Terry D. Marsh is a paper conservator with 31 years of experience. Terry D. Marsh graduated from Yale with a BFA in painting. She worked as a photo retoucher in the advertising industry in NYC before becoming an apprentice paintings conservator with Irwin Brawn in 1985. Mr. Brawn specialized in The Hudson River School and American 19th and early 20th century painting. After working for Mr. Brawn for two years, Terry was hired by Orrin Riley and Susanne Schnitzer at Orrin Riley Fine Art Ltd. in 1987. Orrin Riley had been the chief conservator at the Guggenheim Museum, and left to found with Susanne Schnitzer a conservation lab (painting, sculpture and paper) specializing in 20th century, and especially Contemporary art. At Orrin Riley, Terry soon began working with Susanne Schnitzer, eventually becoming her associate paper conservator. Terry worked at Orrin Riley for 10 years. Terry moved to Greenwich, Connecticut after her son was born in 1993 and opened Terry Marsh Art Conservation. She continued to work with Susanne Schnitzer, including a project for The Whitney Museum conserving Elie Nadelman paper-mache and plaster sculptures. Starting in 2001 she also worked as a contract conservator at the Yale University Art Gallery on Edwin Austin Abbey’s pastels and presentation watercolors. Theresa Fairbanks-Harris and the conservation lab at the Yale Center for British Art supervised and hosted the work. Terry presented a poster at the AIC meeting in 2003 titled “Original Intent, Edwin Austin Abbey’s Framed Pastels and their Preferred Presentation.” Terry moved to Bremen, Maine in 2008. The studio of Terry Marsh Art Conservation is located in Damariscotta, Maine. Her clients include the Portland Museum of Art, and collectors, dealers and individuals. Terry has continued her professional development by participating in FAIC workshops; The Use of Bleaching in Paper Conservation taught by Renate Mesmer and Julie Biggs.