Munich glass in Glasgow - Institute of Conservation · Munich glass in Glasgow Also in this issue How to make a mannequin Running a roadshow Don’t mess with moths THE MAGAZINE OF

Munich glassin Glasgow

Also in this issue

How to make amannequin

Running a roadshow

Don’t mess withmoths

THE MAGAZINE OF THE INSTITUTE OF CONSERVATION • MARCH 2013 • ISSUE 45

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Booking has opened for Icon's 2nd Triennial International Conference

Positive Futures in an Uncertain WorldIn partnership with the University of Glasgow

10 –12 April 2013Early Bird booking fees apply until 18 January 2013

www.iconpf13.com

The Cloisters at the heartof the Conference venue

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inside MARCH 2013Issue 45

2 NEWSFrom the CEO; the Chair’sview; Journal news;disciplinary code update;group news

11INTERVENTIONA flight of fancy

12PEOPLE

14 STAINED GLASS INGLASGOWConserving rare Munich glass

18TAKING CONSERVATIONTO MUSEUMSA conservation road showtravels around the south eastof England

22AROUND AND ABOUTCSI Westminster; paintingsgalore; Vikings on display

28REVIEWSMaking silicone moulds;Furniture and Wood Groupvisits

29 IN PRACTICEHow to build a papermannequin

32IN TRAININGInvestigating mould ontextiles

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Institute of Conservation1.5, Lafone House, The Leathermarket, Weston StreetLondon SE1 3ER

T +44(0)20 3142 6799

[email protected]@icon.org.ukwww.icon.org.uk

Chief ExecutiveAlison Richmond [email protected]

Conservation Registerconservationregister@icon.org.ukwww.conservationregister.com

ISSN 1749-8988

Icon NewsEditorLynette [email protected]

Production designerMalcolm [email protected]

PrintersL&S Printing Company Limitedwww.ls-printing.com

Design Rufus [email protected]

For recruitment and all otheradvertisingRebecca Hendry020 3142 [email protected]

Cover photo:A rare stained and enamelled glasspanel from Glasgow Cathedral,depicting a Biblical figure. Crowncopyright Historic Scotland

Disclaimer:Whilst every effort is made to ensureaccuracy, the editors and Icon Boardof Trustees can accept noresponsibility for the contentexpressed in Icon News; it is solelythat of individual contributors

Deadlines:

For May 2013 issue

Editorial: 4 April

Adverts: 15 April

From the Editor Spring is coming and our GlasgowConference is drawing near! I look forwardto meeting lots of you there. As well aslearning something and enjoying myself, Ialso hope to twist your arm to send in yournews and stories, not just for Icon News butfor twitter, Facebook and the web site, too.

What may seem like run-of-the-mill work to you issomeone else’s fascinating insight into conservation sodon’t hold back thinking no-one will be interested. Also,your stories often give rise to terrific pictures and oneimage with a caption can make a great piece all by itself,so no excuses that you haven’t got time to put pen topaper!

As our Chief Executive writes in this issue, reaching outand spreading the word is vital Icon work and this issue isfull of examples. Sally Strachey makes the same point inher illustration of how conservation can energise andeducate a community and serve you as a good example ofcontinuing professional development. The CSI:Westminster project took us to the heart of power and theRoadshow article takes much needed help and advice tomuseums in the south east. Keep up the good work all ofyou!

Lynette Gill

ICON NEWS • MARCH 2013 • 1

Icon is registered as a Charity inEngland and Wales (Number1108380) and in Scotland (NumberSC039336) and is a CompanyLimited by Guarantee, (Number5201058)

IconNewsMARCH2013 7/3/13 20:05 Page 1

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THE MEMBERSHIP TEAM – IMPROVINGAND LISTENING

Wiebke Morgan, Icon’sMembership andMarketing Manager,updates you onmembership matters

Since September themembership team has grown– I’ve been joined byKatherine Cresser andbetween us we deal with allmembership communicationsand enquiries – from addresschanges to more complexquestions, and, of course,membership renewals,including payments. Thisapplies to both individual Icon

memberships and Practices on the Conservation Register.

Katherine and I send out Group communications, collate yourmonthly Iconnect and tweet when it is appropriate. We alsoupdate the Events and Courses pages on www.icon.org.uk.We staff a stand or provide material for others’ stands atexhibitions where Icon is presenting itself to the broaderheritage world.

RECENT SUCCESSES• The response rate and turn-around of membership

applications continues to improve.

• Total Membership year on year was up by 4%.

• In January 2012, we had 900 Followers on Twitter(Conservators_UK). This has now grown to 1,735 (+92%)

• Icon’s Facebook page (The Institute of Conservation), whichwas started in July 2012 and is wonderfully led by KerrenHarris and Helen L Smith, reaches an average of 300 usersper week (sometimes up to 1,200). This is in addition to our451 fans.

• Remember that Icon has arranged a special deal for you inwhich non-accredited members are eligible forConstruction Skills Certification Scheme (CSCS) cards –especially for Conservators. The deadline is 1 September this

year so don’t miss out. If you are unsure how to go aboutapplying for one, email or phone us!

• As you know, Membership Renewal Time is coming roundagain. We are still working towards putting online renewalsin place but for technical reasons it is proving more difficultthan I had hoped. I can promise that it will be easier than ithas been in the past!

NEW FOR 2013/14You will be able to receive emails from as many of Icon’sSpecial Interest Groups as you wish (while still retaining thechoice of the two Groups of most importance to you).

You will see Icon at many professional events – in order tomake the public more aware of what conservators do, thevalue of conservation as a profession and generally ‘to spreadthe word’ – for example, the Listed Property Show, Museums& Heritage Show and Natural Stone Show. And don’t forgetIcon’s own triennial conference in April – booking closes on28 March. ( www.iconpf13.com)

I will ask for your opinion regarding membership services andbenefits in a special survey – look out for this in July. If youwant to share your thoughts before then, do get in touch!This survey will inform the Icon membership structure andbenefits of the future.

We’ve done our best to keep membership rates down butnevertheless we have had to bring in a small increase for2013/14. Last year we lost a critical source of income: gift aidon membership subscriptions. If we are to continue the samelevel of activity we need to make this up, at least partly, with aslight increase in membership subscription fees. We believethat membership is good value – we’re sure you will agree.

On the principle of clouds having silver linings, Her Majesty’sRevenue and Customs have approved Icon’s application forrecognition as a Professional Body. This means that those whopersonally pay their membership subscription may now claimthis in their tax return for the current tax year. For furtherdetail, see February’s Iconnect andwww.hmrc.gov.uk/incometax/relief-subs.htm.

I hope to see you at Icon PF13 or one of the events Icon isattending over the next few months. As always, do phone oremail me if you have any questions or comments.

FEES FOR 2013/14 MEMBERSHIP YEARAccredited - standard £171

Accredited - concessionary £127

Full - standard £97

Full - concessionary £71

Graduate £74

Student/Intern £44

Supporter £74

Supporter - concessionary £47

Organisation £306

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SPREADING THE WORD...Alison Richmond ACR FIICwrites:

You have told us thatpromoting the profession isone of the functions of Iconthat members value most.We are currently setting ourstrategy and goals for thisaspect of our work over thenext three years.

...about education andtrainingWhen we consulted aboutdeveloping a nationaleducation and skills strategy,it became clear that whatwas needed most was good

information about the workforce, such as how many areemployed in the private or public sector, how many specialistsand how many managers, how many are approachingretirement, etc. This information could then be used as abenchmark for measuring our progress and to guide us inimplementing the strategy, as well as to underpin successionplanning across the conservation community.

we have secured theservices of a pro bono PR professional

Thanks to all those who took the time to fill in the form, wehave had a really good response to our survey. With this soliddata, we will take the opportunity to get some important keymessages across about employment and skills to government,employers, educators and leaders in the heritage sector. Wehave secured the pro bono services of a public relationsprofessional to help us do just that.

...about salary guidelinesAnother aspect of Icon that members value highly is the workwe do to set and promote salary guidelines. Until weundertook our workforce research, we were not able to setnew minimum salaries because we did not have the data onwhich to base our guidance. Now that we do, Trustees willshortly decide on the figures and we will be putting ourrecommendations across to employers.

