The Conservation Department works with all departments at the Gallery to ensure the long-term care of the collection. The department recognizes the importance of preventive conservation and recommends, develops, and institutes measures to ensure appropriate conditions for the storage, transport, and display of art.

About Conservation

About Conservation

Irma Passeri, Senior Conservator of Paintings, and Annika Finne, former conservation fellow, examine Piero di Cosimo's Virgin and Child with Saints Vincent Ferrer and Jerome, ca. 1510–15

Working in collaboration with curatorial staff, the department undertakes appropriate conservation procedures on individual objects to the highest-possible standards in accordance with the Code of Ethics and Guidelines for Practice of the American Institute for Conservation of Historic and Artistic Works. Conservators examine and analyze objects in the collection to inform treatment methods and further teaching, scholarship, and research. Conservation treatments avoid compromising future research potential of objects. Conservators investigate materials and techniques using microscopy, X-radiography, X-ray fluorescence, and infrared reflectography. More advanced methods of analysis are coordinated with the Institute for the Preservation of Cultural Heritage at Yale University’s West Campus Collections Center and other laboratories. Examination and treatment documentation is thorough and stored in formats that ensure long-term preservation. The department partakes fully in the Gallery’s mission to teach and disseminate knowledge. Courses in conservation, connoisseurship, and technical art history are taught using the Gallery’s collection and facilities.

Recent Conservation Project

In a 1936 collage, the surrealist Pavel Tchelitchew laid out the costume and set designs for a ball he organized as part of the Hartford Festival at the Wadsworth Atheneum Museum of Art. Because everything for the elaborate event was constructed from repurposed materials, its title, A Paper Ball: Cirque des Chiffonniers (Circus of the Ragpickers), referred to “ragpickers” who recycled refuse from the streets of Paris. Similarly, Tchelitchew’s collage consists of various scraps of cut and pasted paper. Upon being requested for loan, the work recently underwent conservation treatment to address its brittle paper components and fragile layers of gouache. Its collaged elements include off-white, thin, smooth papers as well as newsprint, all applied to a slightly textured support of white paper. Over top, Tchelitchew painted in gouache. The variety of colors and textures, along with the layering of paint and paper, give the work a physicality and tactile nature.

Learn More about the Collage’s Conservation

Pavel Tchelitchew, Hartford Festival, 1936. Collage of cut and pasted paper and newsprint, with colored gouache and black ink. Yale University Art Gallery, From the collection of Richard Park Beard. © Pavel Tchelitchew

Featured Media

Meet the Conservators

Irma Passeri

Irma Passeri, Conservator of Paintings, studied painting conservation at the Scuola di Alta Formazione at the Opificio delle Pietre Dure, in Florence, where she received her degree in the Conservation of Easel Paintings in 1998. She has worked in the conservation departments of the Opificio delle Pietre Dure and the Philadelphia Museum of Art and joined the conservation staff at the Gallery in 2000, where her work focuses on the early Italian panel paintings in the museum’s collection. She has published articles on the materials and techniques of Italian paintings and on different approaches to the restoration treatment of loss compensation. She co-teaches the Technical Examination of Art course in the Department of the History of Art and, since 2019, co-organizes the Kress Summer Teachers Institute in Technical Art History, both at Yale.

PDF icon Download Irma Passeri's CV

Irma Passeri

Theresa Fairbanks Harris

Theresa Fairbanks Harris, Senior Conservator of Works on Paper, has worked for museums at Yale University since 1982. She earned a B.A. in Art History and Studio Art from Yale and, as an undergraduate, worked in the conservation laboratory for the Beinecke Rare Book and Manuscript Library. She earned an M.S. in Art Conservation with a major in Paper Conservation and minor in Photograph Conservation from the Winterthur/University of Delaware Program in Art Conservation, with an Advanced Certificate in Conservation from the Fogg Art Museum, Harvard University, in Paper Conservation. She has worked at the Metropolitan Museum of Art and the Smithsonian Conservation Analytical Laboratory. As Paper Conservator at the National Museum of American History, she designed the museum’s Paper Conservation Laboratory. She lectures frequently and has taught courses at, among others, the Yale School of Art, the Department of the History of Art and Department of Music at Yale, and the Rare Book School. Her areas of interest include art on paper and photographs, pastels, portrait miniatures, watercolors, and paper identification.

