Staff List

	Dorothy Abramitis, Conservator, is principally responsible for the Greek and Roman collection. Her responsibilities include the technical examination and treatment of objects in all media. She was the supervising conservator for the 15-year reinstallation of the Greek and Roman galleries, which was completed in 2007. Dorothy has been involved in significant research on stone sculpture and polychromy in antiquity, and has participated in international organizations and symposia focused on these subjects, including the Copenhagen Polychromy Network and ASMOSIA. She received a certificate in conservation with an MA in art history from New York University and an MFA in sculpture from Rutgers University.
Selected Publications: Abramitis, Dorothy H. "Statue of an Old Woman: A Case Study in the Effects of Restorations on the Visual Aspect of Sculpture." In "Appearance and Reality: Recent Studies in Conservation," The Metropolitan Museum of Art Bulletin 55, no. 3 (Winter 1997–98): 30–37. Abramitis, Dorothy. "Conservation Report, Bacchus Seated on a Panther." In "A Giustiniani Bacchus and François Duquesnoy," by Olga Reggio, 220–21. Metropolitan Museum Journal 40 (2005). Van Keuren, Frances, Julia Cox, Donato Attanasio, Walter Prochaska, John J. Herrmann, Jr., and Dorothy Abramitis. "Parian Lychnites and the Badminton Sarcophagus in New York." In Interdisciplinary Studies on Ancient Stone: Proceedings of the X Association for the Study of Marbles and Other Stones in Antiquity (ASMOSIA) Conference (Rome 2012), edited by Patrizio Pensabene and Eleonora Gasparini, 403–12. Rome: L'Erma di Bretschneider, 2015.
	Drew Anderson, Conservator, is responsible for the Museum's stained glass collection. He received an MA in stained glass conservation from the Victoria and Albert Museum/Royal College of Art and served as senior conservator in the Stained Glass Conservation Section of the Victoria and Albert Museum from 1999 to 2004. Drew previously held a position as production manager at Goddard and Gibbs Stained Glass Studios, Ltd. in London, and has served as a stained glass committee member of the Council for the Care of Churches and chairman of the ICON Stained Glass Section in the United Kingdom. He is currently chair of the conservation technical committee of the American Corpus Vitrearum.
Selected Publications: Anderson, Drew. "L. C. Tiffany's Earliest Surviving Domestic Window." Techniques du vitrail au XIXe siècle, Forum pour la conservation et la restauration des vitraux, Namur 14–16 June 2007, edited by Isabelle Lecocq and Jacques Barlet, 81–89. Les Dossiers de l'IPW 3. Namur: Institut du patrimoine wallon, 2007. Anderson, Drew, Alice Cooney Frelinghuysen, and Janis Mandrus. "Rediscovering Henry E. Sharp: The Conservation of the Faith and Hope Window at The Metropolitan Museum of Art." In The Art of Collaboration: Stained-Glass Conservation in the Twenty-First Century (Corpus Vitrearum USA, Occasional Papers 2), edited by Mary B. Shepard, Lisa Pilosi, and Sebastian Strobl, 83–91. Turnhout: Harvey Miller Publications for the American Corpus Vitrearum, 2010. Pilosi, Lisa, and Drew Anderson. "The Chariot of Poseidon by Jean Dupas and Jacques-Charles Champigneulle at The Metropolitan Museum of Art." Journal of Glass Studies 56 (2014): 219–28.
	Mechthild Baumeister, Conservator, has worked at The Met since 1988. Primarily responsible for the examination and treatment of furniture, wooden objects, and historic interiors in the Department of European Sculpture and Decorative Arts, she also supervised the study and conservation of all wooden objects, including architectural structures, for the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia, and has worked on the Asian furniture collection. Her education includes an apprenticeship in cabinetmaking and training in furniture and polychrome wood conservation at the Westfälisches Landesmuseum für Kunst und Kultur in Münster, the Klosterkammer Hannover, and the Victoria and Albert Museum, London.
Selected Publications: Baumeister, Mechthild. "The Hidden History of a Roentgen Commode." In Extravagant Inventions: The Princely Furniture of the Roentgens, edited by Wolfram Koeppe, 222–28. New York: The Metropolitan Museum of Art, 2012. Baumeister, Mechthild, Beth Edelstein, Adriana Rizzo, Arianna Gambirasi, Timothy Hayes, Roos Keppler, and Julia Schultz. "A Splendid Welcome to the 'House of Praises, Glorious Deeds and Magnanimity.'" In Conservation and the Eastern Mediterranean. International Institute for Conservation of Historic and Artistic Works (IIC), Contributions to the Istanbul Congress, 20–24 September 2010, edited by Christina Rozeik, Ashok Roy, and David Saunders, 126–33. London: International Institute for Conservation of Historic and Artistic Works, 2010. Baumeister, Mechthild, Adriana Rizzo, Melanie Brussat, Erika Sanchez Goodwillie, and Batyah Shtrum. "A Re-evaluation of Three Period Rooms in the Wrightsman Galleries at The Metropolitan Museum of Art in New York." In Architectural Finishes in the Built Environment, edited by Mary A. Jablonski and Catherine R. Matsen, 201–16. London: Archetype, 2009.