...about the RegisterAnother big strand in our strategy is to promote the newlyrevised Conservation Register as the nationally recognisedsource of conservation expertise in the UK. This year WiebkeMorgan, our Membership and Marketing Manager, has twoparallel marketing campaigns underway: one to encouragemore practices run by ACRs to join the Register and one to

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ensure that commissioners and the public are aware of theRegister and the professional standards that underpin it. Weare also seeking a corporate sponsor for the Register who willhelp us to extend our reach.

seeking a corporatesponsor for the Register

...about work-based learningAnother strand of our profile raising is through the strategicdevelopment of our work-based learning initiatives. SusanBradshaw, our Professional Development Manager, is veryactive in developing relationships with potential hosts for IconInternships and Conservation Technician Qualification, andconverting these to new placements. We have enormoussupport from the conservation community, and awareness ofIcon’s work tends to spread throughout each hostorganisation, gradually building knowledge of Icon’s work-based learning brand.

...about working with othersWe know that by ourselves we cannot achieve everything thatwe want to do and we need to work with new partners. Ourtriennial conference is a successful partnership between theUniversity of Glasgow and Icon. Job Centre Plus is currentlyhelping us to offer new opportunities for the long-termunemployed to experience a work-placement in conservation.These partnerships help us to reach new audiences andinform them about professional conservation.

another round of Awards?When Icon is invited to take part in high-level forums withinthe heritage sector, this is good for the profile of theprofession. Icon is currently represented on two importantsteering groups: the National Heritage Science Forum’sTransitional Board, which is developing the constitution forthe new Forum, and the Industry Advisory Group for theNational Skills Academy for Cultural Heritage, which advisesour sector skills council on skills gaps and helps to guidegovernment money to where it is needed most.

Surely, the vehicle with the biggest potential for buildingawareness of professional conservation is the ConservationAwards. This month, Trustees will decide whether Icon willinvest in another round of Awards in 2015. Critical to thedecision will be whether we think we can attract the interest ofthe media, and thereby reach a much wider audience,something that has alluded us thus far. With some help frombigger partners, this may be within our reach.


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CONFERENCE UPDATE

PF 13: going from strengthto strengthWe are delighted toannounce that Clare Cooperwill be giving the keynoteaddress in the final session atour conference Responding toUncertain Times. Clare is apowerful future-thinker in thearts and is a co-founder anddirector of Mission ModelsMoney, a think-tank andresearch hub for the arts*.MMM believes thatharnessing arts and culture’sexpressive energy andgrowing the cultural and

creative vitality of communities will be key to addressing thebig, serious and growing problems we face - unsustainableeconomic growth, resource scarcity and climate change. Shewill be speaking on the topic Fuelling the NecessaryRevolution.

On other fronts, the conference is progressing well. We havea fantastic programme of 120 papers, with fourteen breakoutsessions to choose from. The pre-conference tours are fillingup, and our evening events are very popular. The TradeExhibition is almost full, and there will be plenty of posters tointerest you at coffee time. In the breaks, PACR mentors willbe offering mentoring sessions for emerging professionals.

Don’t forget that booking closes on 28 March! For moreinformation go to www.iconpf13.com

* Read about Clare onwww.missionmodelsmoney.org.uk/staff/clare-cooper

PROFESSIONAL CODES AND GUIDELINES Icon Trustee, Lizzie NevilleACR, brings you a progressreport

Thank you to everyone whoparticipated in the post-AGM,lively question and answersession on Icon’s proposednew codes. This was a goodsounding board for the Codesof Ethics working group to geta sense of members’ reactionsto Icon developing its owncodes and the post-meetingdrinks provided a furtheropportunity to talk one-to-onewith members of the group.

The strategyIt has been agreed to pursue the following strategy. Iconshould have codes rather than guidelines, despite the

professional updatedifficulties surrounding this. The reason for this isstraightforward: codes can be enforced whereas guidelinescannot. We want people to read these codes and understandwhat it is that we do, so the new codes should start with aninspiring defining statement on what a conservator doeswhich is easily understood by people outside of ourprofession. The codes need to be clear and concise andshould refer to the PACR standards, not reproduce them in aslightly different version. The declaration that members sign,on joining Icon, agreeing to abide by the profession’s codesand guidelines, needs reworking so that the section onadherence to codes of ethics and practice is kept separatefrom obligations to Icon, the charity.

The processBy the time you read this, I will have circulated a ‘skeletoncontent’ around to the working group, inviting them to sendme comments, additions and edits. These I will bringtogether, before passing them on to Kathy Tubb ACR andClare Meredith ACR to work up into a draft document. Thiswill be circulated to the working group again for commentbefore volunteer Icon members ‘stress test’ the new codes byapplying them to different scenarios. The new codes will thenbe commented on by ‘critical friends’, outside of Icon butwithin the heritage sector, and a lawyer, before they areworked up into a final draft for approval by the Icon Trustees.The new codes will then be put on the Icon website andmembers will be balloted on whether to accept them or not.

We already have members offering their services to stress testthe new codes but there is room for more. Do contact me [email protected] if you would like to help with this.

Complaints procedureSeparately but in tandem, we will be reviewing the processesto investigate and arbitrate when a complaint has been madeagainst an Icon member. David Leigh has already done aconsiderable amount of work on this and we have receivedcomments from critical friends, Keith Lawrey, LearnedSocieties’ Liaison Officer for the Foundation for Science andTechnology and Pete Hinton, Chief Executive of the Institutefor Archaeologists (another organization currently reviewingtheir disciplinary procedures). In-house, I shall be working withJoanne Hackett, senior Textile Conservator at the V&A. Priorto working in the UK, Joanne was Chair of the AIC Standardsand Ethics committee which was also responsible foranswering complaints against members of the AIC. Accordingto Joanne, complaints against conservators fell into two broadcategories; failure to manage client expectations and failure inkeeping sufficient before treatment documentation.Prevention is always better than a cure so these look like areaswhere additional professional guidelines may be required.

HLF INTERNS NEWSFor the spring intake of Heritage Lottery Fund Internships,over one hundred and sixty applications were received. Dueto the high standards of those applying and the quality of theapplications both Icon and the hosts had a hard decisionwhen short-listing the applicants for interview.

Clare Cooper

Lizzie Neville



A short report about it appeared on ITV South West Newsrecently and you can see it on http://vimeo.com/59178928.The cameras plan to return in due course to see theconservation work underway.

Lizzie has her work cut out: as well as managing her studio, PZConservation, along with two internships, she is, of course, anIcon Trustee and is leading the work on developing ourprofessional codes and guidelines (see above.)

NEW WEST DEAN COURSEWest Dean College is extending its existing one year Diplomain the Conservation-Restoration of Clocks to a two yearDiploma starting in September 2013. The previous one yearcourse has been completely rewritten and reformatted so thatgraduates will spend one year learning traditional bench-based clock-making skills, before spending the second yearon traditional conservation-restoration of European clocks.Students on the Conservation of Clocks programme workalongside conservators on other West Dean programmes,including Metalwork, Ceramics and Furniture, allowingcollaboration on certain projects as they work on historicobjects and collections as part of their training.

Clocks Programme leader Matthew Read ACR comments thatin horology the demand for thoughtful and informedconservation-restoration outstrips supply. ‘In addition, thechanging profile of applicants, many with little or noexperience, made it necessary to extend the programme totwo years’.

FINDING THE CPD IN ALL YOU DOSpring sees the PACR CPD recall process begin and some ofyou will have received an email or letter requesting that yousupply a continuing professional development (cpd) reviewand action plan reflecting on your professional practice fromthe past two years.

Reflecting on the benefits and shortcomings of projects andactivities to the practitioner, to the profession and to otherscan sometimes feel daunting. But identifying how and whathas been learned or what needs to be worked on fromprofessional and personal experiences can be less elusive andmore rewarding than you might think; Sally Strachey, a PACRcpd Reader, offers some insight in her article overleaf.

Interpreting personal goalsQuite often it is all too tempting to complete a cpd actionplan based on tasks rather than making your goals aspersonal as possible. Planning future learning, though, givesyou the opportunity to focus on your own needs and toconcentrate on skills and learning you want to enhance.