PDF icon Download Theresa Fairbanks Harris's CV

Theresa Fairbanks Harris

Anne Turner Gunnison

Anne Turner Gunnison, the Alan J. Dworsky Senior Associate Conservator of Objects, graduated with a B.A. in art history from Stanford University and received a M.A. in Principles of Conservation and a M.S. in Conservation for Archaeology and Museums from the Institute of Archaeology, University College, London. She worked as a postgraduate fellow at the Smithsonian’s National Museum of the American Indian before joining the staff at the Gallery in 2010.

PDF icon Download Anne Turner Gunnison's CV

Anne Turner Gunnison

Cynthia Schwarz

Cynthia Schwarz, Senior Associate Conservator of Paintings, studied painting at the Rhode Island School of Design and painting conservation at the Winterthur/University of Delaware Program in Art Conservation. Before joining the staff at the Gallery in 2008, she held internships at the Balboa Art Conservation Center, in San Diego, and the Château de Parentignat, in Auvergne, France. She focuses her efforts on the conservation of the Gallery’s modern and contemporary paintings collection and has published research on works in the collection by Amedeo Modigliani, Francis Picabia, and Hedda Sterne. She also has extensive experience in the conservation of American mural paintings and the structural treatment of canvas paintings. She lectures for the Technical Examination of Art course in the Department of the History of Art and co-organizes the Historically Black Colleges and Universities Students and Mentors Institute in Technical Art History, both at Yale.

PDF icon Download Cynthia Schwarz's CV

Cynthia Schwarz

Catherine (Cathy) Silverman

Catherine (Cathy) Silverman is Assistant Conservator of Objects and Furniture. She earned a B.A. in Art History and French from Bristol University, in the United Kingdom, and an M.A. in Conservation Studies, specializing in furniture and related objects, at West Dean College, in England. She has held internships at the Wallace Collection, in London, and several private conservation studios, and prior to joining the Gallery she was the Andrew W. Mellon Fellow in Objects Conservation at the Metropolitan Museum of Art, in New York. From fall 2018 to summer 2019, she was the project conservator for the relocation of the Gallery’s American Decorative Arts Furniture Study collection to the Leslie P. and George H. Hume American Furniture Study Center at Yale West Campus. Cathy has published articles on the materials and techniques of japanned furniture finishes and the history and conservation of decorative ray skin in furniture.

PDF icon Download Cathy Silverman's CV

Catherine Silverman

Kelsey Wingel

Kelsey Wingel, Assistant Conservator of Paintings, graduated with a B.A. in Art History and Art Conservation from the University of Delaware, in Newark, and an M.S. in Art Conservation from the Winterthur/University of Delaware Program in Art Conservation. Before and during her graduate coursework, Kelsey treated paintings and painted surfaces at the Colonial Williamsburg Foundation, in Virginia, the Shelburne Museum in Vermont, and the Gianfranco Pocobene Studio, in Massachusetts. Kelsey is particularly interested in 18th- and 19th-century American paintings, and much of her time at the gallery has focused on the technical research and conservation treatment of preparatory paintings by the artist Edwin Austin Abbey.

PDF icon Download Kelsey Wingel's CV

Kelsey Wingel

Online Resources

AATA Online

Abstracts of international conservation literature


American Institute for Conservation of Historic and Artistic Works


Bibliographic Database of the Conservation Information Network


Conservation and Art Materials Encyclopedia Online

e-conservation Journal


The International Institute for Conservation of Historic and Artistic Works