	Lawrence Becker, Conservator Emeritus, was a member of the Museum's conservation staff from 1980 to 1989. Following tenures at the Virginia Museum of Fine Arts and the Worcester Art Museum, he returned to The Met in 2003 as Sherman Fairchild Conservator in Charge of Objects Conservation, a position he held until 2014. Initially focusing on the conservation and study of archaeological sculpture and objects from Egypt, West Asia, and the Greco-Roman world, his interests gradually shifted toward the arts of South, Southeast, and East Asia. Larry received undergraduate and law degrees from Columbia University and graduate training in art history and conservation from the Institute of Fine Arts at New York University.
Selected Publications: Becker, Lawrence, and Christine Kondoleon. The Arts of Antioch: Art Historical and Scientific Approaches to Roman Mosaics and a Catalogue of the Worcester Art Museum Antioch Collection. Worcester, MA: Worcester Art Museum, 2005. Becker, Lawrence. "Technical Study of Two Northern Wei Altarpieces Dedicated to the Buddha Maitreya." In Wisdom Embodied, Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art, by Denise Patry Leidy and Donna Strahan, 198–205. New York: The Metropolitan Museum of Art, 2010. Becker, Lawrence, Donna Strahan, and Ariel O'Connor. "Technical Observations on Casting Technology in First-Millennium Cambodia, Thailand, and Vietnam." In Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, by John Guy, 267–71. New York: The Metropolitan Museum of Art, 2014.
	Warren Bennett, Conservation Preparator, joined the Department of Objects Conservation in 2010. He came to The Met on a contract with the Department of Islamic Art in 2006, during the renovation of the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia. Prior to that, Bennett worked as a model maker and scenic painter for television, animated films, and commercials, and, most recently, at the American Museum of Natural History as an assistant preparator.
	Linda Borsch, Conservator, is responsible for the technical examination and treatment of medieval metalwork, European bronzes, and American metal and stone sculpture. Linda holds a master's degree in art conservation from Queen's University, Canada, and completed internships at The Met, at the Canadian Conservation Institute in Ottawa, and in the archaeological and decorative metals lab at the Hermitage Museum in Saint Petersburg. Linda was awarded a two-year fellowship at The Met, during which she focused on medieval art, and worked for 10 years on the reinstallation of the Greek and Roman collection before assuming her responsibilities for European and American art in 2001 and for medieval art in 2016.
Selected Publications: Abend, Karen, Linda Borsch, Julia Day, Janis Mandrus, and Lisa Pilosi. "Conservation of Eighteenth-Century Lighting Fixtures in The Metropolitan Museum of Art." In The Artifact, Its Context and Their Narrative: Multidisciplinary Conservation in Historic House Museums, the Getty Research Institute, Los Angeles, November 6–9, 2012; Proceedings of the Joint Conference of ICOM-DEMHIST and Three ICOM-CC Working Groups (Sculpture, Polychromy, and Architectural Decoration; Wood, Furniture, and Lacquer; Textiles), edited by Kate Seymour and Malgorzata Sawicki. ICOM-CC & ICOM-DEMHIST, 2012. Borsch, Linda, and Federico Carò. "Technical Notes." In "Abraham Lincoln: The Man (Standing Lincoln): A Bronze Statuette by Augustus Saint-Gaudens," by Thayer Tolles. Metropolitan Museum Journal 48 (2013): 234–35. Frantz, Tony, Dorothy H. Abramitis, Linda Borsch, and Mark T. Wypyski. "Roman Variscite Beads: In Situ Analysis by X-ray Microdiffraction." The Metropolitan Museum of Art Bulletin 67, no. 1 (Summer 2009): 20–25.
	Nancy Britton, Conservator, has worked since 1991 with upholstered works of art across four curatorial departments holding over 500 upholstered objects, including the Department of European Sculpture and Decorative Arts and The American Wing. Responsible for all textiles in a frame, she has conserved hundreds of artworks, caned chairs, fire screens, and tapestry upholstery, including an English state bed, Marie Antoinette's Sené suite, and Dutch leather wall hangings. With over 20 publications to her credit, her scholarly interests include historic upholstery materials and upholstery techniques in Europe and America. Nancy works with modern artisans to bring accurate reproductions of original show covers to the Museum's collection while preserving original elements.
Selected Publications: Britton, Nancy, with Mark Anderson. "The Evolution of American Upholstery Techniques." In The Forgotten History, Upholstery Conservation, edited by Karen Lohm, 30–80. Linköping, Sweden: Linköping University, 2011. Britton, Nancy. "Stitches in Time: The Integration of 18th- and 21st-Century Technologies and Techniques across Three Cultures." In Preprints of the 8th North American Textile Conservation Conference: Plying the Trades: Pulling Together in the 21st Century, Oaxaca, Mexico, November 8–11, 2011. Madison, WI: Omnipress, 2011. ———. "Reconciling Conservation and Interpretation: Strategies for Long-term Display of a Late Seventeenth-Century Bed." In Upholstery Conservation: Principles and Practice, edited by Kathryn Gill and Dinah Eastop, 61–73. Oxford and Boston: Butterworth-Heinemann, 2001.
	Matthew Cumbie, Conservation Preparator, joined the Department of Objects Conservation in 2006. The scope of his work spans all of the Museum's 17 curatorial departments and varies in size and complexity from the creation of hundreds of delicate jewelry mounts, such as those seen in the Jewels by JAR exhibition, to the custom-designed, full-body articulated mannequin used to display a 19th-century Tibetan skeleton dance costume in The Met collection. Matthew received a BFA from the Rhode Island School of Design, where he studied painting and metalsmithing.