The example overleaf, and further guidance for completing acpd review, whether you have been recalled or not, is availablefrom the Icon website (www.icon.org.uk) under theAccreditation/ CPD tab >Continuing ProfessionalDevelopment ‘CPD Guide’ and ‘CPD Reviewers GuidanceNotes’.

Interviews have now been completed for the followingplacements:

• Ethnographic Conservation at Pitt Rivers Museum Oxford

• Conservation science – analysis and deterioration of naturalorganic dyes at The British Museum, London

• Architectural conservation, stone and plaster conservationat Hirst Conservation, Lincolnshire

• Preventive Conservation: The V&A Museum, London

• Preventive Conservation and Collection Care at Universityof Cambridge Museums

• Collection Care and Management at Middleport Potterywith Halahan Associates

• Conservation of Costumes and Textiles at the Royal AlbertMemorial Museum, Exeter

• Natural Science Conservation at National MuseumsScotland, National Museums Collections Centre, Edinburgh

Successful applicants will start their internship during April.

WAGE INCENTIVES FOR NEW STAFFThe Government has recently extended a scheme wherebyemployers can get financial help if they take on an eligibleunemployed 18 to 24 year-old through Jobcentre Plus acrossEngland, Scotland or Wales. At up to £2,275 the sum morethan covers the cost of a year’s national insurancecontributions. Find out more from:www.dwp.gov.uk/wageincentives or call 0845 601 2001 (option2).

THE NATIONAL MANUSCRIPTSCONSERVATION TRUST

Deadline reminderThe next deadline for applying for grants from the NMCT islooming – 1 April. If you have missed the boat this time andwant to plan ahead for the next round, the deadline is 1October 2013.

The National Manuscripts Conservation Trust offers grants forthe conservation and preservation of manuscripts and archivesand applications are welcomed from a wide range oforganisations and owners. More information and theapplication form can be found on the NMCT website:www.nmct.co.uk. If, having consulted the website, you haveany queries about whether your project is eligible pleasecontact Mrs Nell Hoare, who manages the Trust. You cancontact her either through the NMCT website or [email protected].

Please note the Trust’s new contact details:NMCT, PO Box 4291, Reading, Berkshire, RG8 [email protected]

The NMCT in actionThe NMCT is the key sponsor of a project to conserve twoCornish language manuscripts, which is being undertaken inLizzie Neville’s studio in Penzance


The erection of scaffolding on a church or monument lightsa beacon heralding an exciting opportunity for a communityto re-engage with its cultural inheritance. The benefits arereciprocal. Promoting a strong sense of place and identity,by forging relationships with history through localengagement in conservation programmes, plays a large partin bonding communities. In return, sparking lifelong interestin our built heritage by offering learning opportunities inhistory and conservation ensures a future for the industry.Today’s children are, after all, tomorrow’s policy makers.

Places of worship are particularly vulnerable to neglectthrough dwindling usage unless their historical significanceis made relevant to communities. We see the start of aproject as an opportunity to share the story of a buildingwith those to whom it matters most. A church should notonly be categorised in terms of its aesthetic merit. A churchis a depository of the social, historical, political, religious andindustrial history of a rural or urban environment and anexpression of the life of the place in which it is situated. Aconservation project throws a spotlight on the historicbuilding and offers a chance to connect communities with avital resource.

Opportunities to bring history to life are presented from theconception of the project. Stories of tragedy, scandalousmistresses, huge families, elderly mothers and grisly deathsnever fail to engage. These stories, commemorated by orhidden within the history of church monuments, draw theimagination of the public, whether aged 5 or 90. As a tombor monument is carefully dismantled, audiences of localchildren watch avidly, exclaiming gruesomely ‘Are there anybones down there, Miss?’… and usually there are! Historyneedn’t be horrific to attract interest; we discovered duringour monument survey of St Stephen’s church in Bristol thatSir Edmund Blanket, a wool merchant, (died 1370) isrumoured to be the inventor of …the blanket.

We often foster a strong relationship with local schoolsduring conservation works as churches are a wonderful out-of-classroom resource for teachers, offering richopportunities for linking topics. At St Mary’s Church, ElmleyCastle, in Worcestershire, the children created time capsules

to place inside the monuments during the rebuildingprocess. The design and technology element was takenfurther for the local secondary school by an investigationinto the cleaning and repair products used and the reasonsfor their application.

It is not only schoolchildren who benefit from theregeneration of a place of worship. Storyboards andevening and lunchtime lectures to the public help tounderline the worth of heritage in fostering a sense ofmeaning or belonging. Showing groups of secondary schoolchildren around the walls of Corfe Castle during masonryconsolidation works also helped to demonstrate theintricacy, expense and necessity of conservation work tohelp promote the aims of the National Trust.

It is also essential to develop, maintain and pass on thespecialist knowledge and skills necessary to maintain thehistoric environment. An entire industry has been createdaround the Heritage Lottery Fund and opportunities fortraining in traditional skills can be increased through theprojects chosen. The engagement of young people in theirheritage is a key strategic aim of the HLF and innovativeways of achieving this through fresh thinking are needed.

Making historic buildings available for community activitiesis an important part of maintaining heritage. Creatingactivities integral to that heritage, linked to those buildings,is of equal importance in both rural and urban communities.The cohesive and revitalising effects of community activities,the revival of traditional crafts, displays of traditional skillsand the shared ownership of our communal spaces are allopportunities for strengthening our sense of pride in ourheritage.

Sally Strachey ACRManaging Director Sally Strachey Historic Conservation Ltd

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Part of an example action plan showing personal goals

Identified goal /need

Specificdevelopmentactivities

Target dates

Develop my skillsin the use of digitalphotography forrecordingconservation work

Read relevantliterature—to find outthe basics andconsider optionsavailable.

January [year]

Consult colleagues on ConsDist List—toassess costs andbenefits / archivingthe images.

February [year]

Attend practicalworkshop forbeginners—to gainhands on experience.

Dd/mmm/year

Use the XX collectiondigital photographyproject to practicenew skills.

December [year]A secondary school visit during the conservation programme atCorfe Castle



MOVING INTO THE FUTURE WITH THEJOURNALThe Journal of the Institute of Conservation is your journal.

Its aims are to:

• promote knowledge of cultural heritage conservationpractice, the research which underpins it and related issues;

• enable communication of advances between conservatorsand the wider conservation and heritage communities inthe UK and internationally;

• provide a permanent medium of record of issues relating toconservation and the heritage sector.

It is published twice a year. Articles relating to book andpaper conservation are published in one issue, and articlesrelating to all other disciplines are published in the secondissue. Both issues of the Journal arrive on all Icon members’doorsteps, regardless of discipline. We are working with ourpublishers so that all members will also have online access tothe current issue of the Journal and all back issues of theJournal, The Conservator and The Paper Conservator.

It is important to ensure that the Journal continues to be bothcurrent and relevant to all our members. With this in mind, aTask and Finish Group has been set up to rigorously reviewpresent services provided by the Journal, and to evaluatefuture needs, in order to see where improvements can bemade. This will include asking questions such as:

• Are the aims of the Journal still valid?

• Is publication twice a year often enough?

• Do members want copies both on their bookshelves andonline?

• Should issues continue to be split by discipline?

The Task and Finish Group will be producing a report that willthen be discussed by Icon’s Board of Trustees at the end of2013, through which the future of the Journal will be shaped.

The full work of the Task and Finish Group is given below, andupdates on our progress will appear in Icon News and on thewebsite. In the meantime, please continue to send yourarticles for publication to the Editor of the Journal, emailJanet Berry: [email protected]. Remember without you,there is no Journal!

The Task and Finish Group’s work

AimThe Group’s aim is to look at ways in which Icon can sustainand further develop the Journal for our members beyond2015. The intention is to develop a vision and connect theJournal with Icon business strategies, including education andprofessional development; and to review how we can enhanceaccess, and assess and evaluate information gaps in ourJournal service. Research will incorporate how we can exploitmodern technology, and review ways in which we can possiblyfill these information gaps.

The Group’s Role This is to review and evaluatethe requirements for asustainable Journal beyond2015, as part of Icon’s businesscycle. All options will becarefully considered includingbenefits, value added, and risks.

