Susan Renate 

Schussler, Susan objects 

Scott, Jr., John C. objects 

Sebera, Mary paintings 

Seibel, Deborah paper 

Selden, paintings 

Debra Kay 

Sherin, Richard W. objects 

paintings Paintings Conservator, Private Practice, 

Charleston, S.C. 2989 

Conservator/Proprietor, Fine Art 

Conservation, San Rafael, Calif. 1977 

Conservator, Kunsthaus Zurich, Zurich, 

Switz. 2982 

Conservation Assistant, Metropolitan 

Museum of Art, Sherman Fairchild Center for 

Objects Conservation, New York, N.Y. 1996 

Director, Balboa Art Conservation Center, 

San Diego, Calif. 1976 

Paintings Conservator/Proprietor, Fine Art 

Conservation, New York, N.Y. 1988 


Grant Writer, Lockport, N.Y. 1997 

Textile Conservator/Postgraduate Mellon 

Fellow, Los Angeles County Museum of Art 


1980 

Objects Conservator/Proprietor, New York 

Conservation Center, Inc., New York, N.Y. 

1984 

Senior Conservator, Baltimore Museum of 

Art, Baltimore, Md. 1982 

1978 

Conservator for Paintings and Murals, Private 

Practice, Ossining, N.Y. 1986 

Director of Conservation, Strong Museum, 


121

Shields, Tracey 

Spicer, L. Gwen 

Stahler-Sholk, 

Barbara 

Stanton, Moyna paper 

Stauderman, 

Sarah D. 

Steele, Elizabeth 

Steele, John 

Stevenson, Mark 

Stiber, Linda 

Stow, Cynthia 

Studt, Mary E. 

Suffield, 

Bruce Hardin 

objects Intel Museum, Intel Corporation, Santa Clara, 

Calif. 1993 

textiles/ Textile Conservator, Private Practice, Delmar, 

paper N.Y. 1991 

paper 1984 

Sullivan, Maria E., paintings 

Svoboda, Marie E. objects 

Swan, 

Christopher M. 

Paper Conservator, Cleveland Museum of Art, 


paper A/V Media Conservator, VidiPax, 


paintings Associate Conservator, Phillips Collection, 


objects Objects Conservator, Detroit Institute of Arts, 


paper Paper Conservator, Private Practice, Kansas 

City, Mo. 1988 

paper Senior Paper Conservator, Library of 

Congress, Washington, D.C. 1986 

paintings Paintings Conservator/Coproprietor, 

Cumberland Art Conservation, Nashville, 

Tenn. 1974 

paper Postgraduate Fellow, Colonial Williamsburg 

Foundation, Williamsburg, Va. 1996 

paintings Assistant Conservator, Virginia Museum of 

Fine Arts, Richmond, Va. 1992 

Conservator, Art Gallery of Ontario, Toronto, 

Ont., Can. 1995 

Assistant Conservator, Objects Conservation 

& Scientific Research, Museum of Fine Arts, 


objects Postgraduate Mellon Fellow, Furniture 

Conservation Lab, Philadelphia Museum of 

Art, Philadelphia, Penn. 1995 

122

Swicklik, Michael paintings Paintings Conservator, Private Practice, 


Tafilowski, Diane 

Tahk, 

F. Christopher, 

PhD. 

Talbott, Robin R. 

paper/ Private Practice, Winchester, Mass. 1997 

photographs 

objects/ SUNY Distinguished Service Professor/ 

science Director, Art Conservation Department, 

Buffalo State College, Buffalo, N.Y. 1975 

paintings Paintings Conservator/Proprietor, 

Conservation of Fine Arts, Rockville, 

Md. 1983 

Talland, objects Associate Conservator in Charge of Objects 

Valentine H. Conservation, Isabella Stewart Gardner 


Thomas, paintings Paintings Conservator/Proprietor, Art Care, 

Gregory A. Haleiwa, Hawaii 1976 

Thornton, Jonathan objects Professor, Art Conservation Department, 

Buffalo State College, Buffalo, N.Y. 1980 

Tillapaugh, paper Paper Conservator/Proprietor, Tillapaugh Art 

Ellen Riggs Conservation, Cooperstown, N.Y. 1984 

Trela, Richard J. paintings Director, Conservation Center, Panhandle- 

Plains Historical Museum, Canyon, Tex. 

1978 

Tucker, Linda K. 

Tucker, Mark 

Ullmann, Laurence 


Belmont, Mass. 1976 

paintings Philadelphia Museum of Art, Philadelphia, 

Penn. 1981 


Takoma Park, Md. 1991 

Untch, objects Virginia Museum of Fine Arts, Richmond, 

Katharine A. Va. 1990 

Vallano, James M. paintings Paintings Conservator/Proprietor, JMV Art 

Conservation, Inc., Frederick, Md. 1989 

123

Van Gelder, paintings 

Mark E. 

Vitagliano, John paintings 

von Moller, paintings 

Marie R. 

Wager, Ann paintings 

Wald, Robert paintings 

Wallace, paintings 

Frederick A. 

Walmsley, paintings 

Elizabeth 

Walsh, Judith C. paper 

Wanke-Hudson, paper 

Constance R. 

Watkins, paper/ 

Stephanie B. photographs 

Wharton, Glenn objects 


Conservation Services of Austin, Austin, 

Tex. 1988 

Associate Conservator, Fodera Fine Art 

Conservation, Ltd., New York, N.Y. 1993 

Head of Conservation, Bergen Museum of 

Art, Bergen, Norw. 1989 

San Luis Obispo, Calif. 1973 

Paintings Conservator, Kunsthistorisches 

Museum, Vienna, Aus. 1990 

Associate Conservator, Cincinnati Art 

Museum, Cincinnati, Ohio 1991 

Paintings Conservator, National Gallery of 


Paper Conservator, National Gallery of Art, 


Colorado Conservation Center, Denver, 

Colo. 1976 

Head of Paper Conservation, Harry Ransom 

Humanities Research Center, Austin, Tex. 

1990 

Objects Conservator/Coproprietor, Glenn 

Wharton & Associates, Santa Barbara, 

Calif. 1982 

Whitten, Jill paintings Paintings Conservator/Coproprietor, 

Whitten & Proctor Fine Art Conservation, 


Wiegandt, Ralph objects Objects Conservator, Rochester Museum and 

Science Center, Rochester, N.Y. 1987 

Wilson, Susan objects Policy Advisor, Culture Division, Ministry of 

Citizenship, Culture & Recreation, Toronto, 

Ont., Can. 1974 

124

Witkowski, 

Linda A. 

Wojcik, Barbara paintings 

Wolfe, Julie objects 

Worhach, paintings 

Marlene L. 

Wozniak, Rhonda objects 

Wright, James M. paintings 

Wright, paper 

Joan London 

Wrubel, Faye paintings 

Young, Pamela J. paper 

Zuccari, Frank paper 

Zucker, Joyce paintings 

Name 


paintings Conservator, Indianapolis Museum of Art, 

Indianapolis, Ind. 1984 


Springfield, Mass. 1992 

Assistant Conservator, Williamstown Art 


Mass. 1997 



Carnegie Museum of Art, Pittsburgh, 

Penn. 1993 

Paintings Conservator, Museum of Fine Arts, 


Paper Conservator, Asiatic Conservation, 


Paintings Conservator, Art Institute of 

Chicago, Chicago, 111. 1978 

Paper Conservator, Colonial Williamsburg 


Executive Director of Conservation, Art 


Conservator, New York State Bureau of 

Historic Sites, Waterford, N.Y. 1973 

WINTERTHUR/UNIVERSITY OF DELAWARE 

PROGRAM IN ART CONSERVATION 



Abercauph, Carole paintings Paintings Conservator, Private Practice, 


125

Abreu- paintings 

Utermohlen, Hilda 

Adler, Susan textiles 

Aitchison, Robert paper 


Dominican Republic 1988 

Getty Intern, Colonial Williamsburg 


Paper and Photograph Conservator, 

Aitchison & Watters, Inc., West Hollywood, 

Calif. 1979 

Albertson, Rita paintings Paintings Conservator, Worcester Art 

Museum, Worcester, Mass. 1982 

Albright, Gary paper Photograph Teaching Conservator, Advanced 

Residency Program, George Eastman House, 


Anderson, objects Objects Conservator, Colonial Williamsburg 

Catherine Foundation, Williamsburg, Va. 1990 

Anderson, Priscilla books 

Arnold, David furniture 

Aronson, Mark paintings 

Austin, Michele objects 

Baas, Valerie paper 

Manuscript Conservator, Walters Art 


Conservator of Composite Wooden Objects, 

National Park Service, Harpers Ferry, 

West Va. 1994 

Chief Conservator, Yale University Art 

Gallery, New Haven, Conn. 1986 

Assistant Objects Conservator, Museum of 

Natural History, Smithsonian Institution, 


Paper Conservator, Detroit Institute of Arts, 


Baker, Julie objects Objects Conservator, Private Practice, 

Broomall, Penn. 1990 

Barach Cox, Ruth paintings 

Barger, Michelle objects 


Raleigh, N.C. 1987 

Associate Conservator of Objects, San 

Francisco Museum of Modern Art, San 


126

Barry, Joanne paintings Paintings Conservator, High Museum of Art, 

Regional Conservation Center, Atlanta, 

Ga. 1998 

Bernier, Brenda photographs 

Photograph Materials/Paper Conservator, U.S. 

Holocaust Memorial Museum, Washington, 

D.C. 1997 

Bernstein, Johanna furniture Postdoctoral Fellow, Materials Science & 

Engineering Department, Johns Hopkins 

University, Baltimore, Md. 1992 

Blanchfield, David objects Musical Instrument Conservator, Colonial 


Va. 1997 

Blank, Sharon objects/ 

ethno. 