	Pete Dandridge, Conservator Emeritus, came to the Museum in 1979 from the Cooperstown Graduate Program. Initially focusing on the Rockefeller Collection, he became the principal conservator of the ivories, enamels, and metalwork in the Department of Medieval Art and The Cloisters, where his primary interest has been to elucidate the technical history of said materials and the capabilities of the artists who manipulated them. He is coediting Medieval Copper, Bronze and Brass with Nicolas Thomas, and is participating in CAST:ING, an international initiative to create an online publication of best practices for documenting the technical history of bronze casting.
Selected Publications: Dandridge, Pete, and Lisa Ellis. "Workshop Practices." In Small Wonders: Late-Gothic Boxwood Micro-Carvings from the Low Countries, edited by Frits Scholten, 514–77. Amsterdam: Rijksmuseum Publications Department, 2016. Dandridge, Pete. "Exquisite Objects, Prodigious Technique: Aquamanilia, Vessels of the Middle Ages." In Lions, Dragons, and Other Beasts: Aquamanilia of the Middle Ages, Vessels for Church and Table, edited by Peter Barnet and Pete Dandridge, 34–56. New Haven: Yale University Press, 2006. ———. "A Study of the Gilding of Silver in Byzantium." In Gilded Metals: History, Technology and Conservation, edited by Terry Drayman-Weisser, 123–43. London: Archetype Publications, 2000.
	Manu Frederickx, Associate Conservator, received a master's degree in musical instrument making from the Royal Conservatory in Ghent in 2002. He has worked as an independent maker and restorer of harpsichords and plucked stringed instruments, and trained in the conservation of wood at the Royal Academy of Fine Arts in Antwerp. From 2004 to 2015, he was a lecturer at the School of Arts of University College Ghent, where he became head of the Musical Instrument Making Department in 2013. He worked as a conservator at the Musical Instrument Museum, Brussels, from 2009 until joining The Met in 2015.
	Jacob Goble, Associate Conservation Preparator, joined The Metropolitan Museum of Art's Department of Objects Conservation in 2014 after serving as senior departmental technician in the Museum's Department of European Sculpture and Decorative Arts. Before joining the Museum, Goble worked as a timber framer in Vermont and, more recently, as an adjunct professor of painting in New York. Goble received an MFA in painting from the Rhode Island School of Design and holds a BFA in painting and drawing from the State University of New York at New Paltz.
	Anne Grady, Associate Conservator, is responsible for post-Renaissance European and American decorative arts. Anne officially joined the Museum in 2016, but has regularly worked on capital projects in the Department of Objects Conservation since 2008, when she was a Sherman Fairchild Conservation Fellow. Prior to that, Anne was a staff member of the Museum of Modern Art and a fellow at the Los Angeles County Museum of Art, where she worked on a wide range of sculpture and design objects. She received her BA from Oberlin College and an MA in art conservation from Buffalo State College.
Selected Publications: Grady, Anne R. "Technical Examination and Treatment of an African Sword." ANAGPIC 2007 Student Papers & Posters presented at the 2007 Annual Student Conference, Harvard University Art Museums Straus Center for Conservation and Technical Studies. Grady, Anne, and Jennifer Hickey. "Treatment of Izhar Patkin's The Black Paintings—Collaboration and Compromise." The AIC Paintings Specialty Group Postprints 25 (2012): 24–30. Papers presented at the 40th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works, Albuquerque, New Mexico, May 2012.
	Christina Hagelskamp, Associate Conservator, is responsible for the technical examination and treatment of Asian and European lacquer objects. After graduating the University of Applied Science in Potsdam, Germany, with a specialization in the conservation of wooden artifacts, Christina held multiple contract positions at the Rijksmuseum Amsterdam and The Met, where she also was awarded a Mellon Fellowship in 2010. Her past studies and treatments have focused on Japanese export lacquer as well as on European furniture and interiors with incorporated Asian lacquer elements. Christina's current long-term project is the treatment of a prized work in the collection of the Museum's Department of Asian Art, a Chinese kuancai lacquer screen (09.6a-l).
Selected Publications: Hagelskamp, Christina. "Aspects of the Manufacture of Chinese Kuancai Lacquer Screens." In Postprints of the Wooden Artifacts Group, 25–35. Washington, D.C.: The American Institute for Conservation of Historic & Artistic Works, 2016. ———, Arlen Heginbotham, and Paul van Duin. "Bending Asian Lacquer in Eighteenth-Century Paris: New Discoveries." Studies in Conservation 61, supplement 3 (December 2016): 91–96. ———. "Tracing the Origins of Japanese Export Lacquer on an Eighteenth–Century French Side Table." Metropolitan Museum Studies in Art, Science, and Technology (2014): 173–79.
	Daniel Hausdorf, Associate Conservator. After completing a three-year cabinetmaking apprenticeship in 1999, Daniel studied the conservation of wooden artifacts at the University of Applied Science in Potsdam, Germany, and completed internships at the Museum of Fine Arts, Boston, and the Rijksmuseum in Amsterdam. Daniel joined The Met in 2007. His responsibilities include the technical examination and treatment of furniture and wooden objects in the Departments of Modern and Contemporary Art and Asian Art and in the Robert Lehman Collection. Since 2014, Daniel has been coordinator of the ICOM-CC working group for wood, furniture, and lacquer. Currently, his major area of technical research is Japanese Buddhist and Shinto polychrome wood sculpture.