Who is involved?The Group is made up of LaraArtemis (Trustee and Chair ofthe Task and Finish group),Heather Ravenberg (Book andPaper Group CommitteeMember), Isabelle Egan (Bookand Paper Group CommitteeMember), Ylva Dahnsjo(Trustee), Francis Downing(Chair of Group Chairs), andJanet Berry (Journal Editor).

Ultimately, our aim is to ensure we are reaching all ourmembers through the Journal. Specifically we are looking athow we can link the Journal with our present and futurebusiness strategies, as well as enhance quality and access.The Group’s task-based roles are to help scope options,partake in and contribute to overall discussions, review andscrutinise suggestions, and help develop the business planwith an options appraisal ready for the Board of Trustees toreview mid-December 2013. The Publisher’s contract will beup for renewal in 2015, so we will need to ensure a chosenoption is ready for any possible procurement process (if this isrequired) before the end of 2014.

How will it work?Thorough research by the Task and Finish Group will beconducted on all elements set out in the Terms of Reference(please check the Icon website). Consulting the membershipon what you want from your Journal is part of the process andwill be used to help to inform the Group whilst researchingbusiness options for the Journal, so please do complete anysurveys when they are sent to you. The membership will beupdated on progress through the Icon website and IconNews.

So farThe Terms of Reference have been developed and wereapproved by the Board of Trustees at their meeting on 3 December 2012 and are available on our website. The Taskand Finish Group has had two introductory meetings givingeveryone the opportunity to look at planning and resourceneeds. In the meantime the Task and Finish Chair suggeststhat any ideas, comments or concerns should be sent directlyto the Icon office on [email protected] where they canbe collated and discussed by the Group.

Lara Artemis


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Next stepsGuided by the Terms of Reference, the Group is activelymoving forward on planning and research. We also plan toput together a ‘sounding board’ group who represent ourcore professional values, to help us assess and evaluate widermembership needs. The Task and Finish Chair will monitorprogress, and compile update reports for the Board ofTrustees and the membership.

HERITAGE SCIENCE NEWS‘Mind the Gap: Rigour and Relevance in Heritage ScienceResearch’ is the name of a new one-year research study whichhas been launched to investigate collaborative researchpractices between academic researchers and practitioners.

Using the context of heritage science, The National Archives,Centre for Sustainable Heritage (UCL), Tate and the Universityof Exeter will work together with other UK and internationalbodies to investigate the ‘rigour and relevance’ gap betweenresearch and practice.

The study is funded by the UK’s AHRC/EPSRC Science andHeritage Programme (SHP). It is being carried out betweenFebruary this year and January 2014 and will:

• identify barriers to communication between academicdisciplines, practitioner and specialist communities;

• explore ways of improving the effectiveness of cross-disciplinary working;

• investigate the attitudes of participants to collaborativeresearch and practices;

• publish a Green Paper setting out a framework forcollaborative research in heritage science; and

• disseminate the findings widely.

Further information is available from Nancy Bell:[email protected]

LIBRARY NEWS

Training GuidesThe Icon Chantry Library has compiled a series of onlinetraining guides to help users develop their information skills ina variety of topics. There is a set of six training sheets, on avariety of activities, ranging from ‘How to Conduct a LiteratureSearch’ to ‘Developing Effective Search Strategies.’ Also,included on the webpage is a copy of the Useful OnlineResources for Conservators bibliography.

To find out more, go to: http://tinyurl.com/chfmxzj

The Chantry Librarian welcomes feedback about the trainingguides and suggestions of topics for developing futureguides. Please contact her on [email protected].

PhotocopiesDon’t forget that we supplyphotocopies of journal articles,chapters from books, andconference papers, which areheld in the Chantry Librarycollection. Icon members canclaim ten free articles each year,provided either as scanned pagesor in hard copy. Email Ros Buck,Librarian [email protected] withyour requests, quoting yourmembership number, orcomplete and send the copyrightform available on the ChantryLibrary webpages

www.chantrylibrary.org.uk (Library Services).

Recently received publicationsConserving Contemporary Art: Issues, Methods, Materials,and Research by Oscar Chiantore and Antonio Rava, TheGetty Conservation Institute, Los Angeles, 2005, (Reprint2012), 327pp. ISBN: 9781606061046

Recently received journalsJournal of the American Institute for Conservation, JAIC,Vol.51, No.2, Fall/Winter 2012

JAIC Online (Volumes 16-44,1977-2005):http://cool.conservation-us.org/jaic/tocvol.html#vol44Contents and articles online.

Print Quarterly, Vol.30, No.1, March 2013

Studies in Conservation (IIC), Vol.58, No.1, January 2013Contents pages and abstracts available at:www.ingentaconnect.com/content/maney/sic

Find out moreThere are several ways of keeping up to date via the ChantryLibrary:

• Visit the Library News page athttp://chantrylibrary.wordpress.com/ for further details ofnew resources and a full listing of all journal articlesreceived over the past few month.

• Or you can have the news come to you by subscribing tothe RSS feed and track new books and journals at theLibrary in real time. More details on how to do this are alsoat http://chantrylibrary.wordpress.com/feed/

• Details about new library resources can also be found in thequarterly Chantry Library Resources Updates, on thewebsite here: http://tinyur.com/cue9xne

Ros Buck



NEWS FROM THE GROUPS

Furniture and Wood GroupThe Group met twice in the last quarter of 2012 and a shortreview of these two events appears on page 28. The Groupplan to hold other events in the near future so please keep alook out for news of these. Also, there will shortly be aquestionnaire posted for members to fill in and return with aprize for one lucky member to win.

Change or Damage? Effect of Climate on DecorativeFurniture Surfaces in Historic Properties is a seminar on19 April at University College London. It will report onresearch findings and how they can be used to improvecollections management. Places are free but limited. ContactNaomi Luxford ([email protected])

Paintings GroupThe first talk for 2013 will be held on 30 April at theFreemason’s Hall in London. Will Shank, Co-Founder and Co-Chair of Rescue Public Murals will be speaking about theperformance and preservation of acrylic paint used externallyon murals. This promises to be an interesting talk for allconservators who have an interest in modern paints. Fordetails please see the Events and Paintings Group pages ofthe Icon website. Bookings can be made by contacting ClareFinn by email ([email protected]) or telephone +44 20 79371895. We would like someone to review the talk for Icon Newsso please let Clare know if you are interested and we cansend the guidelines.

We are pleased to announce that the conference publication‘Adhesives and Consolidants in Painting Conservation’ is nowavailable at an exclusive price when ordered directly from thePaintings Group. The cost is £29 inclusive of postage andpackaging. Please contact the Paintings Group TreasurerRebecca Gregg [email protected] to order your copy.

The theme for the Paintings Group session at the IconConference PF13 is Art and Audiences and we hope that thetalks will generate a lively discussion at the end of the session(see the conference website for detailswww.iconpf13.com/programme.html). The paintings group arenow looking ahead to our conference in 2014. We are veryinterested to hear of the themes and topics that our membersare keen to address, so let us know if you have any ideas.

The Paintings Group Committee

[email protected]: Francis DowningSecretary: Rhiannon ClarricoatesTreasurer: Rebecca GreggStudent Liaison Officer: Helen DowdingGroup News Officer: Alexandra GentCommittee Members: Angelina Barros d’sa

Lizzie BoneAmbrose Scott-MoncriefChantal Thuer

Talk series organiser: Dr. Clare Finn

Stone and Wall Paintings GroupThe S&WP Group are organising a wall painting conference inNovember. If you have any suggestions for topics or wouldlike to speak at this event, then please contact Clara [email protected]. The Group will beoffering four bursaries of up to £90 each to attend thisconference. Further details will be announced very soon.

Textile GroupThere are a number of events and visits planned for 2013. InApril, at the Glasgow Conference PF13, the Textile Group hasa session on the morning of Day 2, when Zenzie Tinker willpresent a paper about the ‘Emerging Conservators Project’with the Palace of Westminster. We then have posterpresentations from Pippa Cruickshank (British Museum) andRosamund Weatherall (National Trust) along with two postersfrom the V&A - all on an adhesives theme. This will befollowed by a joint session on adhesives with the Book &Paper, Photographic Materials, Science and Ethnographygroups, including an overview by Science and then posterpresentations from the other Groups on adhesive use in theirdisciplines.

