Publication, Presentation and Workshop Services

Want to find out more about Art Conservation and Restoration?  

I can introduce audiences to the world of Art Conservation during a one-hour presentation—either in person or through a webinar.  I also provide workshop training for the handling, display, storage and shipping of your collections.  See examples below:

2014    ‘An Introduction to Art Conservation’, a public lecture presented at the Dalhousie University Art Gallery, Halifax, Nova Scotia

2014    Protecting and Preserving Your Art and Studio: An Artist Emergency Fund Resource, a free guide booklet for artists and members of Visual Arts Nova Scotia:

2013   ‘How To…Ensure Your Art’s Longevity’, an interview by Shahnaz Mahmud, Family Office Review, January 21st,

2012   ‘Conserving Art For Your Future’, an interview by Shahnaz Mahmud, Family Office Review, November 7th,

2012   ‘Preserving Your Artwork’, a workshop for artists, art collectors and members of Visual Arts Nova Scotia, Nova Scotia Community College, Truro Campus

2012   ‘Trends in the Art World’, an interview by Maureen Aylward, Zintro Blog, September 5th,

2012    ‘What is Art Conservation?’, webinar presented to members of the Professional Fine Art Network:

2011    ‘Basic Care of Paintings’, a workshop at the Maritime Museum of the Atlantic, Halifax, Nova Scotia, for the staff of the Nova Scotia Museums, Canada

2011    ‘Golden MSA Colors’, AIC Paintings Group Catalogue:  Volume III:  Inpainting Materials, compiled by Cathy Metzger, co-compiled by Christopher Maines and Joanna Dunn, American Institute for Conservation, Washington, DC.

2011     S.G. Harroun, J. Bergman, E. Jablonski, C.L. Brosseau, ‘Surface-enhanced Raman spectroscopy analysis of house paint and wallpaper samples from an 18th century historic property’, Analyst, DOI:10.1039/C0AN00832J

2011       ‘Art Conservation: An Introduction’, Inspired Antiquity Blog, January 6th,

2010    ‘An Introduction to Art Conservation’, public presentations at the Alderney Gate Public Library, Dartmouth, and the Tantallon Public Library, Tantallon, Nova Scotia, Canada

2005    ‘Who’s Hiding in the Garden of Eden?’, Masterworks from the MFA, Boston:  Celebrating the Human Form in Art exhibition catalogue, Nagoya/Boston Museum of Fine Arts, Nagoya, Japan, pp. 106-7.  The painting, The Garden of Eden, by Erastus Salisbury Field (American, 1805-1900) was examined with infrared reflectography, revealing the artist’s pentimenti.  The restoration history was also discussed as it related to the early interpretation of the scene.

2003    ‘Conservation Concerns for Acrylic Emulsion Paints:  A Literature Review’, co-authored with Dr. Tom Learner, James Hayes and Mark Golden, Reviews in Conservation, (4): 3-12, a peer-reviewed journal of the International Institute for Conservation (IIC), London.

2002    The Conservation of Acrylic Dispersion Paintings: A Review, co-authored by Mark Golden, CEO of Golden Artist Colors, Inc., presented at the invitation of the Infrared and Raman User’s Group (IRUG), Fifth International Meeting, Getty Conservation Institute, Los Angeles, California.

2001    The Conservation of Acrylic Dispersion Paintings: An Overview, co-authored by Mark Golden and James Hayes, presented at the annual meeting of the American Institute for Conservation, Dallas, Texas.

2001    The Conservation of Acrylic Dispersion Paintings: An Overview, co-authored with Mark Golden and James Hayes. Presentation canceled because of events on September 11th, 2001. Abstracted in the Preprints for the Deterioration of Artists’ Paints: Effects and Analysis, a joint meeting of ICOM-CC and UKIC, British Museum, London.

2000    ‘Embarking On A Career in Art Conservation’, presented at Hood College, Frederick, Maryland, USA.

2000    ‘The Conservation of Reverse Paintings on Glass: A General Overview,’ The Picture Restorer, 17 (1):5-8, at the invitation of the Association of British Picture Restorers, London.

1997-1999        Graduate Student Presentations:
The Conservation of Encaustic Paintings
The Structure of Artists’ Acrylic Paint Film
The Conservation of Reverse Paintings on Glass
The Conservation of Paintings on Copper
The Role of the Frame in Nineteenth Century European Paintings