Selected Publications: Carboni, Stefano, and Daniel Hausdorf. "Panel (Lid from a Chest)." In Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art, edited by Maryam D. Ekhtiar, Priscilla P. Soucek, Sheila R. Canby, and Navina N. Haidar, 43–44. New York: The Metropolitan Museum of Art, 2011. Meincke, Angela, Daniel Hausdorf, Nonie Gadsden, Mechthild Baumeister, Michele Derrick, Richard Newman, and Adriana Rizzo. "Early Cellulose Nitrate Coatings on Furniture of the Company of Master Craftsmen." Journal of the American Institute for Conservation 48, no. 1 (2009): 1–24.
	Ann Heywood, Conservator Emerita, was formerly the principal conservator for the Egyptian collection. In that role, she worked closely with the curators in the Department of Egyptian Art on all new acquisitions and gifts, outgoing and incoming loans, gallery conditions, special exhibitions, permanent gallery installations, and materials and technology research. Her own research has focused on the pigments of ancient Egypt. She joined the Department of Objects Conservation in 1988 after graduate work in art history and conservation at the Institute of Fine Arts at New York University. As conservator emerita since 2016, she contributes technical notes to the Museum's online catalogue.
Selected Publications: Heywood, Ann. "Lead Cladding on a Wooden Royal Figure: An Unusual Ancient Surface Reconstructed." In Decorated Surfaces on Ancient Egyptian Objects: Technology, Deterioration and Conservation, edited by C. Rozeik, J. Dawson, and M. Wright, 9–15. Cambridge: Fitzwilliam Museum: University of Cambridge, 2010. ———. "Evidence for the Use of Azurite and Natural Ultramarine Pigments in Ancient Egypt." Metropolitan Museum Studies in Art, Science, and Technology 1 (2010): 73–81. ———. "The Use of Huntite as a White Pigment in Ancient Egypt." In Colour and Painting in Ancient Egypt, edited by W. V. Davies, 5–9. London: British Museum Press, 2001.
	Ellen Howe, Conservator Emerita, was responsible for objects in the Department of the Arts of Africa, Oceania, and the Americas. Her work entailed the conservation of both ethnographic and archaeological materials, with a specialty in the technology of works from the Americas and West/Central Africa. Ellen joined the department in 1980, having received an MA and certificate of advanced study in art conservation from the SUNY Cooperstown Graduate Program and a BA in studio art and art history from Smith College. At present she is developing essays for the Heilbrunn Timeline of Art History on African metals and resins and participating in the study and publication of the Museum's North Coast Peruvian metalwork.
Selected Publications: Howe, Ellen G. "Fon Silver Jewelry of the Twentieth Century." Met Objectives 1, no. 2 (Spring 2000): 4–5, 8. Howe, Ellen G., and Ulrich Petersen. "Silver and Lead in the Late Prehistory of the Mantaro Valley, Peru." In Archaeometry of Pre-Columbian Sites and Artifacts: Proceedings of a Symposium Organized by the UCLA Institute of Archaeology and the Getty Conservation Institute, Los Angeles, California, March 23–27, 1992, edited by David A. Scott and Pieter Meyers, 183–98. Marina Del Rey: Getty Conservation Institute, 1994.
	Keelia Jacobs, Assistant Administrator, is responsible for the overall administration and management of the Department of Objects Conservation. She oversees the departmental budget and spending, coordinates events for departmental donor and advisory groups, and manages personnel administration. Before coming to The Met, she worked in client-facing roles at several galleries and an auction house. Keelia earned her BA in art history from Davidson College.
	Lucretia Kargère, Conservator, has been the principal conservator for The Met Cloisters since 2000. She came to The Met in 1994, when she was awarded the first of several fellowships for the technical study and treatment of medieval sculpture. She is a graduate of Brown University and the Institute of Fine Arts at New York University, where she received an MA in art history and an advanced certificate in conservation, after completing internships at the Institut Royal du Patrimoine Artistique (IRPA) in Brussels, and the Palazzo Pitti in Florence. Specializing in the treatment of polychrome wood sculpture, Lucretia has published a significant study of French Romanesque sculpture from The Met collection.
Selected Publications: Kargère, Lucretia, and Michele Marincola. "Conservation in Context: The Examination and Treatment of Medieval Polychrome Wood Sculpture in America." Metropolitan Museum Studies in Art, Science and Technology 2 (2014): 11–49. Kargère, Lucretia, Pierre-Yves Le Pogam, Juliette Lévy-Hinstin, and Nathalie Pingaud. "Un Christ roman auvergnat retrouve son unité grâce à l'étude de la polychromie." Technè 39 (2014): 60–65. Kargère, Lucretia, and Adriana Rizzo. "Twelfth-Century French Polychrome Sculpture in The Metropolitan Museum of Art: Materials and Techniques." Metropolitan Museum Studies in Art, Science, and Technology 1 (2010): 39–72.
	Jean-François de Lapérouse, Conservator, works primarily with the Ancient Near Eastern and Islamic Art collections, and is especially interested in examining the complex interplay of early technologies with artistic production and aesthetics. He majored in art history at Princeton University and completed all of the coursework for a doctorate in Ancient Near Eastern art and archaeology at the Institute of Fine Arts at New York University, where he also received a certificate in conservation.