On 20 May there is a visit to the Fan Museum at Greenwich,which will include a tour of the Museum, current exhibition,study room and the stores. The visit will cost £10.

Do also save the date and come and celebrate one hundredyears of conservation at Hampton Court Palace with a tour ofthe textile conservation studio and the new State Bed exhibition,‘Secrets of the Royal Bedchamber’ on Friday 21 June 2013.

We are then planning to hold a Back to Basics Chemistrycourse entitled ‘Wet cleaning: the appliance of science’. Theone day workshop will be led by Dr Anita Quye, Lecturer inConservation Science, Centre for Textile Conservation andTechnical Art History, University of Glasgow. The process ofcleaning with aqueous solutions and solvents in textileconservation involves pH, buffers, solubility and detergency. Inthis one day CPD refresher session delegates will cover theimportant underpinning scientific concepts about what ishappening in wet cleaning and why, which helps to informand support treatment decisions. The workshop will takeplace at the British Museum, London at the Orsman Road siteon Thursday 27 June. The cost of this one day workshop willbe £95, max t welve delegates. Please check the Textile Groupweb page for more details as they become available.Otherwise, please do contact Leanne Tonkin, Textile GroupSecretary, for more details and to register as a delegate.Delegates will be taken on a first come, first served [email protected]

On Friday 11 October there will be a visit to The LeatherConservation Centre in Northampton, which includes a tour ofthe centre and a short handling/identification session. Thecost will be £10, including tea/coffee. There is also a Tanneryon the site and Northampton Museum, which is nearby, has alarge shoe and boot collection.

Please see the Textile Group web pages for all the latestinformation on dates and contact details for these events andvisits.


10

Icon is in good shape!

Well, you might think that Iwould have to say that. Whoelse, if not Icon’s Chair,would have to be positive!But I believe there is verygood evidence to provethat.

Icon’s office is going fromstrength to strength. Aftersome difficult years and evenmore difficult decisions lastyear, we now have a verystrong team, bringing adiverse portfolio of businessmanagement, membershipbackground, education andfundraising to Icon. We are

now dealing very effectively with any membership issue thatmay arise.

For the first time we ourselves are able to carry out sometargeted workforce research, helping to understand thefuture needs of our profession and informing Icon’sdecisions on its direction – and what could be moreimportant? Securing a very significant grant from theHeritage Lottery Fund to ensure the continuation of Icon’shighly successful internship programme is not only theresult of Alison’s and her team’s hard work, but also theacknowledgement of everybody’s effort, who has helped tomake the previous programme a success – an impressive90% of interns have moved on to employment or furthereducation in the profession!

This is all extremely reassuring and reason enough to saythat Icon is in good shape, and I haven’t even mentionedsome of the exceptional work that happens in Icon’sGroups. Without forgetting about others, the Book andPaper Group’s Training programme has been exemplary.

I haven’t touched on the progress made against both Icon’sstrategic plan and the National Conservation Education andSkills strategy and that we have been able to increase ourunrestricted reserves, making Icon that little bit moresecure; the number of accredited conservators is rising andour accreditation scheme increasingly gets overseas’recognition; Icon is a founding member of the HeritageScience Forum, making sure that Icon’s voice gets heardand has more weight than ever before.

All this is down to committed staff, a passionatemembership that cares about our profession and ourcultural heritage and is willing to give their time, and to adedicated Board of Trustees, who are doing their utmost toensure that Icon is the lead voice for the conservation ofcultural heritage in the UK.

But there are some real challenges ahead of us, and this isno time to be complacent. Some of these are of a financialnature. The bequest providing the funds for the ChantryLibrary is running out, and a Task and Finish Group isworking hard on finding a new and sustainable solution. TheChief Executive Officer post is partly externally funded,mainly to ensure delivery against the National ConservationEducation and Skills Strategy. Whilst it was a greatopportunity to have these funds, Icon no doubt needs aCEO in the future and we will be working hard to find along-term solution. And then there’s the matter of financialreserves. Any healthy organisation needs sufficient reservesto be able to function to some extent for approximately halfa year, even if all other funds are drying up. In such asituation, salaries and bills need to be paid and theorganisation needs to be able to buy itself some time.Whilst we are steadily increasing the reserves, we are nothealthy enough just yet. For staff costs and reserves wewon’t find a funder. But here is something you all can do:think about three things you really value about Icon andspeak to your friends and colleagues who aren’t members,although you think they should be. If all of us couldconvince only one friend to join Icon, that would make areal difference.

Ah, yes, and then there is governance. Icon was founded in2005 and much of its current structure was a result of theconvergence process. We have moved on a lot since then,and we need to understand what structure would best suitIcon to make it as efficient and effective as we all need itand want it to be. Sometimes one can’t see the wood forthe trees, and looking at all of Icon’s committees, panels,boards, and groups, I strongly believe we need to reviewthe functions and relationships between all of them, so wedon’t waste our energy where we shouldn’t. You will hearmuch more about this in the future.

So, if you ask me what I would like to see being achieved inmy two years as Chair of Icon, I would want the next Chairto start their first piece in Icon News with: Icon is in greatshape!

A little bit about our ChairJuergen graduated from the Academy of Fine Artsand Design Stuttgart, Germany, in 2000 with a thesison parchment conservation. From 2000 to 2006 he wasHead of Conservation/ Preservation at the Municipaland Provincial Archives of Vienna, Austria, and since2002 he has been a guest lecturer at the Academy ofFine Art Vienna for book and archive conservation-related topics. He is currently Head of Conservation atThe National Archives, UK – a post he has held since2006.

strategically speakingJuergen Vervoorst is the new Chair of the Board of Trustees. Here hewrites about your Icon – past, present and future

Icon’s new Chair JuergenVervoorst

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I am, generally, a calm and reasoned person. I try to look atthe bright side and rarely shout. I have been finding that, asI progress through my forties, some of my opinions aremore fixed and I do find myself ranting a little more.

So what is making me shout? Well, minor things like driverswho assume I’m psychic and consequently don’t indicate orrepairs to pavements in tarmac when perfectly good pavingstones were lifted to dig the hole. What really gets megoing is the sloppy use of photographs to illustrate a point.I raged at an article in the Economist about Birmingham,where a photograph seemingly illustrating the path of HS2showed a train running where no train has ever or will everrun. What makes me positively incandescent, however, ispictures of clothes moths.

There has been a spate of articles on clothes moths inrecent years. There was even a piece about it on the Todayprogramme. One might assume that these pieces were toeducate and inform so that the Man on the ClaphamOmnibus who has not been in receipt of IPM training mightbe able to recognise the thing that’s eating his cashmerejumper. But no. These articles are designed to befuddle andconfuse. Judging from the size of the moths illustrated wemust assume that the wardrobes of Britain are filled withmoths the size of small birds. The sound of the munchingmust keep people awake at night. The pictures never, EVER,show a clothes moth. The quality of the magazine is noguarantee that these mistakes will not be repeated. A wellknown women’s monthly, known for their assessment ofkitchen equipment and the like, managed to run a piecethat completely failed to show an actual clothes moth.

An insect identification guide would supply the answer, youmight think. Think again. General guides have few moths andthose that do feature are large and brightly coloured and don’tmunch jumpers. I bought a newly issued field guide to Britishmoths and butterflies a couple of years ago and, although therelevant moth family was mentioned, even it managed not toillustrate either of the two clothes moths species.

How on earth are ordinary folk supposed to know what ismunching their jumpers when no one can be bothered tosupply an accurate photograph? For the record, here aresome photographs of clothes moths and their larvae. Howmuch more photogenic does a moth need to be to getpublished? They are a lovely shiny metallic colour and punkstyling is alive and well in the world of moth haircuts. Yes,the larvae will eat jumpers, but at least they do it quietly.Cut them out and show all your friends. The public have aright to know!

I think I’ll have a lie down now.

Holey unreasonable?

