Christabel Blackman is a free lance Senior Painting Conservator who has recently relocated back to Australia after over 25 years in Spain and Italy. She holds both a Spanish Masters Degree in Science in Conservation and an Italian Diploma degree in Restoration of easel paintings. Her specialist skills are in the hands-on sphere, with specific training in the use of the vacuum table; laser cleaning of artworks, textile microsurgery and varnishes. She also has unique knowledge about Old Master Techniques, gilding, in-painting, and over 30 years of experience in conservation practice. As daughter of the antipodean artist Charles Blackman, she has a unique understanding of and knowledge about the Australian artistic panorama.

Masters Degree.
Official Postgraduate Degree in Science and Conservation Cultural Property.
(Specializing in Easel Painting)
Final thesis topic: “Ethics, Economics and Restoration: The Intransferibility of Values.”
Tutored by Salvador Muñoz-Viñas.
Politecnical University of Valencia, Spain, 2008.

Diploma in Restoration of Easel Paintings
Istituto per l’Arte e il Restauro, Florence, Italy, 1986.

Attestato de Qualifica Professionale de la Regione Toscana.
(Florence, Italy, 1986)

Currently undertaking Doctoral thesis investigation at the Politecnical University of Valencia, Spain. Tutored by Salvador Muñoz-Viñas and supervised by Robyn Sloggett at Melbourne University, Australia.
The subject is “The Complete Limited Edition Graphics of the Australian Antipodean artist Charles Blackman”.


As an easel painting Conservator in the ‘Departments of Museums’ and ‘Patrimonio’ of the Generalitat Valenciana, the Valencian Museums Consortium, The Foundation ‘Luz de las Imágenes’ (in Valencia, Segorbe and Orihuela), The Fine Arts Museum of Valencia (Pío V), in the XIXth Century Museum (Carmen). Collaboration in Australian conservation studios, Coburn Fine Arts and Preservation Australia.


Panel Paintings:
• Four panels of the Retable altarpiece by Juan de Juanes (c.1560) in Font de la Figuera (2004), in situ.
• One panel of the Retable altarpiece Saint Vicent of the Fine Arts Museum of Valencia, by Miguel del Prado painted in 1507, óleo sobre tabla, CTR, (Centro Técnico de Restauración), Museo de Bellas Artes de Valencia (2003).
• Saint Francis by Joan Sariñena (1547-1619), CTR, Fine Arts Museum Pio V, Valencia (2003).
• Saint Lorenzo by Joan Sariñena, (1547-1619), CTR, Fine Arts Museum Pio V, Valencia (2003).
• Saint Peter by Vicente Requena (c.1597), CTR, Fine Arts Museum Pio V, Valencia (2003).
• The Retable of Cotalba of the Fine Arts Museum Pío V, “The Plundering of Christ” (1507), by Nicolás Borras (2002).
• The Retable of the Visitacion from Callado del Alpuente by Llorenç Saragossà, (1460-1470), CTR, Fine Arts Museum Pio V, Valencia (2001)
• Three panels of the Retable of La Puridad in San Pío V by Nicolás Falcó, “Resurection”, (c.1507), CTR, Fine Arts Museum Pio V, Valencia (2001).
• The Retable altarpiece Saint Barbara of Cocentaina, “Presentation at the Temple” by Anonimo, XIVth century, CTR, Centro del Carmen, (2000-2001).
• The Retable of Saint Valerio of Monacip (XVth century), ‘La Luz en las Imágenes’, Betera, (2001).
• An Ostensorio (decorative altarpiece) by Joan de Joanes of the Clarissas religious order of Castellón, XVIth century, ‘La Luz en las Imágenes’ Pío V, Valencia (1999).
• The Retable of Saint George of Jérica by Gonzal Peris, (XVth century), CTR, Fine Arts Museum Pio V, Valencia (1998-1999).

Paintings on Canvas:
• Afterwards, Primavera and Afternoon Tea, by José Gumbau (c.1950), slashed and vandalized Oil Paintings for the Museum Consortium of Valencia (2007-09).
• The Death of King David, Sevillan, XVIIth century, for antiquarian Vicente Llorens, Játiva (2007).
• Portrait of a gentleman of de the Marques of Rafal (XVIIIth century) for the exhibition the Battle of Almansa, (2007). Consortium de Museum of Valencia.
• The Immaculate Conception from the Chapel of the Town Hall of Alicante (XVIIth century) CTR, Pío V (2002).
• Portrait of the Parents of the Author with their Granddaughter Lola (XIXth century) by Isidoro Garnelo, (2002) CTR, Pío V.
• Treatment for the elimination of biological infestation and mould in over 300 paintings situated in the Domingo Tower of the Fine Arts Museum, Pio V, Valencia (2002), CTR, Pío V.
• Saint Augustin by Zubarán of the Convent of the Capuchinas of Castellon, (1998) CTR, Pío V.
• Saint Francis by Zubarán of the Convent of the Capuchinas of Castellon, (1998) CTR, Pío V.
• All Saints by Navaro, (XVIIth century) from the church ‘El Patriarca’, Valencia. (1998) CTR, Pío V.
• Purgatory by Federico Zuccaro, (XVIIth century) from the church of ‘El Patriarca’. Valencia. (1998) CTR, Pío V.