Bockrath, Mark paintings Paintings Conservator & Adjunct Associate 

Professor, Winterthur Museum & 

Winterthur/University of Delaware Program 

in Art Conservation, Newark, Del. 1982 

Booth, Laurie objects Objects Conservator, Midwest Conservation 

Services, Inc., Plain City, Ohio 1983 

Bria, Carmen paintings Paintings Conservator, Western Paintings 

Conservation, Denver, Colo. 1983 

Brown, Barbara photographs 

Photograph Conservator, Harry Ransom 

Humanities Research Center, University of 

Texas, Austin, Tex. 1987 

Bruno, Lisa objects Objects Conservator, Brooklyn Museum of 


Buck, Susan furniture Furniture Conservator, Private Practice, 

Newton, Mass.; Ph.D. Candidate, 

Conservation Research, University of 

Delaware, Newark, Del. 1992 

Carlisle, furniture Assistant Conservator of Furniture & 

Alexander Wooden Objects, Williamstown Art 


1995 

127

Carpenter, objects 

Jane Poliquin† 

Caspi, Sara objects 

Cassman, textiles/ 

Vicki, Ph.D. ethno. 

Chamberiin, objects 

Robin 

Checkel-Sweet, objects 

Christina 

Childs, John furniture 

Christensen, paintings 

Carol 

Christman, Bruce objects 

Coddington, paintings 

James 

Conlin Wyatt, textiles 

Nancy 

Cornman, Maurat objects 

Court, paintings 

Elizabeth 

Craft, Margaret objects 

Crawford, 

Matthew 

objects 

(ethno.) 

1984 

Objects Conservator, Oriental Institute, 

Chicago, 111. 1998 

Visiting Assistant Professor of Anthropology, 

University of Nevada, Las Vegas, Nev. 1985 



Conservator, National Museum of Health and 

Medicine, Washington, D.C. 1994 

Furniture Conservator, Private Practice, Los 




Chief Conservator, Cleveland Museum of 

Art, Cleveland, Ohio 1979 

Chief Conservator, Museum of Modern Art, 


Textile Conservator, Private Practice, 

Appleton, Wis. 1980 

1978 

Paintings Conservator, Balboa Art 

Conservation Center, San Diego, Calif. 1980 

Objects Conservator, Art Conservation 

Technology Services, Inc. (ACTS), Baltimore, 

Md. 1977 

Objects Conservator, Rocky Mountain 

Regional Conservation Center, Denver, Colo. 

1995 

Daulton, Christine paintings Paintings Conservator, Private Practice, 

Greensburg, Penn. 1979 

128

Davis, Nancy objects Objects Conservator, Private Practice, 

(archaeo.) Baltimore, Md. 1984 

Dedecek, Stefan paintings 

Dennin Ream, 

Julie 

Deschu, Claudia 

paper 

objects 

Dinsmore, Jennifer objects 

Discenza, Ann paintings 

Duerbeck-Parr, furniture 

Deborah 

Duff, Suzanne paintings 

Duffy, Michael paintings 

Dwan, Antoinette paper 

Dyer Mayer, paper 

Debora 

Evans, Debra paper 

Fairbanks paper 

Harris, Theresa 

Fenn, Mark objects 

(archaeo.) 

Fischer, Monique photographs 

Associate Paintings Conservator, McKay 

Lodge Conservation Laboratory, Oberlin, 

Ohio 1993 


Wenonah, N.J. 1994 

Objects Conservator, Private Practice, 

Wilmington, Del. 1985 

Stone & Wallpaintings Conservation, British 

Museum, U.K. 1983 

Ph.D. Studies in Environmental Science, 

University of Maryland, College Park, Md. 

1986 

Painted Furniture Conservator, Art 

Conservation Technology Services, Inc., 


Paintings Conservator, Private Practice, Essex 

Fells, N.J. 1980 

Associate Conservator, Museum of Modern 



Sebastopol, Calif. 1984 

Paper Conservator, Private Practice, Bedford, 

N.H. 1982 

Paper Conservator, Fine Arts Museum of San 

Francisco, San Francisco, Calif. 1981 

Chief Conservator, Yale Center for British 

Art, New Haven, Conn. 1980 

Associate Conservator, Asian Art Museum, 


Assistant Conservator, Northeast Document 

Conservation Center, Andover, Mass 1994 

129

Fiske, Betty paper 

Forsythe, Carol objects 

Foster, Christopher paper 

Fullick, Diane objects 

Gardiner, Joy textiles 

German, Laurie furniture 

Gillis, Kathy furniture 

Gleason, Margaret objects 

(archaeo.) 

Goodberry, Mayda objects 

(archaeo.) 

Grimm, Carl paintings 

Ph.D. 

Gumprecht, Hope objects 

Guy, Leslie objects 

(ethno.) 

Hackett, Joanne textiles 

Paper Conservator, Winterthur Museum; 

Adjunct Assistant Professor, Winterthur/ 

University of Delaware Program in Art 

Conservation, Newark, Del. 1982 

Objects Conservator, Detroit Institute of Arts, 


Paper Conservator, Detroit Institute of Arts, 


Contract Conservator, Isabella Stewart 

Gardner Museum, Boston, Mass. 1997 

Textile Conservator, Winterthur Museum; 

Adjunct Assistant Professor, Winterthur/ 

University of Delaware Program in Art 

Conservation, Newark, Del. 1988 

Furniture Conservator, Private Practice, Los 


Assistant Objects Conservator, Virginia 

Museum of Fine Arts, Richmond, Va. 1993 

Contract Conservator, Natural Museum of 



Objects Conservator, Private Practice, Blair, 

Nebr. 1980 

Head Paintings Conservator, Conservation 

Research, Fine Arts Museum of San 

Francisco, San Francisco, Calif. 1978 



Contract Conservator, University Museum of 

Archaeology & Anthropology, University of 

Pennsylvania, Philadelphia, Penn. 1995 

Assistant Textile Conservator, Fine Arts 

Museum of San Francisco, San Francisco, 

Calif. 1998 

130

Hamburg, Doris paper Head, Preventive Conservation, Library of 


Hamill, Michele paper Paper & Photograph Conservator, Department 

of Preservation & Conservation, Cornell 

University, Ithaca, N.Y. 1991 

Hanson, Robin textiles 

Harris, furniture 

Joanna Ruth 

Heald, Susan textiles/ 

ethno. 

Hee, Linda textiles/ 

ethno. 

Heller, Nancy objects 

Hemmenway, photo- 

Dana graphs 

Hess Norris, photo- 

Debra graphs 

Hexter, Madeleine objects 

(archaeo.) 

Hill, Jo objects 

(archaeo.) 

Hoermann- paintings 

Lister, Kristin 

Holbrow, Katie objects 

(archaeo.) 

Advanced Intern, National Park Service, 


Conservator, Tryon Palace Historic Sites and 

Gardens, New Bern, N.C. 1996 

Conservator, National Museum of the 



Textile & Ethnographic Conservator, Private 

Practice, Hawaii 1988 

Consultant Objects Conservator, Private 

Practice, Stamford, Conn. 1989 

Fellow, Advanced Residency Program, 

George Eastman House, Rochester, N.Y. 

1998 

Director, Winterthur/University of Delaware 

Program in Art Conservation, Newark, Del. 

1980 

Objects Conservator, Private Practice, San 


Director of Conservation, Fowler Museum of 

Cultural History, UCLA, Los Angeles, Calif. 

1993 

Paintings Conservator, The Art Institute of 

Chicago, Chicago, 111. 1981 

Objects Conservator, Williamstown 

Art Conservation Center, Williamstown, 

Mass. 1994 

131

Holt, Jayne paper Paper Conservator, Museum of Natural 

History, Smithsonian Institution, Washington, 

D.C. 1996 

Irving, Joan paper Paper Conservator, Conservation Center for 

Art and Historic Artifacts, Philadelphia, Penn. 

1995 

Johnson, Barbara objects 

Juszczak, 

Laura, Ph.D. 

Kaminitz. Marian 

Katz, Melissa 

Kennedy, Nora 


Associate Objects Conservator, Upper 

Midwest Conservation Association, 

Minneapolis, Minn. 1993 

Research Associate, Albert Einstein College 

of Medicine, New York, N.Y. 1979 

objects Head of Conservation, National Museum of 

(ethno.) the American Indian, Smithsonian Institution, 


paintings Curator, Wellesley College Museum, 

Wellesley, Mass. 1993 

photo- Conservator of Photographs, Metropolitan 

graphs Museum of Art, New York; Adjunct Professor 

of Conservation, Conservation Center, 



Kiefer, Kathleen textiles Assistant Conservator, Peabody Museum of 

Archaeology & Ethnographies, Harvard 

University, Cambridge, Mass. 1995 

Kim, Blanche objects Contract Conservator, Asian Art Museum, 


Kirschner, Pamela furniture Kress Fellowship Furniture Conservator, 

New York Bureau of Historic Sites, Altamont, 

N.Y. 1998 

Klausmeyer, paintings Contract Conservator, Straus Center for 

Philip Conservation, Harvard University Art 

Museum, Worcester Museum, Worchester, 

Mass. 1998 

Knipe, Penley paper Fellow in Paper Conservation, Museum of 


132

Konefal, Irene paintings Paintings Conservator, Boston Museum of 


Koseki, Toshiaki 

Laibinis, Marie 

Landry, Linda 

Leback Sitwell, 

Christine 

LeMense, 

Montserrat 

Lemmen, Barbara 

Lennon, Linda 

Lewis, Mark 

Lie, Henry 

Lodge, Robert 

photo- Conservator of Photographs, The Better 

graphs Image, Pittstown, N.J. 1997 

objects Objects Conservator, Private Practice, The 

Netherlands 1996 

objects Objects Conservator, Private Practice, Santa 

Fe, N.Mex. 1996 

paintings Conservator, Preventive Conservation, 

National Trust, London, Eng. 1977 

paintings Assistant Paintings Conservator, 



photographs 

objects 


objects 

Little, Margaret objects 

Luxner, Alison 

Magee, Catherine 


paper 

objects 

(archaeo.) 