Something is bugging Jane Thompson Webb ACR, CollectionCare Officer at Birmingham Museums Trust…..

intervention

Damage to a carpet by thewebbing clothes moth (Tineolabisselliella)

Cocoons of the case bearingclothes moth (Tinea pellionella)on feathers

The adult webbing clothesmoth (Tineola bisselliella)

The larva of the webbingclothes moth (Tineolabisselliella)

The larva of the case-bearingclothes moth (Tinea pellionella)

The adult case-bearing clothesmoth (Tinea pellionella)

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For the avoidance of doubt (and Jane’s wrath) the the adult moths picturedhere at small humming bird size are in reality 5–8mm long (Ed.)


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The Accreditation Committee approvedthe accreditation of fifteen newconservator-restorers at its meeting lastmonth.

Congratulations to everyone!

Helen Davis, Paintings Conservator atRuth Bubb Conservation of Paintings,Banbury, Oxfordshire

Tess Evans, Principal/Manager/SeniorConservator at Heights Heritage,working in Conservation Collection Careand Conservation Management, Textileand Mixed Media Conservation, London

Charity Fox, Paper Conservator at Tate,London

Elzbieta Gorska-Wiklo, PreservationManager, Glasgow University ArchiveServices.

Emma Le Cornu, Illustrations ProjectConservator, Royal Botanic Gardens,Kew, London

Sarah Morton, Business Unit Manager andObjects Conservator, Oxfordshire CountyCouncil: Museums Resource Centre

Konstantinos Ntanos, Head ofConservation Research andDevelopment, The National Archives (TNA)

Hugo Platt, Senior Paintings Conservatorat KSH & Co., Houghton ConservationStudios

Françoise Richard, Book and PaperConservator at MCS MuseumConservation Services, Duxford, UK andself-employed in France – FrançoiseRichard Conservation

Bronwen Roberts, Object Conservator,Oxfordshire County Council

Louise Vaile, Paper Conservator andbusiness owner: Ogilvie VaileConservation in Birmingham

Jane Wallis, Furniture and Works of ArtConservator – Decorative Surfaces, TheRoyal Collection

Alex Walton, Conservation oftechnology and working objects,National Museums Scotland

Beth Werrett, Project Conservator:Archaeology and Museums WiltshireCouncil Conservation and MuseumsAdvisory Service

Theresa Zammit Lupi, Book and PaperConservator, Museum ConservationServices (MCS), Cambridge

In news from the Birmingham MuseumsTrust, we learn that ‘Pieta Greaves hasrecently taken up the post ofStaffordshire Hoard ConservationManager, collaborating with theresearch specialists to facilitate theupcoming phase 2 of the program.Deborah Cane has resumed herconservation and environment postfocusing on working with the collectionsacross the eight Birmingham MuseumTrust sites. Projects that will beconcentrated on this year includeidentification of hazards and risks of thecollection as well as ongoing workmanaging the Icon interns.

We have also welcomed NatalieHarding and Ciarán Lavelle to theStaffordshire Hoard project, both havebeen working on the conservation of thecollection as part of three month postsfunded by English Heritage’.

Last month DrAnna Bülow ACRstarted in the newpost of DeputyHead ofConservation andScientificResearch at theBritish Museum.Anna moved tothe BritishMuseum from herprevious post as

Head of Preservation in the Departmentof Collection Care at The NationalArchives, Kew.

Anna told Icon News ‘My work hasfocused on strategic approaches toconservation and access, including thedigitisation of archive collections andthe application of ‘accessible value’ as atool for informed decision-making incollection care. I look forward to thechallenge of balancing the stewardship ofsuch a large and varied collection with theneed to make it more widely accessible.’

Isobel Griffin has taken up the post ofCollections Care Manager at the NationalLibrary of Scotland. Isobel worked forthe National Trust for Scotland for nineyears in various roles. From 2009-2012she undertook a PhD as part of theScience and Heritage Programme,investigating the deterioration andconservation of concrete structures fromthe Second World War.

peopleMoves

Dr Anna Bülow ACR Pieta Greaves and Deborah Cane

New ACRs

AwardsThe ever-beneficent QueenElizabethScholarship Trust(QEST) has helpedtwo further Iconmembers recently.Thanks to QEST,Mary French,Book Conservator,is able tocomplete her

formal education in the art of bookconservation by undertaking an MA atWest Dean College.

Mary French

Whilst EmmaNichols, Fine Art,Paper, Book &ArchiveConservator, isbeing supportedin her final year inthe MA inConservation atCamberwellCollege of Arts.

Emma Nichols



www.cityandguildsartschool.ac.uk

Conservation StudiesStone, wood and related materials, decorative surfaces.

Traditional methods and laser cleaning techniques.

BA (Hons) and Postgraduate Diplomas

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To dust or not to dust, that is the questionT: +44 (0)1462 688070 W: www.the-imcgroup.com @Hanwell_uk

Technology: Data loggers, radio and control transmitter, GPRS transmitters, humidifiers, de-humidifiers

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14

Glasgow’sGerman GlassPieta Greaves and Jill van Millingen onconserving the rare Munich Glass atGlasgow Cathedral



Since 1996 Historic Scotland’s Collections Unit and AOCArchaeology conservators have been working together tocatalogue and re-house the stained and painted Munich glasscollection stored in Glasgow Cathedral.

Made in Munich by the Königliche Glasmalereianstalt (theRoyal Bavarian Stained Glass Establishment), the glass wasinstalled in the windows of Glasgow Cathedral during the late1850s and early 1860s. The windows use a mosaic-enamelmethod, where the designs were created in stained glass anddetail was added in enamel paint which was then fired to fusewith the glass.

Extreme pollution, exacerbated by Glasgow’s damp climate,quickly caused deterioration in the painted surface. Duringthe 1930s the glass, including the lead cames, began to beremoved from the windows. Today only two Munich glasswindows remain in their original setting.

The glass, now stored in the nave gallery at GlasgowCathedral, depicts scenes of biblical figures and vary in sizefrom 1.5 to 2 metres in height. They now represent the largestsingle collection of Munich glass in the world. The BavarianGlass Factory was destroyed during the Second World Waralong with many examples of its work in Germany.

Since 1996 the collaborative project has undertaken thefollowing work on the collection.

CATALOGUINGWork to catalogue the collection started in September 1996with a workshop being established in the nave gallery of thecathedral. Each fragment has now been assigned a uniquenumber which was written on the glass with permanent inkover a coat of Paraloid B72.

Example of the Munich glass.Crown copyright Historic Scotland

The photography team in 2012Crown copyright Historic Scotland

Left: Inside Glasgow Cathedral Crown copyright Historic Scotland


16

STORAGE AND ACCESSLong-term storage conditions and accessibility needed to beimproved. To create a clean, secure environment to store theglass, custom-made cabinets were installed in the gallery. Thecabinets have been designed so that the panels are placedon clear acrylic with a border of black polyethylene foam. Thefoam provides support and minimises damage when thedrawers and trays are moved. Since the colorant in the foam iscarbon, it also provides a small amount of protection frompollution. Dust is excluded from the cabinets by closed doorsand dust seals.

RESEARCH A suitable cleaning and conservation technique needed to beresearched. The fragments were cleaned with soft brushesand vacuum to remove the majority of the dust that had builtup over time. Any thick layers of soiling were carefullyremoved with a small amount of detergent in a 1:1 mixture ofdistilled water and industrial methylated spirit. All the paintedareas are extremely vulnerable and can be damaged evenwith cotton swabs and buds. So far only light cleaning hasbeen carried out.

PHOTOGRAPHYThe latest phase of the project has been to digitallyphotograph each of the drawers. It has been possible to takeimages of parts of a large panel with the future hope that itwill be possible to patch them together digitally. Eventually avirtual image of the interior of the Cathedral, with windows intheir original positions, should be possible.

LOOKING AHEADThe next stage of the project will be to fully clean andconserve the glass to a display standard, stabilising the loosesurfaces and allowing access for study.

Pieta Greaves ACR was working for AOC Archaeology at thetime of writing this article but has recently moved on (seepage 12 for her news)

Jill van Millingen is Historic Scotland: Regional CollectionsManager (South)

The conservation team in 2010Crown copyright Historic Scotland

Crown copyright Historic Scotland




IN THE BEGINNINGIn November 2012 the Sussex Museums Group was awardeda grant by Arts Council England (ACE) to assess theconservation needs and deliver remedial conservation andtraining to museums in the South East region. CSI: South EastMuseums have been awarded the six-month contract and weconsist of five conservators; Dana Goodburn-Brown ACR, RuthStevens ACR, Ian Watson, Alice Blears and Jihyun Kwon.