Mural Painting:
• Salvatore Zofrea, "The Creation of the Universe", fresco located at the corporate site of Resmed, in collaboration with Coburn Fine Arts (2012)
• The cycle of mural paintings (1952) of the Sanctuary of the Castle of Cullera (2005-07)
• The mural paintings by Sariñena (1547-1619), the Court Room of the Palace of the Generalitat Valenciana, (2005)

• Immaculate Conception, gilded and polychrome wooden sculpture, recuperation of original painting and gilding techniques, (XVIth century), Valencia (2008-09)
• Saint Ceclia, gilded and polychrome wooden sculpture, (XIXth century), Valencia, 2008.
• The Christ Child, gold and polychrome wooden sculpture, (XVIth century), Lliria (2007).
• Processional Throne of the Resuscitated Christ, carved, painted and gilded wooden assemblage, from Bugarra, Valencia (2007).
• Golden frames and decorative elements of the cycle of mural paintings from the Sanctuary of the Castle Cullera, (2006-07).
• The Holy Christ of Good Death of Bugarra, carved painted wooden sculpture, (2005).
• The Holy Christ of Good Death of the Antiguo Preventorio of Alcoy, carved painted wooden sculpture, (2005).
• The Immaculate Conception and The Asunción, carved painted and gilded wooden sculptures of the Sanctuary of the Castle of Cullera,(2005).
• “Mare de Deu del Castell”, painted and gilded carved marble processional sculpture, Cullera (2005).
• “Ntra. Sra. De los Desamparados” from Bennetusser, group of sculptures, polychrome and gilded, (2003).
• “Santa Marta de la Vila Joyosa”, carved wooden sculpture, polychrome and gold-gilded, (2003)
• “Holy Christ of the Greif-Striken”, wooden sculpture, polychrome and gold-gilded, (2001).
• “El Santísimo Cristo del Salvador del Cabañal”, polychrome wooden sculpture, CTR, (2000).

In her private studio workshop, work has been done on hundreds of different canvas paintings, sculptures, panels, decorative furniture and objects, (too numerous to mention in detail) commissioned by private clients, ecclesiastical authorities, antiquarians, collectors, etc.

Interesting Data:
• Member of the Board of Directors (treasurer and president) of ACRACV (Asociación de conservadores y restauradores de arte de la Comunidad Valenciana) for 12 years.
• Delegate of ACRACV for ECCO (European Co-federation of Conservators Organizations) for 8 years.
• Member of the Scientific Committee of the on-line magazine e-conservation.


• Cleaning the Dirt off Money: Ethics and Economics in Conservation, e-conservation magazine, Issue 20, August, 2011.
• Nepal Heritage Magazine: Respect for Ritual: Conservation of Outdoor Sculpture in Nepal. March 2011
• Reprints of Congress: 17th International Meeting on Cultural Heritage Conservation: “La necesidad de reconocimiento de las distintas titulaciones existentes del Conservador-Restaurador en España” and “Barnices Sintéticas de Bajo Peso Molecular”.
• “Salvador Muñoz-Viñas. New Horizons for Conservation Thinking” Interviewed by Christabel Blackman, 7th June, 2008.”, e_conservation, Issue 6, September, 2008.
• “Spain: The European Lacuna”, e_conservation, Issue 5, June, 2008. Article published in both English and Spanish.,com_frontpage/Itemid,1/
• The Object in Transition: A Cross-Disciplinary Conference on the Preservation and Study of Modern and Contemporary Art”, e_conservation, Issue 4, Conference Review. April, 2008. “Choosing a varnish”, publication of papers of the Icon Painting Group, Wallace Collection, London, April, 2008.
• “España: La laguna europea. Conservadores en Europa”, Restauración y Rehabilitación, November, 2007. Article published in Spanish.
• "Choosing a varnish”, e_conservation, Issue 1, September 2007.,com_docman/task,cat_view/gid,45/dir,ASC/order,date/Itemid,85/limit,5/limitstart,5/
• “Internationally Alice”. The Australian, Feature Article, Page 2, Arts Section, 13 January, 2007.
• Collaboration with texts in many different issues of “Recuperem Patromoni”, “Pieza de Trimestre”, various Congress reprints and various other publications, catalogues for itinerant exhibitions or monographic shows, television programs, etc.,