Selected Publications: Lapérouse, Jean-François de. "Early Mesopotamian Metallurgy." In Encyclopaedia of the History of Science, Technology and Medicine in Non-Western Cultures, edited by Helaine Selin, 1624–34. 2nd ed. Berlin: Springer, 2008. Lapérouse, Jean-François de, Stefan Heidemann, and Vicki Parry. "The Large Audience: Life-Sized Stucco Figures of Royal Princes from the Seljuk Period." Muqarnas 31 (2014): 35–71. MetPublications: Selected essays and catalogue entries by Jean-François de Lapérouse
	Sara Levin, Assistant Conservator, received an MS in art conservation from the University of Delaware/Winterthur Museum, with a focus on archaeological artifacts. She has previously held positions at the Brooklyn Museum, where she was lead conservator for the monumental Resurrection by Giovanni della Robbia, and at Abigail Mack Art Conservation, where she attended to a range of modern and contemporary sculpture. She has completed fellowships and internships at the Getty Villa, the University of Pennsylvania Museum, The Met, and the Israel Antiquities Authority. She has also worked on archaeological sites at the Athenian Agora and at Herculaneum with a field project of the Getty Conservation Institute.
Selected Publications: De Alarcón, Tessa, and Sara Levin. "Conservation Fellows Evaluate Cypriot Artifacts." Expedition 56, no. 3 (Winter 2014): 45–47.
	Ashira Loike, Assistant Manager for Conservation Documentation, is responsible for the department's documentation standards. Ashira specializes in imaging techniques, including Reflectance Transformation Imaging, which allow conservators to record topographic details of three-dimensional surfaces. She has collaborated with colleagues at the Smithsonian Institution, the University of Southampton, and Oxford University to establish protocols for analytical photography. Ashira advises on the development and implementation of digital tools for capturing, managing, and maintaining conservation records, and provides training and informational guides for their use. She joined the department in 2007, after receiving a BA from Barnard College and an MA in medieval art history from Hunter College (2012).
	Caitlin Mahony, Assistant Conservator, is responsible for the care and study of objects in the Department of the Arts of Africa, Oceania, and the Americas. Prior to joining The Met in 2017, she was an Andrew W. Mellon Fellow at the National Museum of the American Indian and a Samuel H. Kress Fellow at the Walters Art Museum. She has extensive experience working with North, Central, and South American collections and collaborating with indigenous artists and communities. She received her MA in conservation from the UCLA/Getty Master's Program and a BA in anthropology from Skidmore College.
Selected Publications: Mahony, Caitlin. "Mending Leather and Quillwork in a Native American Vest: The Challenges and Achievements." In Postprints for Student Papers presented at The Association of North American Graduate Programs in Conservation Conference, Los Angeles, CA, April 25–27, 2013. ———. "Evaluation of Consolidants for the Treatment of Red Rot on Vegetable Tanned Leather." Thesis submitted for Masters of the Arts in Conservation of Archaeological and Ethnographic Materials at the University of California, Los Angeles, 2014. ———, Susan Heald, Shelly Uhlir, and Cathleen Zaret. "Tyvek & Polyester Needle Felt Moccasins Inserts." STASH (Storage Techniques for Art, Science & History Collections), 2014. www.stashc.com/the-publication/supports/malleable/tyvek-polyester-needle-felt-moccasins-inserts.
	Janis Mandrus, Associate Conservator, joined the Department of Objects Conservation in 2006. Her primary responsibilities include the technical examination and treatment of medieval and Renaissance decorative arts. She has also worked on a broad range of projects at The Met, including the treatment of archaeological ceramics and glass, as well as American ceramics, glass, stained glass, and decorative metalwork. Janis holds a BA in classical studies from Hunter College, an MA in art history from the Institute of Fine Arts at New York University, and an MA in art conservation from Queen's University in Kingston, Ontario.
Selected Publications: Abend, Karen, Linda Borsch, Julia Day, Janis Mandrus, and Lisa Pilosi. "Conservation of Eighteenth-Century Lighting Fixtures in The Metropolitan Museum of Art." In The Artifact, Its Context and Their Narrative: Multidisciplinary Conservation in Historic House Museums, the Getty Research Institute, Los Angeles, November 6–9, 2012; Proceedings of the Joint Conference of ICOM-DEMHIST and Three ICOM-CC Working Groups (Sculpture, Polychromy, and Architectural Decoration; Wood, Furniture, and Lacquer; Textiles), edited by Kate Seymour and Malgorzata Sawicki. ICOM-CC & ICOM-DEMHIST, 2012. Anderson, Drew, Alice Cooney Frelinghuysen, and Janis Mandrus. "Rediscovering Henry E. Sharp: The Conservation of the Faith and Hope Window at The Metropolitan Museum of Art." In The Art of Collaboration: Stained-Glass Conservation in the Twenty-first Century (Corpus Vitrearum USA, Occasional Papers 2), edited by Mary B. Shepard, Lisa Pilosi, and Sebastian Strobl, 83–91. Turnhout: Harvey Miller Publications for the American Corpus Vitrearum, 2010.
	Marijn Manuels, Conservator, received his training in Amsterdam and joined the Department of Objects Conservation in 1996. For many years he has been responsible for the care, examination, and treatment of The American Wing's collection of interiors, furniture, and wooden objects. Past projects include exhibitions such as Honoré Lannuier (1998), Art and the Empire City (2000), John Townsend (2005), and Duncan Phyfe (2011), as well as the 10-year reinstallation of The American Wing's galleries and period rooms that was completed in 2011. More recently he worked on the installation of the Worsham-Rockefeller dressing room and an accompanying exhibition about its maker, George A. Schastey.