Conservator of Photographic Materials, 

Private Practice, West Lebanon, N.H. 1991 

Temporary Assistant Objects Conservator, 

Winterthur Museum, Winterthur, Del. 1997 

Associate Paintings Conservator, High 

Museum of Art Regional Conservation 

Center, Atlanta, Ga. 1996 

Director of Conservation, Straus Center for 

Conservation, Harvard University Art 

Museum, Cambridge. Mass. 1980 

Associate Conservator, Objects, Winterthur 

Museum; Adjunct Assistant Professor, 



Owner-Manager/President, McKay-Lodge 

Conservation Laboratory, Inc., Oberlin, Ohio 

1982 

Associate Paper Conservator, Yale Center for 

British Art, New Haven, Conn. 1993 

Objects Conservator, Jefferson Patterson Park 

& Museum, St. Leonard, Md. 1995 

133

Malenka, Sally objects Objects Conservator, Philadelphia Museum of 


Manick, Annette paper Associate Paper Conservator, Museum of 


Mao, Yunhui objects 

Marshall, Albert objects 

Martin, James paintings 

Martin-Weldon, objects 

Marianne 

Mau, Laura objects 

(archaeo.) 

McCoy, Lorraine objects 

(archaeo.) 

McGinn, Mary paintings 

McKay, Lodge, paper 

Gina 

Visiting Objects Conservator, Walters Art 


Director of Conservation, Hillwood Museum, 


Director of Analytical Services and Research, 



Consultant Objects Conservator, Private 

Practice, Detroit, Mich. 1993 

Objects Conservator, Private Practice, Boston, 

Mass. 1991 

Visiting Conservator, Walters Art Gallery, 




Senior Paper Conservator, McKay-Lodge 

Conservation Laboratory, Inc., Oberlin, Ohio 

1983 

McKee, Jeanne paintings Paintings Conservator, Private Practice, San 


McLean, Catherine textiles Head of Textile Conservation, Los Angeles 


1981 

McRaney- furniture 

Rosebrock, Nancy 

Mellor, Stephen objects 

(ethno.) 

Furniture Conservator, Biltmore Estate, 

Asheville, N.C. 1994 

Chief Conservator, Museum of African Art, 


1982 

134

Metzger, Catherine paintings Paintings Conservator, National Gallery of 

Art, Smithsonian Institution, Washington, 

D.C. 1982 

Mickelson, paper 

Meredith 

Miksch, Heidi objects 

(archaeo.) 

Nicholson, paper 

Catherine 

Norton, Ruth objects 

(ethno.) 

Paper Conservator, Private Practice, Ithaca, 

N.Y. 1982 

Archaeological Conservator, Peebles Island 

Conservation Center, Waterford, N.Y. 1979 

Paper Conservator, National Archives and 

Records Adminstration, Washington, D.C. 

1979 

Ethnographic Conservator, Rijksmuseum voor 

Volkenkunde, Leiden, Neth. 1978 

Olcott Price, Lois paper Library & Archive Conservator, Winterthur 

Museum & Adjunct Assistant Professor, 



Ordonez, Eugena paintings Paintings Conservation, Private Practice, New 

York; Ph.D. Candidate in Conservation 

Research, University of Delaware, Newark, 

Del. 1984 

O'Regan, Patricia paintings Associate Conservator, Fine Arts Museum of 

San Francisco, San Francisco, Calif. 1993 

Ozone, Judy objects Senior Objects Conservator, National Gallery 

of Art, Smithsonian Institution, Washington, 

D.C. 1986 

Pine, Steven furniture Furniture Conservator, Bayou Bend Museum, 


Pollak, Nancy paintings Conservator, Private Practice, Fredericksburg, 

Md. 1992 

Power, Theresa objects Objects Conservator, Private Practice, San 


Purinton, Nancy paper Conservator, National Park Service, Harpers 

Ferry, W.Va. 1985 

135

Quandt, Abigail paper 

Rasch, David objects 

(natural 

history) 

Rasmussen, 

Virginia 

Reisman Paine, 

Shelley 

Reiter, Marilyn 

Reiter, Sara 

Rivers, Ronna 

Robb, Andrew 

Rowntree Green, 

Joanna 

Sale, Don 

Samet, Wendy 


Ravenel, Nancie objects 

Rayer, Nina textiles 

Reinhold, Nancy photographs 

objects 


textiles 

paper 

photographs 

objects 

objects 


Manuscript Conservator, Walters Art Gallery, 


Objects Conservator, Museum of New 


Associate Paintings Conservator, Los Angeles 


1987 

Associate Objects Conservator, Shelburne 

Museum, Shelburne, Vt. 1992 

Paper/Textiles Conservator, Private Practice, 

Portland, Maine 1979 

Photograph Conservator, The Metropolitan 

Museum of Art, New York, N. Y. 1992 


Nashville, Tenn. 1977 


Maplewood, N.J. 1979 

Assistant Textile Conservator, Philadelphia 


Paper Conservator, Gerald Ford Center, 

Omaha, Nebr. 1992 

Photograph Conservator, Library of Congress, 


Sculpture Conservator & Supervisor of 

Painting and Patina, Johnson Atelier, 

Trenton, N.J. 1995 

Head of Conservation & Collections 

Management, Salisbury Center, Norwich, 

Eng. 1988 



136

Sawchuck, Robert paintings 

Schenck, Kimberly paper 

Schnepp, Suzanne objects 

Schulte, Elizabeth paper 

Sears, Nicole objects 

Seidler, Ruth paintings 

Shaftel, Ann objects 

(Asian) 

Shelton, furniture 

Christopher 

Shoemaker, paper 

Heida 

Smith, Christine paper 

Smith Mandel, objects 

Jeanne (archaeo.) 

Smith-McNally, objects 

Rika 

Snow, Carol objects 

Sozzani, Laurent paintings 

Stavroudis, paintings 

Christopher 


York, N.Y. 1982 

Paper Conservator, Baltimore Museum of Art, 


Objects Conservator, Art Institute of Chicago, 

Chicago, 111. 1985 

Paper Conservator, Private Practice, Atlanta, 

Ga. 1979 



Paintings Conservator, Brooklyn Museum of 



Halifax, N.S., Can. 1978 

Furniture Conservator, Bayou Bend Museum, 

Houston Tex. 1992 

Getty/Kress Fellow in Paper Conservation, 

San Francisco Museum of Modern Art, San 



Alexandria, Va. 1978 

Objects Conservator, Haifa Faisal Collection, 

Chicago, 111. 1982 




Weston, Mass. 1982 

Paintings Conservator, Rijksmuseum, 

Amsterdam, Neth. 1984 

Paintings Conservator, Private Practice, Los 


137

Stein, Renee objects 

Stirton Aust, paper 

Laura 

Strauss, Linda objects 

Stringari, Carol paintings 

Stromberg, objects 

Constance 

Strumfels, paper 

Yoonjoo 

Sturman, Shelley objects 

Sugarman, Jane paper 

Svoboda, Shelley paintings 

Taggart, Jonathan objects 

Tallent, Carolyn paintings 

Tauber, Gwen paintings 

Tenentes, Ellen objects 

Tepper, Dana paper 

Thede, Christine objects 

Thomas, Denise paper 

Objects Conservator, Private Practice, New 

York, N.Y. 1998 

Paper Conservation, Private Practice, New 

York, N.Y. 1987 

Chief Conservator, Autry Museum of Western 

Heritage, Los Angeles, Calif. 1983 

Senior Conservator, Guggenheim Museum, 


Objects Conservator, Private Practice, Quito, 

Ecua. 1986 

Associate Paper Conservator, National 

Gallery of Art, Washington, D.C. 1988 

Head Objects Conservator, National Gallery 

of Art, Washington, D.C. 1979 


Greensboro, N.C. 1986 

Paintings Conservator, Baltimore Museum of 

Art, Baltimore, Md. 1990 

Objects Conservator, Private Practice, Astoria, 

Oreg. 1987 

Paintings Conservator, Private Practice, Santa 


Paintings Conservator, Rijksmuseum, 

Amsterdam, Neth. 1984 

Environmental Control & Editorial 

Consultant, Bennington, Vt. 1978 

Paper Conservator Fellow, Philadelphia 


Objects Conservator, The Field Museum, 

Chicago, 111. 1996 

Diet & Therapy Research, Washington, D.C. 

1978 

138

Thomassen- textiles 

Krauss, Suzanne 

Tidwell, Karen paper 

Trosper, Julie objects 

(ethno.) 

Tsang, Jia-Sun paintings 

Tsu, Mei-An objects 

(archaeo.) 

Utter, Jodie paper 

Vagts, Lydia paintings 

Van Vooren, paintings 

Camilla 

Vitale, Timothy paper 

Wachowiak, furniture 

Melvin 

Wagner, Sarah paper 

Textile Conservation, National Museum of 



Paper Conservator, Commonwealth 

Conservation Center, Harrisburg, Penn. 1989 

Contract Conservator, Oakland Art Museum, 

Oakland, Calif. 1995 

Research Conservator, Smithsonian Center for 

Materials Research & Education, Washington, 

D.C. 1985 

Project Coordinator, Isabella Stewart Gardner 


Contract Conservator, Museum of Fine Arts, 


Assistant Paintings Conservator, Museum of 


Paintings Conservator, Western Painting 

Conservation, Denver, Colo. 1990 

Paper Conservator, Private Practice, Aptos, 

Calif. 1977 

Senior Furniture Conservator, Smithsonian 

Center for Materials Research & Education, 


Senior Photograph Conservator, National 

Archives and Records Administration, 


Wardius, Janine paintings Paintings Conservator, Bergen Museum of 

Art, Bergen, Norw. 1989 

Welsh, Elizabeth objects Editorial Consultant, Conservation, Phoenix, 

(ethno.) Ariz. 1978 

Wendelin, paper Paper Conservator, Private Practice, 

Elizabeth Philadelphia, Penn. 1984 

139

West Palant, objects 

Susan 

Whelan, Virginia textiles 

White, Susan objects 

Williams, Marc wood 

Williams- paintings 

Delaney, Marina 

Williamson, Leslie paintings 

Wolbers, Richard paintings 

Wolfgang- 

Smith, Lucy 

Wollbrinck, 

Thomas 

Young, Christine 

Young, Helen 


Providence, R.I. 1980 

Textiles Conservator, Private Practice, 


Occupation Unknown, Brooklyn, N.Y. 1985 

Furniture Conservator, President, American 

Conservation Consortium, Ltd., Fremont, 

N.H. 1978 

Instructor, C. W. Post University, Long Island, 

N.Y. 1992 

Ethnographic Conservator, National Museum 

of the American Indian, Smithsonian 


Associate Professor, WinterthurAJniversity of 

Delaware Program in Art Conservation, 

Newark, Del. 1984 


Foster, R.I. 1986 

paintings Medical Technologist 1990 

photographs 

paper 

Zieske, Faith paper 

Zubiate, Susana objects 

(ethno.) 