GETTING OURSELVES KNOWNTo kick start the project, museum staff and volunteers in theSouth East were invited to drop into a local county road showwhere they could meet the conservation team, get advice andsee first-hand what conservation can do. As well asestablishing a friendly face to the project, the road showsenabled heritage workers to talk to a diverse range ofconservation specialists gathered in one place, an opportunitythat many museums didn’t want to miss. They were alsoinvited to bring along objects for assessment and advice;microscopes were available so that archaeological and otherobjects could be analysed in real time and images captureddirectly onto a laptop.

The road shows were held on four consecutive days inDecember at: Brooklands Museum, Surrey; The ForumShopping Centre, Sittingbourne, Kent; Hastings Museum andArt Gallery, East Sussex; and Fishbourne Roman Palace, WestSussex. The Forum Shopping Centre at Sittingbourne allowedus to set up tables in the busy thoroughfare of the centreitself, enabling us to discuss conservation with surprisedmembers of the public as they went about their shopping.

VARIETY IS THE SPICE OF LIFEThe conservation team, whose disciplines cover books andpaper, archives, preservation, archaeology, ethnographicobjects and mixed media, ceramics and glass, were on handall day to help with questions and give advice. We also invitedaccredited conservators from other disciplines to coverquestions on paintings, parchment and textiles. West Deanstudents and tutors were also invited to talk aboutconservation as a profession.

The wide variety of objects brought for us to assess included:oil paintings, rolled photographs, brittle silk clothing, fragilepuppets, damaged archives, maps, books, parchmentindentures, a ticket machine, plaques of porcelain and stone,

Five Go ConservationMad in the South East!

18

amazing Sikh armour, cracked pottery, archaeological objects,a large amount of deteriorating textiles and other interestingartefacts such as a mummified hand and a 1960s’ dollsuffering from mould damage.

As the road shows were mainly based in museums it meantthat we were also able to visit their stores and offer advice oncollection storage and environmental conditions. AtFishbourne Roman Palace we showcased the ConservationLaboratory which is now being used to conserve objects, andthe Conservation Store which will hold materials andequipment for use and loan once the project has finished.

A GREAT RESPONSEDespite the short notice of the road show events and thebusy time of year for many museums we totalled eighty threevisitors over the four days, from thirty eight differentmuseums. Each visitor was given a survey we specificallydesigned to assess the condition of museum collections. Agood return rate of this survey is vital to the success of the

Ruth Stevens and Alice Blears describe a project to bring conservation tomuseums in the South East

Ian Watson (r) with a visitor at Fishbourne Roman Palace road show



!

data gathering required for the project, and its importance isbeing continually emphasised. So far, over a quarter ofmuseums in the region have returned their surveys and ourwork is now to investigate in more detail the collections thatare most vulnerable, and to encourage more surveys to becompleted and returned.

Because of the ACE funding we were able to offer these road

shows free to museum staff and volunteers. This and the offerof free conservation, training and assessments have beengratefully received by a sector that is struggling to findresources in the present financial climate.

Despite the brevity of the project and the fact that realisticallywe are not able to conserve all the objects proposed, we havefound that museum staff and volunteers are keen to beinvolved; in fact many have indicated that the process of fillingin the survey form alone has been of great benefit to themand helped them to understand their collections better.

We hope that another legacy of the project will be to givemuseum staff and volunteers the skills and knowledge toapply for funding for conservation treatments. With this inmind we will provide a seminar that addresses this vital part ofheritage management.

HALFWAY THROUGHThe project is now over half way to completion. As well ascontinuing to assess the conservation needs, we have startedthe remedial conservation projects and are planning a varietyof training workshops.

A mummified hand: one of the more unusual objects brought in

Left: A mixed disciplinary object:flying helmet


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The logistics and planning required so far has beenchallenging, but the experience and skills within the teamhave proved invaluable in spreading the load. The simple taskof contacting 167 museums and keeping track of the projectis quite an undertaking, and it is certainly the case that fiveheads are better than one!

It was mentioned to us that it is unusual to have so manydifferent conservators working together and we feel that this

has been an unforeseen benefit of the road shows and,indeed, the whole project. We have discovered that workingcollaboratively brings advantages professionally and socially,and a consortium is the natural way of dealing with the varietyof museum collections and their complex needs.

The CSI South East Museums project is being documentedthrough our blog at csisoutheastmuseums.wordpress.com.

Jihyun Kwon capturing images from the microscope

Amy Brown (l) from Petworth Cottage Museum with Zenzie TinkerACR, textile conservator

Roadshow in the magnificent Durbar Hall of the Hastings Museum and Art Gallery



We hope this project will encourage and enable moreallocation of funding to conserve the unique and diversecollections found in so many of our regional museums.

Ruth Stevens ACR is a Book & Paper Conservator and AliceBlears is a Ceramics, Glass and Stone Conservator.

Photography by Lucy Martin (www.roundography.com)

Very low student to staff ratio

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PREVENTIVE CONSERVATION Linda Bullock 17-20 June

CONSERVATION OF ARMS AND ARMOUR Suzanne Dalewicz-Kitto 7-10 October

MOULDING AND CASTING WITHIN CONSERVATION Michael Neilson 28 October-1November

CONSERVATION OF CARPETS Heather Tetley 11-14 November

MANAGING CHANGE: MOVEABLE HERITAGE IN CONTEXT Helen Hughes 2-5 December

For more information on all the courses in the programme, contact:

CPD Coordinator, West Dean College, Chichester, West Sussex PO18 0QZ [email protected] 01243 818219 www.westdean.org.uk

PROFESSIONAL CONSERVATORS IN PRACTICE COURSES

10% DISCOUNT TO MEMBERS OF ICON

A mouldy doll from the 1960s Mouldy knees detail


around and about

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CSI WestminsterBuilding on her success in winning the Keck Award (seeJanuary’s Icon News), Dana Goodburn-Brown created a pop-up Conservation Science Investigation CSI Sittingbourne inthe Houses of Parliament in January! She managed to interesther local MP, Gordon Henderson, in her work with localvolunteers and he found her a slot in the Upper Waiting RoomHall in the House of Commons. This is a good location; thehall is a thoroughfare for MPs and House of Commons staff.

Timing was tight, however; negotiating the securityrequirements of parliament, raising some funds, inviting VIPguests plus potential sponsors, and moving her laboratory toWestminster - all had to be done in the first three weeks ofthe new year, having been told of the ballot drawn space notlong before Christmas. Never one to be put off by anychallenge, Dana, with the help of Icon intern Jihyun Kwon,pulled it all together, including rustling up a film crew, in timefor the opening on 21 January.

Dana and Jihyun were joined throughout the week by some ofthe CSI volunteers, and Rowan Taylor, National HeritageIronwork Group intern, who was with Dana for five weeks –‘hespent his time examining our x-rays and giving a blacksmith’sinterpretation of some of our findings’. Alison Richmond, whoattended the launch evening event, said: ‘Bringing CSISittingbourne to the heart of Westminster is a fantasticachievement. The display is very professional, eye catching, andit is obvious that conservators working with real objects andmicroscopes will attract a lot of attention in the days to come.’

Dana reported that she enjoyed the varied conversations:from the plight of bees, today and in the Anglo-Saxon period,to our scientific techniques and discoveries; and even ‘toptips’ for running a volunteer project – ‘although I wasn’t surequite how to answer that question – our project has a

momentum of its own and is definitely a team effort betweenprofessionals and the local community... we just hope that wewill be able to continue to keep our doors open’.

Former HLF/Icon and UCL ‘CSI interns’ Katrina Redman andNatalie Mitchell also attended the opening events; and Danawas also pleased to see many old colleagues from the

Jihyun Kwon explaining mineral preserved organics to a visitor

HLF/CBA community archaeologist intern Annie Partridge showingone of the conserved Anglo-Saxon brooches from the Meadsexcavation

Secretary of State for Culture, Media and Sport, Maria Miller MPcongratulates Dana on her work



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Museum of London at the exhibition, especially since theygave such great support and inspiration at the start of the CSIProject. As well as Philip Howard from the Clothworkers Trust,which has generously supported conservation at CSI andbeyond with funds to purchase a portable Scanning ElectronMicroscope - SEM photographs of mineral preserved organicAnglo-Saxon remains featured strongly at the exhibition !