	Shoji Miyazawa, Associate Conservation Preparator, joined The Met's Department of Objects Conservation in 2013, after receiving a BFA with an emphasis in metalsmithing from Southern Illinois University at Edwardsville in 2011 and an MFA with a concentration in metal from the State University of New York at New Paltz. Notable exhibitions on which he has worked include Assyria to Iberia at the Dawn of the Classical Age (2014), Ancient Egyptian Queens and Goddesses: Treasures from The Metropolitan Museum of Art (2014), Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century (2014), and Jewels by JAR (2014).
	Vicki Parry, Conservator, joined The Met in 2002 and has since worked on two of the Museum's largest gallery reinstallation projects in recent years: the Greek and Roman galleries, and the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia. Responsible for the conservation of all ceramics and stone objects in the Department of Asian Art, she also conserves decorative arts made from a variety of materials such as cloisonné enamel and amber. Vicki's research interests include the spread of ceramic techniques and the development of glazes in times of political conflict and through trade.
Selected Publications: Lapérouse, Jean-François de, Karen Stamm, and Vicki Parry. "Re-examination and Treatment of Mina'i Ceramics at The Metropolitan Museum of Art." In Glass and Ceramics Conservation 2007: Preprints of the Interim Meeting of the ICOM-CC Working Group, August 27–30, 2007, Nova Gorica, Slovenia, edited by Lisa Pilosi, 112–19. Nova Gorica, Slovenia: Goriški Muzej Nova Gorica, 2007. Lapérouse, Jean-François de, Stefan Heidemann, and Vicki Parry. "The Large Audience: Life-Sized Stucco Figures of Royal Princes from the Seljuq Period." Muqarnas 31 (2014): 35–71. Parry, Vicki. "Nishapur Ceramics in the Metropolitan Museum of Art: 70 Years of Restoration Techniques." In Greater Khorasan History, Geography, Archaeology and Material Culture, edited by Rocco Rante, 151–60. Studies in the History and Culture of the Middle East 29. Boston: de Gruyter, 2015.
	Pascale Patris, Conservator, joined Objects Conservation at The Met in 1994. Her main responsibilities include the research and treatment of painted and gilded wood surfaces of decorative arts from medieval Europe, through the Italian Renaissance and Baroque, to the 19th-century Gilded Age in America. Pascale received her training in conservation in Paris, where she focused primarily on European sculpture. Prior to that, she studied fine arts. Since joining the Museum, Pascale has expanded her expertise in the study and analytical interpretation of surface finishes for European and American decorative arts and sculpture with a personal interest in the surface finishes of Asian sculpture.
Selected Publications: Patris, Pascale, and Adriana Rizzo. "An Unfolding Tale: The Making and Transforming of the Golden Harpsichord." Journal of the American Musical Instrument Society 39 (2013): 62–88. Patris, Pascale. "Decorative Surface Finishes: Bronzing, Patina-Antiqua, Verd-Antique in NY Furniture 1810–1830: New York Workshops Practices 1810–1830." Color Research and Application 41, no. 3 (June 2016): 232‒40. ———. "Preserving a Herter Brothers Side Chair." Met Objectives 4, no. 2 (Spring 2003): 8–10.
	Lisa Pilosi, Sherman Fairchild Conservator in Charge, is responsible for the academic and administrative supervision of the Department of Objects Conservation and is the department's primary liaison with other Museum operations. Prior to assuming this role in July 2014, Lisa was principal conservator for three-dimensional glass objects in the Museum's collection for 26 years. She served as chair of the ICOM Committee for Conservation (2011–14) and currently serves on the ICOM Disaster Risk Management Committee. Lisa earned a bachelor's degree in art history and chemistry from the University of Pennsylvania and a master's degree and certificate in conservation from the Institute of Fine Arts at New York University.
Selected Publications: Pilosi, Lisa, and Drew Anderson. "The Chariot of Poseidon by Jean Dupas and Jacques-Charles Champigneulle at The Metropolitan Museum of Art." Journal of Glass Studies 56 (2014): 219–28. Pilosi, Lisa, and David Whitehouse. "Early Islamic and Byzantine Silver Stain." In New Light on Old Glass: Recent Research on Byzantine Mosaics and Glass (British Museum Research Publication 179), edited by Chris Entwistle and Liz James, 329–37. London: British Museum, 2013. Whitehouse, David, Timothy B. Husband, Lisa Pilosi, Mary B. Shepard, and Mark T. Wypyski. "Glass Finds in the Metropolitan Museum of Art from the 1926 Expedition." In Monfort, History, Early Research and Recent Studies of the Principal Fortress of the Teutonic Order in the Latin East, edited by Adrian J. Boas with the assistance of Rabei G. Khamisy, 176–94. The Medieval Mediterranean 107. Leiden; Boston: Brill, 2017
	Carolyn Riccardelli, Conservator, joined the Museum in 2002 and specializes in structural issues related to large-scale objects. From 2005 to 2014 she was the principal member of a team of conservators and scientists working on Tullio Lombardo's Adam, conducting research on adhesives and pinning materials and developing innovative methods for reassembling the damaged sculpture. Carolyn is one of the primary coordinators of graduate interns in the Department of Objects Conservation and an active member of the Museum's collection emergency team. She holds a BA in anthropology from Newcomb College, Tulane University, and an MA in art conservation from Buffalo State College.