Photograph/Paper Conservator, Private 

Practice, Nashville, Tenn. 1978 



Paper Conservator, Philadelphia Museum of 


Ethnographic Conservator, Private Practice, 

Flintridge, Calif.; Oakland Museum, Oakland, 

Calif. 1992 

Zyats, Paula library/ Assistant Paper Conservator, Conservation 

archives Center for Art and Historic Artifacts, 


140

Name 


ART CONSERVATION PROGRAM 

QUEEN'S UNIVERSITY 

Student 

Specialty 



Adams, objects Private Practice/Assistant Adjunct Professor, 

Christine E. Queen's University, Kingston, Ont., Can. 

1987 

Allard, Danielle 

Anastassiades, 

Amandina 

Antonacci, Janice 

Baker, Wendy Ann 

Ball, 

Cynthia Dianne 

paintings/ Paintings Conservator, Canadian War 

paper Museum, Ottawa, Ont., Can. 1983 

objects Kingston, Ont., Can. 1997 


paper 


paper 

paper 

Private Practice, Toronto, Ont., Can. 1980 

Director, Ottawa Conservation Studio, 

Ottawa, Ont., Can. 1979 

Cynthia Ball Conservation Services, Jasper, 

Alb., Can. 1986 

Bansaghi, Mikios paintings Private Practice, New York, N.Y. 1992 

Bantock, 

Keith Douglas 

Barocsi, Joseph 

Bartley, Tracy Jan 

Battram, 

Anne Dales 

Baxter, Ellen Jean paintings 

Belleau, Claude paintings 

paintings/ Art Conservation Services, London, Ont., 

paper Can. 1980 

paintings Ottawa, Ont., Can. 1997 

paintings Project Associate, Getty Conservation 

Institute, Los Angeles, Calif. 1995 

objects Furniture Conservator, Society for the 

Preservation of New England Antiquities, 


Conservation Department, Carnegie Museum 

of Art, Pittsburgh, Penn. 1988 

Conservator, Musee du Quebec, Quebec, 

Que., Can. 1987 

141

Bergeron, Andre objects 

Berko, Linda J. objects 

Bigelow, Susan L. objects 

Bignell, paintings/ 

Margaret Ruth paper 

Bigrigg, paintings/ 

Lorraine Joyce paper 

Boan, Sharon V. objects 

Borsch, objects 

Linda Susan 

Bourdeau, paintings 

James Mattew 

Michael 

Conservator, Centre de Conservation du 

Quebec, Quebec, Que., Can. 1980 

London Regional Art & Historical Museum, 

London, Ont., Can. 1990 

City of Vancouver Archives, Vancouver, B.C., 

Can. 1982 

Principal Conservator, Queen's Archives, 

Queen's University, Kingston, Ont., Can. 

1977 

TK McClintock Ltd., Somerville, Mass. 

1986 

Boan Conservation, Saskatoon, Sask., Can. 

1990 

Assistant Conservator, Metropolitan Museum 

of Art, New York, N.Y. 1986 

Conservator, Canadian Conservation Institute, 


Bowler, Alise M. paintings Paintings Conservator, Mississauga, Ont., 

Can. 1995 

Boyer, Joanne paintings Intern, Smithsonian Center for Materials 

Research and Education, Washington, D.C. 

1998 

Braovac, Susan objects Conservator, University of Oslo, 

Kunsthistorie og Numismatikk, Oslo, Norw. 

1993 

Brewer, 

Jon Allison 

paintings Rambouilhet, Fr. 1987 

Brewer, objects Conservation Department, Royal 

Kasey Lee Saskatchewan Museum, Regina, Sask., Can. 

1990 

Briggs, 

Barry 

paintings/ Private Practice, Toronto, Ont., Can. 1983 

paper 

142

Brown, paintings/ Private Practice, Santa Fe, N.Mex. 1978 

Amy paper 

Brown, paper 

Karen Elizabeth 

Brynjolfson, objects 

Carol 

Burns, Thea paper 

Bunting, paper 

Victoria Marie 

Burgess, science 

Helen Dianat 

Calay, Carrie Ann paintings/ 

paper 

Calnan, objects 

Christopher Nigel 

Carlyle, paintings/ 

Dr. Leslie Anne paper 

Caswell, paintings/ 

Virginia paper 

Cavern, Julie paintings/ 

paper 

Challan-Belval, MA. 

Marie-Noel (research) 

Chartier, paintings 

Duane Robert 

Cheney, paintings/ 

Jennifer Evelyn paper 

Child, objects 

Nancy Louise 

Conservator, Northeast Document 

Conservation Center, Andover, Mass. 1990 

Conservator, Vancouver Museum, Vancouver, 

B.C., Can. 1993 

Associate Professor, Queen's University, 

Kingston, Ont., Can. 1978 

Roslindale, Mass. 1994 

1978 

Assistant Paper Conservator, Museum of 

Modern Art, New York, N.Y. 1983 

Advisor on Conservation of Organic 

Materials, The National Trust, London, 

Eng. 1976 

Senior Conservator, Canadian Conservation 

Institute, Ottawa, Ont., Can. 1979 

New York City, N.Y. 1980 


Conservator, Musee d'Art Contemporain, 

Montreal, Que., Can. 1991 

Director, ConservArt Associates, Culver City, 

Calif. 1990 

Private Practice, Toronto, Ont., Can. 1986 

Conservator, Oslo, Norw. 1989 

143

Chutter, 

Janice Elizabeth 

objects Toronto, Ont., Can. 1995 

Cipera, Luci Jana objects 

Clancy, paper 

Eileen Cecelia 

Clavir, objects 

Miriam Lisa 

Clements, paintings 

Gayle S. 

Coedy, Bill M.Sc. 

Colby, paintings/ 

Karen Marie paper 

Collins, objects 


Connolly, objects 

Michael David 

Connors, Sandra M.A. 

(research) 

Contreras, Celina M.A. 

(research) 

Costain, M.Sc. 

Charles M. 

Cowan, Janet paintings/ 

paper 

Craine, Clifford M.Sc. 

Cripps, objects 

Cynthia Ann 

Conservator, Gryphon Associates, Ottawa, 

Ont., Can. 1990 

Parchment & Photographs, Denver, Colo. 

1992 

Conservator, University of British Columbia 

Museum of Anthropology, Vancouver, B.C., 

Can. 1976 

Conservator, Gilcrease Museum, Tulsa, Okla. 

1990 

1979 

Manager of Exhibitions, National Gallery of 

Ottawa, Ottawa, Ont., Can. 1986 

Conservator, Winnipeg Art Gallery, Winnipeg, 

Man., Can. 1979 

Facilities Manager, Threshold Technologies 

Inc., Carmel, Ind. 1982 

Research, Carnegie-Mellon Institute, 

Pittsburgh Penn. 1998 

Department of Art, Queen's University, 


Manager, Preventive Conservation Services, 

Canadian Conservation Institute, Ottawa, 

Ont., Can. 1976 

Paper Conservator, Royal Ontario Museum, 

Toronto, Ont., Can. 1978 

Clifford Craine/Daedalus Inc., Cambridge, 

Mass. 1978 

Conservator, Vancouver, B.C., Can. 1995 

144

Croome, objects Science Conservator, Parks Canada, 

Hazel Lillian Lizetta Winnipeg, Man., Can. 1980 

Cross, Susan Mary objects 

Cruickshank- objects 

de-Feydeau, 

Wendy Ann 

Culham-Bass, paintings/ 

Sylvia paper 

Czerwinski, objects 

Elisabeth 

Daly, paintings/ 

Debra Ann Hartin paper 

Day, objects 

Colleen Rosemary 

Deck, Clara objects 

Degrow, paintings/ 

Elspeth Mary paper 

De la Cruz M.Sc. 

Balthazar, Vera 

Dignard, objects 

Carole Jeannine 

Douglas, paintings 

Alison Jean 

Douglas, paper 

Robyn Faye 

Cross Conservation Services, Calgary, Alb., 

Can. 1984 

Private Practice, Brugg, Switz. 1985 

Conservator, Art Gallery of Western Australia, 

Perth, Austral. 1976 

Burnaby Village Museum, Burnaby, B.C., 

Can. 1991 


Ont., Can. 1978 

Senior Conservator, Canadian Parks Service, 

Dartmouth, N.S., Can. 1987 

Conservator, Henry Ford Museum & 

Greenfield Village, Windsor, Ont., Can. 