Participation in Courses, Seminars y Congresses.
• 2011: AICCM meeting. "Economics and Ethics in Conservation: Mind the Gap" Canberra, Australia (participant and speaker).
• 2009: Meeting of Eastern European Countries and General Assembly of E.C.C.O. Sofia, Bulgaria.
• 2008: Congress: 17th Annual Meeting. Palacio de Congresos, Castellón. (Participant and three papers on The Current Situation for the working Conservator-Restorer in Spain, The Necessity for Recognition of Different Qualifications in Spain and Low Molecular Weight Synthetic Varnishes).
• 2008: “The Final Touch: Artists Varnishes Past and Present”. Icon Painting Group Conference, the Wallace Collection, London, 18 April, 2008. (participant and speaker)
• 2008: “The Object in Transition: A Cross-Disciplinary Conference on the Preservation and Study of Modern and Contemporary Art”. The Getty Center, Los Angeles, California, USA. 24-26 January, 2008.
• 2007: “Laser Cleaning of Artworks”. The Conservation Centre Liverpool, 29-31 November, 2007.
• 2007: “Contemporary Ethics of Conservation for the XXIst Century”, Salvador Muñoz Viñas, Department of Conservation of the British Museum, London. 19-20 June, 2007.
• 2007: Annual Meeting ECCO, Brussels, April, 2007.
• 2006: Congress: 16th Annual Meeting. Palacio de Congresos, Valencia. (Participant and two papers).
• 2006: “Micro-surgery for canvas and textile”, Winfried Heiber. Politecnical University of Valencia.
• 2005: “Lacona6, Laser in the Conservation and Restoration of Artworks”. Vienna, Austria, September 2005. Attendane funded by the Dirección General de Cooperación y Comunicación Cultural del Ministerio de Cultura. From 21st to 25th of September 2005.
• 2005: “New Investigations in Varnishes”, IVAM, Valencia. René de la Rie, Robert Proctor and Jill Whitten. Valencia, 21-24 June, 2005.
• 2005: “International Seminar of Conservation of Painting on Canvas”, organized by the Politecnical University of Valencia, March, 2005.
• 2003: “Conservation of Panels”, seminar by Honrad Laudenbacher, UPV.
• 2002: “First Congress of the GEIIC.” Participation as a specialist interpreter for Andrew Oddy, David Bomford, Tony Reeve, and Ernesto Borelli, Palacio de Congresos, Valencia.

• 2001: “Modern Methods for the Examination and Restoration of Easel Paintings”. Seminar given by Paul Ackroyd, Alan Phoenix, Cristina Young, Aviva Burnstock, et al. IVAM and Museum of Fine Arts, Valencia, 11 - 14 de June 2001.

More Working Experience in the Arts:
• 1977-82: Five years managing “Well House Press”, editor of limited edition prints, etchings, lithographs, serigraphs, dry-points, etc. The workshop management included everything from employment of Master Printers, supplying, packaging, consulting with artist and clients, organizing exhibitions of contemporary Australian artists across the nation and accountancy, bookkeeping, public relations, etc.
• Several solo Painting exhibitions and participation in group shows in Sydney, Ballarat, Perth, Melbourne, Brisbane, Canberra, Tasmania, Valencia, Florence, etc. Currently still paints, exhibits and sells paintings.
• Art Prize, regional Art Prize in Tuscany, Italy, 1985.
• Illustrator for four years for the following Australian newspapers and magazines, The Sydney Morning Herald, The Australian, Quadrant, The Woman’s Weekly, etc.
• National tour and conferences in Major Public Galleries and Press Conferences in 1993 in accompaniment of the exhibition “Schoolgirls and Angels - Charles Blackman, A Retrospective”.
• National Promotional Tour and Conferences for the autobiography of Bárbara Blackman “Glass after Glass” published by Penguin, 1996.
• 1980-82: Three years experience in a private gallery in Sydney, The Hogarth Gallery and Australian Aboriginal Arts Centre, working as a conservator-restorer of traditional Australian Aboriginal bark paintings and artifacts, organizing storage facilities, condition reports, etc.
• 1986-2011: Twenty five years with her own private conservation-restoration studio, working as a free-lance conservator in Spain. Jobs undertaken for ecclesiastic entities, antiquarians, private collectors, public galleries, insurance companies, corporate collections, etc. Specialized knowledge in the use of Vacuum Tables, humidity and de-acidification treatments, modern cleaning methods and contemporary varnish use. Extensive experience in treatments and interventions in many Works on panels and canvas, polychrome sculptures and frames, including such artists as Ribalta, Reixart, Vicente López, Goya, Ribera Berenguer, Pinazo, contemporary paintings, etc. Collaboration with other specialist restoration workshops to undertake larger and more varied projects.
• 2001: Short working internship in The National Gallery, London with Tony Reeve, Paul Ackroyd, Raymond White, Martín Wyld, David Bomford, etc.
• Collaboration as interpreter and translator in various conferences, congresses, reunions, etc. As simultaneous translator with specialist vocabulary in conservation-restoration (practical workshop conferences of ACRACV, studios of the National Gallery, London, 1stCongress of the GEIIC, etc.)

Christabel Blackman is the daughter of the Australian Antipodean artist Charles Blackman OBE and the philanthropist and writer Barbara Blackman. Her international education took place in London, Brisbane, Paris, Sydney, Florence and Valencia. She has lived for extensive periods in Australia, Spain, England, France, Italy and Indonesia and is an avid traveler. Apart from her training as a paintings conservator she has studied part-time courses in photography, printmaking, life-drawing, classical literature, languages, psychology, contemporary dance, theatre, deep sea diving and much more. Although her mainstay profession is easel painting conservation, she also writes, lectures, paints and illustrates.