Selected Publications: Cunningham, Patrick, Michael Bak, and Carolyn Riccardelli. "The Fall and Rise of Adam." ANSYS Advantage 9, no. 3 (2015): 33–37. Riccardelli, Carolyn, Jack Soultanian, Michael Morris, Lawrence Becker, George Wheeler, and Ron Street. "The Treatment of Tullio Lombardo's Adam: A New Approach to the Conservation of Monumental Marble Sculpture." Metropolitan Museum Journal 49 (2014): 49–116. Riccardelli, Carolyn, George E. Wheeler, Christina Muir, George Scherer, and Joe Vocaturo. "An Examination of Pinning Materials for Marble Sculpture." In Objects Specialty Group Postprints: American Institute for Conservation 38th Annual Meeting, Milwaukee, WI, edited by Christine del Re, 95–112. Washington, D.C.: American Institute for Conservation of Historic & Artistic Works, 2012.
	Kendra Roth, Conservator, is responsible for sculpture and decorative arts in the Department of Modern and Contemporary Art's collection—a role she has held since 2007, after spending 10 years participating in the reinstallation of the Greek and Roman galleries. She serves on the program committee for Voices in Contemporary Art and the Conservation Advisory Group for the Public Design Commission of the City of New York. Kendra joined the Museum in 1997, after completing graduate work in art conservation at the State University of New York at Buffalo and the Straus Center for Conservation at Harvard University.
Selected Publications: McCoy, Richard. "No Preservatives \| A Fresh Path at the Met: A Discussion with Kendra E. Roth." Art21 Magazine (November 16, 2010). Roth, Kendra. "The Visual Examination of a Roman Portrait Head." Met Objectives: Treatment and Research Notes 4, no. 1 (Fall 2002): 9–10.
	Frederick Sager, Supervising Conservation Preparator, began work at The Metropolitan Museum of Art in 1980 preparing architectural elements for period-room installations in The American Wing. Following this he restored two stone chimneypieces in the French galleries. From 1990 to 1995, he was a wood restorer in the five-year conservation treatment and installation of the Gubbio studiolo. Since 1996, he has been a conservation preparator and is currently the supervising conservation preparator in the department, where his responsibilities include mount making, art installation, and the supervision of a four-person team.
	After receiving his degree in biology from the Pontificia Universidad Javeriana, David Sastre, Assistant Manager for Laboratories and Studio, worked for the Instituto Nacional de Salud in Bogotá, the Universidad Nacional de Colombia, and the Mount Sinai School of Medicine in New York, where he focused on scientific research. David has managed the laboratories of the Department of Objects Conservation at The Met since 2011. As lab manager, David oversees operations and safety, equipment acquisition and maintenance, permit renewal, and chemical management. He is also conducting research about the reconditioning of silica gel to help provide the optimal environmental conditions for objects in the Museum.
	Deborah Schorsch, Conservator, focuses her technical research on ancient metalwork, with special attention to Egypt. In close collaboration with curators in the Museum's Department of Egyptian Art, she has studied statuary, jewelry, and ritual and utilitarian implements of gold, silver, bronze, and copper, documenting manufacturing processes and materials in an endeavor to define ancient Egyptian technological style. Debbie lectures and conducts laboratory courses on ancient metalworking practices and radiography at the Institute of Fine Arts at New York University, where she received graduate training in art history and conservation. She has participated in excavations in Egypt, France, Switzerland, Peru, and Manhattan.
Selected Publications: Hill, Marsha, and Deborah Schorsch. "Ptah's Profile." In Another Mouthful of Dust. Egyptological Studies in Honor of Geoffrey Thorndike Martin, edited by Jaap van Dijk, 251–307. Orientalia Lovaniensia Analecta 246. Leuven; Paris; Bristol, CT: Peeters, 2016. Schorsch, Deborah. "A Conservator's Perspective on Ancient Metallurgy." In Archaeometallurgy in Global Perspective, edited by Benjamin W. Roberts and Christopher Thornton, 268–302. New York: Springer, 2014. MetPublications: Selected publications by Deborah Schorsch
	Anna Serotta, Assistant Conservator, is primarily responsible for the Egyptian Art collection. She received an MA in art history and an advanced certificate in art conservation at the Institute of Fine Arts, NYU, and was awarded a Mellon Fellowship in the Museum's Department of Objects Conservation in 2010. Since then, Anna has held contract positions at The Met and at the Brooklyn Museum, and has worked as an archaeological field conservator on sites in Egypt, Turkey, Greece, and Italy. She is a fellow of the American Academy in Rome as well as guest lecturer in conservation at the Institute of Fine Arts.
Selected Publications: Serotta, Anna. "An Investigation of Tool Marks on Ancient Egyptian Hard Stone Sculpture: Preliminary Report." Metropolitan Museum Studies in Art, Science, and Technology 2 (2014): 197–201. Serotta, Anna, and Federico Carò. "Evidence for the Use of Corundum Abrasive in Egypt from the Great Aten Temple at Amarna." Horizon 14 (Spring 2014): 2–4. Smyth, Andrew, Patrick Brewick, Raphael Greenbaum, Manolis Chatzis, Anna Serotta, and Isabel Stünkel. "Vibration Mitigation and Monitoring: A Case Study of Construction in a Museum." Journal of the American Institute for Conservation 55, no. 1 (2016): 32–55.