1992 

Fine Art Paper Conservation, Winnipeg, 

Man., Can. 1978 

Ph.D. Candidate, Archaeological Sciences, 

University of Bradford, Bradford, Eng. 1996 



Conservation & Scientific Research, Freer & 

Sackler Galleries, Smithsonian Institution, 


Glenbow Museum, Calgary, Alb., Can. 1992 

Dryden, paintings/ Art Conservation Techniques Program, Sir 

Marie-Ellana paper 

Sandford Fleming College, Peterborough, 

Ont., Can. 1982 

145

Dumka, objects 

Heather Rose 

Dyer, paintings 

Deborah Ann 

Edmond, Chantal paper 

Ellis, Lisa-Mafie objects 

Ellis, Shirley Anne objects 

Fang, Madeleine objects 

Filiion, Christine M. paintings/ 

paper 

Fireman, paper 

Belinda Leigh 

Flynn-Seybold, objects 

Tammy-Lee 

Forest, Elisabeth paintings 

Fox, Debra Diane paintings 

Fox, Louise Ann objects 

Free, Valerie Joy objects 

Friend, paintings/ 

Susanne Elise paper 

Alida 

Fuller, objects 

Richard Douglas 

Conservator, Glenbow Museum, Calgary, 

Alb., Can. 1986 

Paintings, Private Practice, London, Eng. 

1988 

Private Practice, Montreal, Que., Can. 1993 

Ph.D. Student, Art History, University of 

Toronto, Toronto, Ont., Can. 1998 

Conservator, Department of Human Ecology, 

University of Alberta, Edmonton, Alb., Can. 

1996 

Conservator, Phoebe Hearst Museum of 

Anthropology, University of California at 

Berkeley, Berkeley, Calif. 1983 

Paintings Private Practice, Basel, Switz. 

1982 

Calgary, Alb., Can. 1997 




Private Practice, Felton, Calif. 1976 

Canadian Parks Service, Federal Heritage 

Policy Bur., Hull, Que., Can. 1978 

Anthropology Collections Manager, Bishop 

Museum, Honolulu, Hawaii 1978 

Deputy Director, ConservArt Associates, 

Culver City, Calif. 1986 

Conservator, Doon Heritage Crossroads, 

Kitchener, Ont., Can. 1985 

146

Fulton, objects 

Scott Edward 

Galbraith, objects 

Leslie Jane 

Gallinger, paintings 

Michelle Marie 

Ganiaris, Helen objects 

Gauthier, Francine paper 

Gayer, paintings 

John Richard 

Ghannam. Nadia objects 

Ghuwalewala, paper 

Saloni 

Giles-Morreale, paintings 

Nicola Carolyn 

Goldman, paper 

Julie Lynn 

Gorman, objects 

Laura Ann 

Graham, objects 

Fiona Elizabeth 

Gransow, Alice paintings/ 

paper 

Grant, Tara Lee objects 

Gray, Amanda Jane paintings/ 

paper 

Archaeological & Ethnographic Conservator, 

Peabody Museum, Cambridge, Mass. 1988 




Regina, Sask., Can. 1997 

Senior Archaeological Conservator, Museum 

of London, London, Eng. 1979 

Preservation & Restauration F.G., Quebec, 

Que., Can. 1995 


York, N.Y. 1992 

National Academy of Design, New York, N.Y. 

1993 

Paper Conservator, Private Practice, Bombay, 

India 1996 


Asian Art Museum, Golden Gate Park, San 


Kaneohe, Hawaii 1978 

Museum Advisor, Ministry of Citizenship, 

Culture & Recreation, Toronto, Ont., Can. 

1987 

1984 



Conservator/Assistant Adjunct Professor, 

Queen's University, Kingston, Ont., Can. 

1977 

147

Griffin, objects Objects Conservator, Private Practice, 

Elizabeth Catherine Toronto, Ont., Can. 1995 

Griswold, M.A. 

John Mason (research) 

Hamilton, paintings/ 

Laurie Elizabeth paper 

Hardy, Kirsten paintings 

Harland, paper 

Andrea Sarah 

Harris, objects 

Miriam Margaret 

Haupt, objects 

Margaret Ann 

Hawley, Janet Karen objects 

Griswold Conservation Associates, Beverly 

Hills, Calif. 1995 

Conservator, Art Gallery of Nova Scotia, 



MLIS Student/Private Practice, Montreal, 

Que., Can. 1996 

Objects Conservator, Private Practice; 

Instructor, Art Conservation Techniques 

Program, Sir Sandford Fleming College, 

Peterborough, Ont., Can. 1988 

Paper Conservator, Art Gallery of Ontario, 


Archaeological Conservator, Historical 

Museum of Basel, Basel, Switz. 1979 

Hay, James Bruce objects Furniture Conservator, Canadian Museum of 

Civilisation, Hull, Que., Can. 1987 

Helleur- M.Sc. 

Monteiro, L. 

Helwig, objects 

Kathleen Rebecca 

1978 

Senior Assistant Conservation Scientist, 


Ont., Can. 1992 

Hempel, arts Proprietor & Designer, Knit Knacks, Aulac, 

Phyllis Adele N.B., Can. 1976 

Hill, Rosaleen paper Applied Science/NCCHSS, University of 

Canberra, Belconnen, Austral. 1989 

Hillman, 

David John 

Hnatiuk, 

Kathryn Louise 

objects 

objects 

Victoria, B.C., Can. 1977 

Alberta, Can. 1979 

148

Holland, Jane objects 

Howarth, Gregory paintings 

Hutchinson, paintings/ 

Mervyn Frederic paper 

Ireland, Alice unknown 

Jett, Paul objects 

Johnson, M.Sc. 

Benita Lilija 

Johnson, David objects 

Johnson, H. Craig objects 

Joseph, 

Jeffrey Charles 

Kaplan, Emily 

Ketcham, 

Jane Dunbar 

Kimberley- 

Trussler, Adele 

Kindl, Silvia 

Kirby, 

Kennis Kitchell 

Klein, Elyse 

Provincial Archives, Fredericton, N.B., Can. 

1982 


London, Eng. 1984 

Auckland Museum, Auckland, New Zealand 

1977 

Rockbridge Baths, Va. 1984 

Conservator, Freer & Sackler Galleries, 


1982 

Senior Lecturer, Applied Science, NCCHSS, 

University of Canberra, Leconnen, Austral. 

1976 


President, Craig Johnson Restoration Ltd., 


objects Troy, N.Y. 1990 

objects Assistant Conservator, National Museum of 

the American Indian, Bronx, N.Y. 1993 

objects Private Practice, Beloit, Wis. 1985 

paintings/ 1979 

paper 

paper Montreal, Que., Can. 1990 

paintings High Regional Center, Atlanta, Ga. 1994 



Koerner, paper Getty Fellow, Canadian Centre for 

Jennifer G. Architecture, Montreal, Que., Can. 1997 

149

Kulka, Edward paintings/ Private Practice, Ottawa, Ont., Can. 1977 

paper 

Lack, 

Cyndie Marie 

paintings Edmonton, Alb., Can. 1988 

Lapointe, Anne paintings 

Last, objects 

Joseph Henry 

Lavergne, objects 

Christian Charles 

Lawrence, objects 

Christian Charle 

Lawrence, paintings/ 

Sandra Gail paper 

Leckie, Carolyn objects 

Lepage, Michele objects 

Leskard, objects 

Marta Kristine 

Lev, Irit objects 

Levesque, objects 

Margaret Anne 

Lockwood, paintings/ 

Kenneth Douglas paper 

Logan, Judith Anne objects 

Loughead, Ian objects 

Paintings Conservator, Centre de 

Conservation du Quebec, Quebec, Que., Can. 

1989 

Project Archaeologist, Parks Canada, 

Cornwall, Ont., Can. 1978 

Senior Conservator, Nova Scotia Museum, 


Art Conservation & Preservation Services, 

Sarasota, Fla. 1990 

Chief Conservator, Art Gallery of Ontario, 

Toronto, Ont., Can, 1976 

Denver, Colo. 1989 



Kelowna Centennial Museum, Kelowna, B.C. 

Can. 1982 

HOD Hasharon, Israel 1996 

Conservation & Scientific Research, Museum 

of Fine Arts, Boston, Mass. 1978 

Dorset Conservation, Toronto, Ont., Can. 

1984 

Senior Conservator, Archaeology Laboratory, 


Ont., Can. 1978 

Postgraduate Fellow, Museum of 

Anthropology, University of British 

Columbia, Vancouver, B.C., Can. 1998 

150

Love, objects Conservator, Private Practice, Philadelphia, 

Nancy Kathleen Penn. 1996 

Lussier, Sophie objects 

MacDonald, objects 

Jennifer Anne 

MacKay, Anne objects 

Maheux, Anne paper 

Mahoney, objects 

Susan Mary 

Maltby, objects 

Susan Louise 

Marcil, Sylvie M. objects 

McElhone, objects 

John Patrick 

Mcintosh, Kelly objects 

McKay, paintings. 

Diane Karen paper 

McLaughlin, paintings 

Jennifer Lyn 

Objects Conservator, Art Gallery of Western 

Australia, Kalamunda, Austral. 1995 


Conservator, McCord Museum, Montreal, 

Que., Can. 1992 

Paper Conservator, National Gallery of 

Canada, Ottawa, Ont., Can. 1981 

Senior Producer, CBC Radio, Toronto, Ont. 

Can. 1976 



Canadian Museum of Nature, Ottawa, Ont., 

Can. 1986 

Assistant Conservator for Photographs, 

National Gallery of Canada, Ottawa, Ont., 

Can. 1985 

Heather Margaret River, Austral. 1987 

Paintings Conservator, Royal Ontario 

Museum, Toronto, Ont., Can. 1976 


McLean, 

Bonnie Heather 

paintings Tichborne, Ont., Can. 1992 

McMeekin, objects President, Treen Heritage Ltd., Merrickville, 

Norman Kemp 

Ont., Can. 1980 

McNamara, objects 

Mary Ellen 

Wellesley, Mass. 1997 

McPhee, Wendy Jo paper Paper Conservator, Private Practice, Toronto, 

Ont., Can. 1996 

151

Melching, Sarah paper Pacific Northwest Paper Conservation 

Services Inc., Seattle, Wash. 1991 

Merk-Gould, 

Linda Emmy 

Mertens, Marion 

Michalchuk, 

Christina Marie 

Miller, Christopher objects 

Moll, Richard paper 

Monahan, 

Valery Justine 

Morriss-Andrews, 

Lisa 

Morton, 

Wendy Anne 

Mosier, 

Erika Michelle 

Muir, Kimberley 

Munro, 

Katherine A. 

objects Senior Conservator, Conservation Technical 

Associates, Westport, Conn. 1977 

paintings/ Whangarei, New Zealand 1986 

paper 

paintings 1987 

1996 

Paper Conservator, Private Practice, Kingston, 

Ont., Can. 1992 

objects Saint John, N.B., Can. 1994 

M.Sc. Minette Science, Kingston, Ont., Can. 1982 

objects 1990 

paper Paper Conservator, Museum of Modern Art, 


paintings Ph.D. Student, Department of Art, Queen's 

University, Kingston, Ont., Can. 1998 

objects Carp, Ont., Can. 1984 

Nagy, objects Sculpture Conservator, Guggenheim Museum, 

Eleonora Eva New York, N.Y. 1992 

Nelles, Andrea objects Retired 1977 

Norton, Ruth E. objects Senior Conservator, Heritage Conservation, 

Cuttingsville, Vt. 1981 

Noseworthy, objects Conservation Intern, Museum of 

Gillian Ann Anthropology, University of British 

Columbia, Vancouver, B.C., Can. 1997 

152

O'Malley, 

Michael Joseph 

O'Meara, 


O'Neil, 

John Wilson 

Passafiume, Tania 

Passafiumi, 

Janice Mary 

Angella 

Paterakis, 

Alice Boccia 

Patterson, 

Marie Rene R. 

Payer, 

Joseph 

Raymond Claude 

Peacock, 

Dr. Elizabeth 

Ellen 

Perron, Johanne 

Peschken, 

Susan B. 

objects Centre de Conservation du Quebec, Quebec, 

Que., Can. 1990 

paintings/ Painting Conservator, Montreal Museum of 

paper Fine Arts, Montreal, Que., Can. 1986 

paintings/ Senior Paper Conservator, Art Gallery of 

paper Ontario, Toronto, Ont., Can. 1979 

paper Fellow, Advanced Residency Program, 

George Eastman House, Rochester, N.Y. 

1998 

paintings Jana Conservation, Islington, Ont., Can. 

1980 

M.A. Conservator, Agora Excavations, American 

(research) School of Classical Studies, Athens, Greece 

1990 

paintings/ Northwest Territories 1980 

paper 

paintings/ Conservator, Department of Cultural Affairs, 

paper Vanier, Que., Can. 1982 

objects Conservation Scientist, Vitenskapsmuseum, 

Norwegian University of Science and 

Technology, Trondheim, Norw. 1980 

paintings/ Conservator, Montreal Museum of Fine Arts, 

paper Montreal, Que., Can. 1985 

objects Conservator, Regina, Sask., Can. 1990 

Phillips, paintings Conservator for Paintings and Sculpture, Art 

Sherry Lynn Gallery of Ontario, Toronto, Ont., Can. 1989 

Piercy, Alisha paintings Kingston, Ont., Can. 1998 

Pitsch, Andrea paper Andrea Pitsch Conservation, New York, N.Y. 

1981 

153

Pocobene, paintings/ 

Gianfranco John paper 

Potje, Karen paintings/ 

paper 

Poulin, objects 

Stephen John S. 

Pouliot, Bruno objects 

Presedo, 

Isabel Maria 

Prytulak, 

Michael George 

objects 

objects 

Pullen, Sheila Page paintings 

Rabin, objects 

Paul Michael 

Ramsay, paintings/ 

Barbara Anne paper 

Redman, objects 

Leslie Kathleen 

Rekrut, paper 

Alicia Magdalena 

Remillard. Francine objects 

Renner-Tombs, paintings/ 

Rebecca paper 

Dorothea 

Ricci, objects 

Sarah K. Spafford 

Associate Conservator of Paintings, Straus 

Center for Conservation, Harvard University 

Art Museum, Cambridge, Mass. 1984 

Head of Conservation/Preservation, Canadian 

Centre for Architecture, Montreal, Que., Can. 

1983 

Poulin Conservation Services, Toronto, Ont., 

Can. 1980 

Professor for Artifact Conservation, 










Phoenix, Ariz. 1983 

Jolicoeur Ramsay Conservation Services, 


Gryphon Associates, Ottawa, Ont., Can. 1990 

Conservator, Manitoba Provincial Archives, 

Winnipeg, Man., Can. 1993 

Conservator, Ethnology Centre de 

Conservation du Quebec, Quebec, Que., Can. 

1984 

Chelsea, Que., Can. 1983 

Conservator of Fine Art, Fraser Spafford 

Ricci Art & Archival Conservation Inc., South 

Surrey, B.C., Can. 1987 

154

Richard, Estelle objects Conservator, Montreal Museum of Fine Arts, 


Riedemann, paintings 

Cecilia 

Robertson, objects 

Elizabeth Cornelia 

Rosenburg, objects 

Barbara I. 

Roth, Nina paintings 

Ruggles, Anne paintings/ 

paper 

Ruzga, paintings 

Michael James 

Ryan, paintings 

Victoria Montana 

Sandstrom, objects 

Tom Peter Andreas 

Santala, paintings 

Melissa Karina 

Savard, Guy† paintings/ 

paper 

Scheifler Marks, objects 

Linda Gale 

Schelpert, Ann objects 

Segal, objects 

Martha Jane 

Selick, Marsha M. objects 

Sergeant, paintings/ 

Christopher paper 

1993 

Assistant Conservator, National Museum of 

the American Indian, Bronx, N.Y. 1997 

Conservator, Private Practice, Toronto, Ont., 

Can. 1997 

Syracuse, N.Y. 1994 


Canada, Ottawa, Ont., Can. 1977 

Cincinnati, Ohio 1989 

Rocky Mountain Conservation Center, 



Stockholm, Swed. 1996 

ConservArt Associates, Culver City, Calif. 

1996 

1986 

Objects Conservator, Asian Art Museum, San 


Purser, Francis, Conn. 1985 

Conservator, Canadian Museum of 

Civilization, Hull, Que., Can. 1976 

Proprietor, Selick Objects Conservation, 


Conservation Scientist, Parks Canada 

Conservation Division, Ottawa, Ont., Can. 

1979 

155

Shaw, Robert Bruce paintings/ 

paper/ 

objects 

Slavin, John paper 

Smart, objects 

Rosemary Joan 

Smith, Brenda Lee objects 

Smith, paper 

Jane Thompson 

Smith, Monica objects 

Smithen, paintings 

Patricia Jane 

Southward, objects 

Judith Ann 

Spirydowicz, objects 

Krysia 

Stayman, objects 

Margaret Wendy 

Stewart, Catherine paintings/ 

paper 

Strang, objects 

Thomas J. K. 

Thorp, objects 

Valerie Jean 

Tillman, Donna paintings/ 

paper 

Tisdale, Leslie Jane paintings 

Director, Massachusetts Judicial Court 

Archives, Boston, Mass. 1982 


Mississauga, Ont., Can. 1988 

Conservator, Portugal Cove, Cape Breton, 

Nfld., Can. 1983 

University Museum, University of 

Pennsylvania, Philadelphia, Penn. 1995 

Commonwealth Conservation Centers, 

Harrisburg, Penn. 1994 

Conservator, Vancouver Art Gallery, 

Vancouver, B.C., Can. 1984 

1993 

Head Conservator, Denver Museum of 

Natural History, Denver, Colo. 1993 

Associate Professor, Queen's University, 


Springfield Library & Museums Association, 

Springfield, Mass. 1978 

Head of Collections, McMichael Canadian 

Art Collection, Kleinburg, Ont., Can. 1982 



Chief, Conservation Services, Royal British 

Columbia Museum, Victoria, B.C., Can. 

1980 

Winchester, Va. 2982 

Conservator, Beaver Brook Art Gallery, 

Mount Allison University, Sackville, N.B., 

Can. 1993 

156

Tomlinson, objects Conservator/Engineer, Ottawa, Ont., Can. 

Valerie 1992 

Tiidhope, paper Rocky Mountain Conservation Center, 

Heather Joann Denver, Colo. 1996 

Unruh, 

Julie Ann 

Vuori, Janet 

Wales, Rachel 

Walker, Susan 

Walsh, 

Elizabeth Anne 

Wardlaw, 

Laura Kathleen 

Warren, 

Susannah Bridget 

Webster-Cook, 

Sandra Isabelle 

Whiteford 

Herzog, Joyce 

Mitchell 

objects 

Van Handel, Lori paintings 

Conservator, Brooklyn Museum of Art, 


Director of Preservation Outreach/Associate 

Conservator, Williamstown Art Conservation 

Center, Williamstown, Mass. 1992 

objects Textile Conservator, Canadian Conservation 

Institute, Ottawa, Ont., Can. 1978 

paper Center for Conservation for Artistic & 

Historic Artifacts, Philadelphia, Penn. 1998 

paintings Victoria, Ottawa, Ont., Can. 1991 

paintings/ Conservator, Archives of British Columbia, 

paper Victoria, B.C , Can. 1980 

objects Nepean, Ont., Can. 1992 

objects Conservator, National Museum of Science 

and Technology, Ottawa, Ont., Can. 1988 

paintings/ Conservator for Paintings and Sculpture, Art 

paper Gallery of Ontario, Toronto, Ont., Can. 1982 

objects/ Private Practice, Pickering, Ont., Can. 1982 

textiles 

Wightman, Sharon paper Kingston, Ont., Can. 1998 

Wisniewski, paintings Fellow, Art Institute of Chicago, Chicago, 111. 