	Jack Soultanian, Conservator, specializes in the examination and treatment of European sculpture from the early Middle Ages to 1900. Prior to his arrival at The Met in 1986, he was for nine years the chief conservator at the Isabella Stewart Gardner Museum in Boston. He holds an MA in art history and a certificate in conservation from the Institute of Fine Arts at New York University, where he currently serves as adjunct faculty. Additionally, Jack is a consultant conservator at Villa La Pietra, Sir Harold Acton's Florence residence bequeathed to New York University.
Selected Publications: Castelnuovo-Tedesco, Lisbeth, and Jack Soultanian. Italian Medieval Sculpture in The Metropolitan Museum of Art and The Cloisters. New York: The Metropolitan Museum of Art, 2010. Riccardelli, Carolyn, Jack Soultanian, Michael Morris, Lawrence Becker, George Wheeler, and Ronald Street. "The Treatment of Tullio Lombardo's Adam: A New Approach to the Conservation of Monumental Marble Sculpture." Metropolitan Museum Journal 49 (2014): 49–116. MetPublications: Selected publications by Jack Soultanian
	Karen Stamm, Conservator, is responsible for the technical examination and treatment of three-dimensional glass objects in the Museum's collection. She received her training in archaeological conservation at the Institute of Archaeology, University College London and worked as a conservator at the Athenian Agora for three years. After joining The Met in 1998, she worked on the reinstallation of the Greek and Roman galleries and the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia, and the conservation of sculpture in the Department of Asian Art's collection, before assuming her current responsibilities for glass.
Selected Publications: Lapérouse, Jean-François de, Karen Stamm, and Vicki Parry. "Re-examination and Treatment of Mina'i Ceramics at The Metropolitan Museum of Art." In Glass and Ceramics Conservation 2007: Preprints of the Interim Meeting of the ICOM-CC Working Group, August 27–30, 2007, Nova Gorica, Slovenia, edited by Lisa Pilosi, 112–19. Nova Gorica: Goriški Muzej Kromberk, 2007. Pilosi, Lisa, Karen Stamm, and Mark T. Wypyski. "An Islamic Cameo Glass Fragment in The Metropolitan Museum of Art." In Annales du 18e Congrès de l'Association Internationale pour l'Histoire du Verre, Thessaloniki, 2009, edited by Despina Ignatiadou and Anastassios Antonaras, 341–45. Thessaloniki: ZITI Publishing, 2012. Stamm, Karen, Gorazd Lemajič, and Lisa Pilosi. "Vacuum-Formed PVC Molds for Casting Resin Fills in Glass Objects." In Recent Advances in Glass, Stained Glass, and Ceramics Conservation 2013, ICOM-CC Glass and Ceramics Working Group Interim Meeting and Forum of the International Scientific Committee for the Conservation of Stained Glass (Corpus Vitrearum-ICOMOS), edited by Hannelore Roemich and Kate van Lookeren Campagne, 69–75. Zwolle: SPA Uitgevers, 2013.
	Richard Stone, Conservator Emeritus, is now engaged in writing the technical introduction to the forthcoming catalogue of Italian Renaissance bronze sculpture in The Metropolitan Museum of Art. As senior museum conservator he specialized in the technical examination of works of art in metal, including sculpture, mostly concerning questions of origin, construction, and authenticity. He also provided general oversight over departmental reports concerning works intended for acquisition by the Museum. He was simultaneously adjunct professor of conservation at the NYU Institute of Fine Arts Conservation Center, having originally come to the Museum in 1978 after teaching art history for three years at New York University.
Selected Publications: Stone, Richard E. "Antico and the Development of Bronze Casting in Italy at the End of the Quattrocento." Metropolitan Museum Journal 16 (1982): 87–116. ———. "A New Interpretation of the Casting of Donatello's Judith and Holofernes." In Small Bronzes in the Renaissance, edited by Debra Pincus, 55–69. Studies in the History of Art 62 and Studies in the History of Art Symposium Papers 39. Washington, D.C.: National Gallery of Art, 2001. ———. "Organic Patinas on Small Bronzes of the Italian Renaissance." Metropolitan Museum Journal 45 (2010): 107–24.
	Wendy Walker, Conservator, is experienced with metals, glass, and stone, specializes in the conservation of ceramics, and has a special interest in the technology of pottery. After conservation training at West Dean College in England, she worked at the British Museum and Victoria and Albert Museum and as site conservator on several excavations in the Mediterranean and Middle East. Wendy came to The Met in 1999 and is responsible for conservation of a wide range of ceramics, including Greek terracottas, Italian Renaissance majolica, English and German porcelain, and early American pottery for exhibitions, loans, and research.
	Marlene Yandrisevits, Assistant Conservator, is primarily responsible for the study and treatment of metalwork in the Museum's Asian art collections. After a fellowship at the Worcester Art Museum and internships at the Royal Armouries in Leeds, England, and at The Met, concurrently in the Departments of Objects Conservation and Arms and Armor, she served as conservator at the Smithsonian Institution National Air and Space Museum. She holds an MS from the Winterthur/University of Delaware Program in Art Conservation and a BA in art conservation, art history, and chemistry from the University of Delaware.

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