Bonnie 1997 

Wood, Susan G. paintings Susan Wood Paintings Conservation, St. 

Louis, Mo. 1988 

Woolfitt, Catherine objects Hamp, Eng. 1992 

157

Zeskoski- paintings/ Proprietor, In Restauro Conservatorart, Inc., 

Bogovic, paper Downsview, Ont., Can. 1984 

Srebrenica 

PRESERVATION AND CONSERVATION STUDIES, 

GRADUATE SCHOOL OF LIBRARY AND INFORMATION 

SCIENCE, THE UNIVERSITY OF TEXAS AT AUSTIN 

Includes graduates of both the Conservation Education Program and the Preservation 

and Conservation Studies (Program). 

Name Student Present Position(s) and Location (if known) 

(† Deceased) Specialty Date of Graduation from Program 

PA=Preservation Administrator 

CON=Conservator 

Adamitis, Victoria PA Conservator, Private Practice, Career & 

Technical Education Res. Center, Aurora 

1985 

Alper-Roley Diana CON Conservator, NARA Regional Preservation 

Program, College Park, Md. 1988 

Baker Whitney CON Contract Conservator, Library of Congress, 


Balicki, Alan CON Library Conservator, New York Historical 

Society, New York, N.Y. 1993 

Baumann, 

Patrick N. 

PA Pennsylvania 1996 

Belcher, Ellen PA Acting Special Collections Preservation 

Librarian, Long Island University, Brooklyn 

Campus, Brooklyn, N.Y. 1992 

Bentsen, Eileen PA Reference Librarian/Coordinator of 

Bibliographic Instruction/College Archivist, 

Mt. Aloysius College Library, Cresson, Pa. 

1985 

Biblo, Lisa PA Preservation Information Librarian, Harvard 

University Library/Preservation Center, 

Cambridge Mass. 1992 

158

Boomgaarden, PA 

Wesley L. 

Botelho, Alexandra CON 

Brown, Margaret CON 

Caldwell, Heather CON 

Cavalcanti, Maria CON 

Cimini, Ellen PA 

Conn, Donia Jean CON 

Cunningham, PA 

Veronica 

Cunningham- PA 

Kruppa, Ellen 

Curtin, PA 

Bonnie Rose 

Damico, Andrew J. PA 

Dekle, Claire CON 

De Stefano, Paula PA 

Preservation Officer, Ohio State University 

Libraries, Main Library, Columbus, Ohio 

1982 

Conservation Intern, Connecticut Museum of 

Natural History, New York, N.Y. 1998 

Collections Conservator, Conservation 

UnitAVatson Library, University of Kansas 

Libraries, Lawrence, Kans. 1997 

Conservator, Collections Conservation, 

Harvard University, Cambridge, Mass. 1998 

Service Representative, Dell Computers, 

Austin, Tex. 1993 

Conservator, Private Practice, New York, N.Y. 

1992 

Senior Library Book Mender, University of 

California at San Francisco, San Francisco, 

Calif. 1997 

Reference Librarian, Voorheesville Public 

Library; Adjunct Reference Librarian, Sage 

College Libraries; Archivist, Emma Willard 

School for Girls, Albany, N.Y. 1989 

Digital Programs Librarian, University of 

Texas, General Libraries, Austin, Tex. 1988 

Management & Program Analyst, National 

Archives at College Park, College Park, Md. 

1988 

Preservation Librarian/Officer, University of 

Delaware Libraries, University of Delaware, 

Newark, Del. 1996 

Book Conservator, Smithsonian Institution 

Libraries, Washington, D.C. 1992 

Head, Preservation Department, Bobst 

Library, New York University, New York, 

N.Y. 1988 

159

Devine, Scott W. CON Head of Conservation, Texas Tech University 

Libraries, Lubbock, Tex. 1996 

Dirks, Lee PA Corporation Archivist, Microsoft Corp., 

Redmond, Wash. 1991 

Dubansky, PA 

Mindell 

Dube, Elizabeth CON 

Eberhart, 

Karen Ann 

PA 

Epstein, Better PA 

Barker 

Fallon, Rosemary CON 

Associate Museum Librarian/Preservation, 

The Metropolitan Museum of Art, Watson 

Library, New York, N.Y 1988 

Conservator, The University of Notre Dame 

Libraries, South Bend, Ind. 1998 

Archives Specialist, Smith College Archives, 

Smith College, Northampton, Mass. 1996 

Archivist, New Jersey Department of State, 

Division of Archives & Records 

Management, Trenton, N.J. 1986 

Paper Conservator, National Portrait 

Gallery/Smithsonian Museums, Washington, 

D.C. 1987 

Feltes, Gretchen PA Preservation/Reference Librarian, New York 

University Law Library, New York, N.Y. 

1989 

Frame, Cynthia L. PA Preservation Specialist, Museum of Modern 

Art Library, New York, N.Y. 1991 

Frangakis, Evelyn PA 

Galvez, PA 

Isabel Beatriz 

Preservation Officer, National Agriculture 

Library, Beltsville, Md. 1989 

Trainer, Dell Computer Co., Austin, Tex. 

1996 

Hagadorn, Alexis CON Assistant Conservator, Columbia University, 

Butler Libraries, New York, N.Y. 1993 

Harriman, Gail CON Book Conservator, National Archives and 

Records Administration, College Park, Md. 

1984 

Haude, Mary E. CON Assistant Conservator, Huntington Library, 

San Marino, Calif. 1997 

160

Hawkins, Cheryl PA 

Haynes, Douglas PA 

Heinen, Erika PA 

Hellman, Ethel CON 

Hendriks, Juanita PA 

Henry, J.-D. PA 

Horton, Richard CON 

Houston, 

Margaret 

Jackson-Beck, 

Lauren 

Jacobs, Erich 

PA 

PA 

Jones, Maralyn PA 

CON 

Kaplan, Hilary A. CON 

Kesse, Erich PA 

Khan, Yasmin CON 

Librarian, New York Public Library, Bronx, 

N.Y 1987 

Librarian, University of Guam, Micronesian 

Area Research Center, Mangilao, Guam 

1995 

Collections Care Librarian, Yale University 

Libraries, Yale University, New Haven, Conn. 

1996 

Collections Conservator/Program Manager, 

McKeldin Library, University of Maryland, 

College Park, Md. 1997 

Austin, Tex. 1998 

Supervisor, Image Characterization 

Department, The Image Bank, Inc., Dallas, 

Tex. 1995 

Conservator, Bridgeport National Bindery, 

Agawam, Mass. 1991 

Indiana University Libraries, Preservation 

Department, Bloomington, Ind. 1995 

Associate Museum Librarian, The Cloisters 

Library, New York, N.Y. 1991 

Conservator, Private Practice, Palo Alto, 

Calif. 1991 

Assistant Head, Conservation Department, 

University of California, Berkeley, Calif. 

1982 

Conservator, Georgia Department of Archives 

& History, Atlanta, Ga. 1987 

Chair, Preservation Department, University of 

Florida, G.A. Smathers Libraries, Gainesville, 

Fla. 1987 

Conservator, Conservation Section, Library of 


161 

«

Kuzen, Theodore PA Preservation Officer, University of 

Virginia Alderman Library, Charlottesville, 

Va. 1984 

Lee, Blythe PA 

Lindensmith, CON 

Erika 

Ludwig, Kathleen CON 

Lunas, Susan CON 

Marder, CON 

Olga Souza 

Martin, CON 

Miranda K. 

Martin, Melanie CON 

Martinez, Jo Anne CON 

Mason, Claire CON 

McCrady, Ellen PA 

McDonald, Larry PA 

McDonald, Peter, PA 

McPeters, Roxane CON 

Meyer, Lars PA 

1996 

Conservator, University of Dundee, Main 

Library Conservation Unit, Dundee, U.K. 

1996 

Conservator, National Archives and Records 

Administration, College Park, Md. 1984 

Conservator, Private Practice, Eatontown, N.J. 

1987 

Conservator, The New York Botanical 

Garden, Bronx, N.Y. 1991 

Conservator, National Archives and Records 


Conservator, Columbia University Teachers 

College, Milbank Memorial Library, New 

York, N.Y. 1989 

Collections Conservator, Library of Congress 

Binding Office, Washington, D.C. 1990 

SOLINET, Atlanta, Ga. 1998 

Editor, Abbey Publications, Austin, Tex. 

1984 

Reference Librarian, University of Regina 

Library, Regina, Sask., Can. 1988 

Director, Geneva Library, Cornell University, 

Jordan Hall, The New York State Agricultural 

Experiment, Geneva, N.Y. 1988 

Conservator, Private Practice, Albany, N.Y. 

1985 

Head, Preservation Reformatting Department, 

Columbia University Libraries, New York, 

N.Y. 1995 

162

Michaels, Bess PA 

Mik'vski. Robert PA 

Mitra, Ursula CON 

Moore, Holly CON 

Morse, Elizabeth CON 

Mustardo, Peter PA 

Nitzberg, Nancy CON 

Olley, Lorraine PA 

Orlenko, Kathy CON 

Ostroff, Cynthia CON 

Owen, Grace CON 

Pancaldo, Susanna PA 

Pape, Whitney PA 

Paris, Jan CON 

Head, Access Services, Columbia University 

Law School Library, New York, N.Y. 1987 

Preservation Librarian, Princeton University 

Library, Princeton, N.J. 1984 

Associate Conservator, New York University 

Bobst Library, New York, N.Y. 1992 

Project Conservator, Huntington Library, San 

Marino, Calif. 1998 

Assistant Conservator, Harvard University 

Library, Cambridge, Mass. 1986 

Director, The Better Image, Pittstown, N.J. 

1990 

Book Conservator, Private Practice, Book 

Care, Jenkintown, Penn. 1992 

Head, Preservation Department, Indiana 

University Main Library, Bloomington, Ind. 

1982/1998 

Book Conservator, Private Practice, Palo Alto, 

Calif. 1986 

Museum Specialist, National Museum of 

American History, Washington, D.C. 1992 

Conservator, New York Public Library for the 

Performing Arts/Dance Collection, New York, 

N.Y. 1989 

Art Conservation Student, Institute of Fine 

Arts, New York University, Conservation 

Center, New York, N.Y. 1991 

Special Collections and Preservation 

Librarian, Oberlin College Library, Oberlin, 

Ohio 1986 

Conservator, University of North Carolina at 

Chapel Hill, Wilson Library, Chapel Hill, 

N.C. 1988 

163

Pavelka, Karen CON Lecturer, Preservation and Conservation 

Studies, Graduate School of Library & 

Information Science, University of Texas at 

Austin, Austin, Tex. 1988 

Peek, Richard PA Head, Preservation Department, University of 

Rochester, Rush Rhees Library, Rochester, 

N.Y. 1988 

Petherbridge, CON 

Melissa 

Manager of Information, Sydney Organizing 

Committee, Olympics, Sydney, Austral. 

1990 

Pilette, Roberta S. CON Asssociate Chief Conservator, Preservation 

Treatment/Preservation, New York, N.Y. 

1984 

Pound, Mary CON Conservator, Private Practice, St. Paul, Minn. 

1987 

Puglia, Alan CON Conservator, Document Branch, National 

Archives & Records Administration, College 

Park, Md. 1996 

Ramos, Emily CON Conservator, Private Practice, Brooklyn, N.Y. 

1992 

Ravines, Patrick CON Coordinator, Conservation Office, Baha'i 

World Center, Haifa, Isr. 1985 

Reeves, Marc CON Head, Conservation Laboratory, New York 

Public Library, New York, N.Y. 1985 

Reyes-Ayala, CON 

Rafael 

Conservator, Private Practice, Institute of 

Puerto Rican Culture, San Juan, P.R. 1991 

Rhodes, Barbara CON Conservator, American Museum of Natural 


Rhodes, Erin PA 

Richards, Sharla PA 


Preservation Field Service Officer, AMIGOS, 

Dallas, Tex. 1994 

Roby, Sydney PA Librarian/Archivist, Goucher College-Julia 

Rogers Library, Baltimore, Md. 1982 

164

Roggia, Sally Cruz PA 

Roosa, Mark S. PA 

Russick, Susan CON 

Rutledge, Mark CON 

Schrynemakers, CON 

Paula Hacker 

Seal, Robert PA 

Seo, Hillary PA 

Settles, Rosalye PA 

Siebach, Theresa CON 

Smith, Michelle PA 

Smith, Steve PA 

Smith-Hunt, PA 

Patricia 

Stagnitto Ellis, CON 

Janice 

Stalker, Dianne S. PA 

Honolulu, Hawaii 1982 

Chief, Conservation Division, Library of 


Conservator, Newberry Library, Chicago, 111. 

1997 

Conservator, Public Records Office, New 

York City Municipal Archives, New York, 

N.Y 1996 

Book Conservator, Museum of National 


Assistant Regional Administrator, 

County of Los Angeles Public Library, 

Valencia, Calif. 1995 

Preservation Librarian, Georgetown 

University Law Center, Washington, D.C. 

1995 

Archivist, Life Cycle Management Division, 

National Archives and Records 


Book Conservator, Private Practice, 

Harrisburg, Penn. 1988 

Conservator, Private Practice, Portland, Ore. 

1997 

Preservation Field Service Officer, AMIGOS, 

Dallas, Tex. 1995 

Head, Preservation Department, Vernon R. 

Alden Library/Ohio University, Athens, Ohio 

1956 

Senior Book Conservator, Smithsonian 

Institute Libraries, Washington, D.C. 1991 

Head, Preservation & Special Collections, 

State University of New York, Stony Brook, 

N.Y. 1988 

165

Stanfill, Nancy CON 

Stenstrom, Anna CON 

Stewart, Eleanore CON 

Sturges, Ed PA 

ten Hoor, Joan PA 

Thompson, Don PA 

Townsend, John PA 

Tsai, Fei-Wen CON 

Walls, David E. PA 

Watson, Duane PA 

Watson, William PA 

Wellvang, James PA 

White, Holley CON 

Whitehouse, 

Carol Sue 

CON 

Wilson, Paul PA 

Preservation Librarian, State University of 

New York at Albany, Albany, N.Y. 1996 

Senior Conservator, New York Public Library, 


Director, Arts Education Outreach Program, 

School of the Arts/University of California at 

Irvine, Irvine, Calif. 1985 

1992 

Preservation Specialist 1989 

Acting Head, Helen Topping Architecture & 

Fine Arts, University of Southern California, 


Preservation Consultant, Cobbleskill, N.Y. 

1982 

Archives Conservator, Smithsonian 

Institution, SCMRE, Washington, D.C. 1993 

Preservation Librarian, Sterling Memorial 

Library, Yale University, New Haven, Conn. 

1995 

Retired Assistant Director for Preservation, 

New York Public Library, Rhinebeck, N.Y. 

1985 

1992 

Head, Preservation Services, University of 

Texas at Arlington Libraries, Arlington, Tex. 

1984 

Paper Conservator, Private Practice, Fort 

Worth, Tex. 1991 

Book & Paper Conservator, Private Practice, 

Louisville, Colo. 1988 

Lecturer, The University of New South Wales, 

School of Information/Library and Archives 

Studies, Sydney, Austral. 1993 

166

Wiseman, PA 

Christine 

Wrightson, Robert PA 

Yasue, Akio PA 

Young, Maggie CON 

Preservation Field Officer, SOLINET, 

Atlanta, Ga. 1995 

Assistant Director of Libraries, Webster 

Library, Concordia, Montreal, Que., Can. 

1983 

Director, Planning Division, Administrative 

Department, National Diet Library, Tokyo, 

Jap. 1987 

Senior Coder, University Herbarium, 

University of California at Berkeley, 

Berkeley, Calif. 1993 

FURNITURE CONSERVATION TRAINING PROGRAM 

SMITHSONIAN CENTER 

FOR MATERIALS RESEARCH AND EDUCATION 

Name Student Present Position(s) and Location (if known) 

(† Deceased) Specialty Date of Graduation from Program 

Albert, Patrick 

Baker, Jenny 

Bayne, David 

furniture 

furniture 

furniture 

Carr, Melissa furniture 

Courtney, John furniture 

DeMuzio, David furniture 

Senior Furniture Conservator, CCQ, Quebec 

City, Que., Can. 1996 

Vermont 1993 

Senior Furniture Conservator, New York 

Bureau of Historic Sites, Peebles Island, 

Waterford, N.Y. 1990 

Senior Furniture Conservator, Mussey & 

Driggers Assoc, Boston, Mass. 1993 

Chief Conservator, The White House, 


Senior Furniture Conservator, Philadelphia 

Museum of Art, Philadelphia, Penn. (did not 

complete FCTP) 1990 

167

Driggers, John furniture 

Fountain, Clint furniture 

Godla, Joe furniture 

Howlett, Carey furniture 

Principal, Mussey & Driggers Assoc, Boston, 

Mass. 1993 

Private Practice, Tallahassee Fla. 1993 

Senior Furniture Conservator, J. Paul Getty 


Director of Conservation, Colonial 

Williamsburg Foundation, Colonial 

Williamsburg, Va. 1990 

Johnstone- 

Mosher, Steve 

furniture Private Practice, New York, N.Y. 1990 

Keith, Bakker furniture Director, Society for the Preservation of New 

England Antiquities, Waltham, Mass. 1993 

Koenig, Paul furniture Furniture Conservator, Winterthur Museum, 

Winterthur, Del. 1996 

Kutney, Mark furniture Furniture Conservator, Colonial Williamsburg 

Foundation, Colonial Williamsburg, Va. 

1996 

Minor, Mark furniture 

Moore, Jeff furniture 

Piniero, Cesar furniture 

Podmaniczky, furniture 

Mike 

Ryan, John furniture 

1993 

Private Practice, Salida, Colo. 1990 

Chief Conservator, Preservation Society of 

Newport County R.I., Newport, R.I. 1996 

Private Practice, San Juan, Peru 1993 

Senior Furniture Conservator, Winterthur 

Museum, Winterthur, Del. 1990 

168

ADDRESSES OF THE NORTH AMERICAN 

GRADUATE PROGRAMS IN CONSERVATION 

Straus Center for Conservation 

Harvard University Art Museums 

32 Quincy Street 

Cambridge, Massachusetts 02138 

(617)495-2392 

http://www.artmuseums.harvard.edu/straus/index.html 

Conservation Center 

Institute of Fine Arts 


14 East 78th Street 

New York, New York 10021 

(212) 992-5848 

http://www.nyu.edu/gsas/deptyfineart/html/cns.htm 

Art Conservation Department 

Rockwell Hall 230 

Buffalo State College 

1300 Elmwood Avenue 

Buffalo, New York 14222 

(716) 878-5025 

http://www.buffalostate.edu/~artcon/ 

Winterthur/University of Delaware Program in Art Conservation 

303 Old College 

University of Delaware 

Newark, Delaware 19716 

(302)831-2479 

http://Seurat.art.udel.edu/ArtConHP.html 

169

Art Conservation Program 

Art Centre Extension 

Queen's University 

Kingston, Ontario K7L 3N6 

Canada 

(613) 533-2156 

http://www.queensu.ca/artconv/artcon.html 

Preservation and Conservation Studies 

Graduate School of Library and Information Science 

The University of Texas at Austin 

SZB 564 

Austin, Texas 78712-1276 

(512)471-8290 

http://www.gslis.utexas.edu/programs/pcs/ 

Furniture Conservation Training Program 

Smithsonian Center for Materials Research and Education 

Smithsonian Institution 


(301) 238-3700, ext. 102 

http://www.si.edu/scmre 

170

North American Graduate Programs in the Conservation of

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