CSI: Sittingbourne is grateful for the Council for BritishArchaeology (CBA CHALLENGE FUND, supported by EnglishHeritage), who provided some financial support for the Houseof Commons exhibition.

Next stepsDana is looking for funding to carry on her work and to set upmore around the country. If you can help, please get in touchwith her at [email protected]

Shedding light on Trafalgarand WaterlooResearch is underway into the original technique andconservation options for the two magnificent wall paintings bythe Irish artist Daniel Maclise in the Royal Gallery, Palace ofWestminster: ‘The meeting of Wellington and Blucher afterthe Battle of Waterloo’, completed in 1861 (WOA 3246), and‘The Death of Nelson’, completed in 1865 (WOA 3247).

The paintings span much of the length of the west and eastwalls of the Gallery, and each measure almost fourteen metresin length. They are on plaster and were painted in Waterglasstechnique – a new method developed in Germany andadvocated by Prince Albert – and pioneered by Maclise atWestminster. Both battles were in living memory when theywere painted and Maclise undertook detailed research toensure that all elements were correct, so they areextraordinarily important historic documents as well as beingexciting works from an artistic and technical viewpoint.

Culture Secretary Maria Miller’sverdict:‘I think it’s fantastic to see the work that Dana’sdone in taking the history of Sittingbourne rightinto the community and giving people theopportunity to find out for themselves more aboutsuch an important part of the community’s past.

Her enthusiasm is infectious and bringing thisexhibition into the House of Commons has justshown a great many more MPs how you can reallyget your community working on importanthistorical projects like this’.

The sponsor of the exhibition, Gordon Henderson MP, looking downa microscope at a mineral preserved bee or wasp found duringinvestigative conservation of a buckle from one of the graves

View of the Royal Gallery, House of Lords

The exhibition space


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In a collaborative project between the House of Lords andCologne University of Applied Sciences in Germany, two MAstudents Geraldine Krauthäuser and Simon Gebler arecurrently undertaking research on these paintings. The ‘workin progress’ investigations are already revealing usefulinformation to help explain the present condition andappearance of the paintings as well as their history andMaclise’s techniques. The students are working under thesupervision of Adrian Heritage ACR, Professor of Wall PaintingConservation (Cologne University of Applied Sciences), andCaroline Babington ACR, Collection Care Manager (Curator’sOffice, Palace of Westminster). The projects were started inMarch 2012 and are due for completion this month.

We hope to bring you more news of this research in futureissues of Icon News

See and hear Professor Adrian Heritage, Cologne Universityof Applied Sciences, talking about the conservation of theMaclise wall paintings in the Royal Gallery on YouTube:www.youtube.com/watch?v=wNyqbMvwZ2U

All the nation’s oil paintingsonlineThe Public Catalogue Foundation has been mentioned inthese pages before for its heroic enterprise to record theUnited Kingdom’s entire collection of oil paintings in publicownership. The work started in 2003, 3,217 venues haveparticipated in the project and now all 211,861 paintings areon the Your Paintings website at bbc.co.uk/yourpaintings

Your Paintings is a partnership between the PCF and the BBCand the website was launched with 63,000 paintings in June2011 and completed last December. The project coverspaintings held not only in obvious places like museums andgalleries but also works in universities, local councils, hospitalsand some even more unusual venues such as fire stations,zoos and a lighthouse. Typically 80% of these works are not on

view whilst the vast majority have never been photographed.All paintings are shown irrespective of perceived quality andcondition.

The collection as a whole presents an unparalleled insight intothe nation’s culture and history over 600 years at the nationaland local level, documenting changing tastes and collecting

‘The meeting of Wellington and Blucher after the Battle of Waterloo’, by Daniel Maclise, completed in 1861.

Coward, Noël, 1899–1973. White Cliffs, Dover, Kent, oil on canvas

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habits, much of it from a pre-photographic era. About aquarter of the paintings are portraits with a preponderance ofmayors, admirals, royalty and unknown sitters.

Paintings by over 37,000 artists are shown on Your Paintings.Old Masters and leading British painters, such as JoshuaReynolds, Turner, Gainsborough, Stanley Spencer and vanDyck are represented in considerable numbers. There aresome surprising names in there too: Noel Coward, GertrudeJekyll, and Dwight D Eisenhower. Approaching 30,000paintings do not have firm artist attributions, leaving the

possibility of important discoveries in years to come.

The largest single collection represented on the website with12,567 paintings belongs to the National Trust followed byTate, Glasgow Museums, the National Maritime Museum andNational Galleries Scotland. However, approximately half ofthe collections on the site have ten or fewer paintings.

This has been a monumental project unique to the UK and,thanks to Your Paintings, anyone and everyone can now seethe nation’s extraordinary holdings for free, together with BBC

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Brown, Joseph. Skaters on Derwentwater, oil on canvas

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TV documentary archive and biographical information forselected artists from Oxford University Press.

Visit www.thepcf.org.uk to learn more.

Discoveries at the V&AAn interesting exhibition – Research on Paintings: TechnicalArt History and Connoisseurship – is currently running in thePrints and Drawings Gallery of the Victoria and AlbertMuseum until 22 September. The display presents the mostnotable discoveries of recent research on the V&A’s collectionof European paintings. It concentrates on eleven Italian,Netherlandish and French works painted between the early15th and the early 19th centuries. During the recent two yearresearch programme, two hundred of the Museum’s paintingswere re-attributed or re-identified.

The display provides a rich account of the principles andmethods applied by researchers to establish the nature andorigins of oil paintings: close examination (connoisseurship),documentary research and technical analysis.

The eleven case studies provide a step-by-step introductionto a subject which is often considered the preserve of arthistorians, conservators and other specialists. The paintingsare displayed together with reproductions of X-radiographs,infra-red photographs and illustrations of comparativematerials.

This display has been mounted with the assistance of theNational Inventory Research Project in collaboration with theUniversity of Glasgow, the National Gallery and with thesupport of the Kress Foundation.

Morrison, Calum, b.1966. The Bookseller of Stromness, 2005, oil on canvas

Dyck, Anthony van, (1599–1641) Charles I, oil on canvas.

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The VIKINGs are coming! The longest Viking longship in the world is part of aforthcoming major exhibition at the Danish National Museumin Copenhagen. VIKING is the National Museum’s largestexhibition on Vikings for twenty years and the ship at itscentre is being exhibited for the very first time.

The warship could carry a hundred warriors and is thirty sevenmetres long and four metres wide. Analysis of the annual ringsof the ship planks shows that it was built from oak in 1025. It istherefore contemporaneous with the Danish king Knud denStore and was probably part of his fleet. Knud is, of course,better known in the UK as King Canute, who conqueredEngland in 1016 and is the subject of the probably apocryphalstory about turning back the tide.

In excess of 25% of the ship has been preserved and it will beexhibited in a specially-constructed steel skeleton that willshow the ship in its full size. The National Museum’sconservators have made the ship ready for exhibition thanksto support from the Augustinus Foundation.

Other unique and new finds will also be on show, including alarge new hoard of gold and silver from Yorkshire, hoardsfound in Russia and Norway, a reliquary cross discovered afew months ago and some of the world famous chess piecesfrom Lewis in Scotland, which are shaped as Viking warriors.

The exhibition runs in Copenhagen from 22 June to 17November 2013. As the British Museum is a co-organiser,there will be a chance to see it in London in spring 2014.

On display as part of the V&Aexhibition: ‘The Embarkation ofSt Helena to the Holy Land’ byJacopo Tintoretto, oil painting,Venice, about 1555. Museum no. 1361-1869

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Above: The National Museum’sconservators making the wreckof the longest Viking longship inthe world ready for theexhibition VIKING.

Right: Viking sword.

Below left: Buckle in the form ofa Viking ship.

Below: Figure depicting avalkyrie. In Norse mythology thevalkyries took fallen warriors toValhalla.


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reviews

VISITS

KEW: MARIANNE NORTH GALLERYMYLANDS: paint & polish manufacturersIcon Furniture & Wood GroupLondon September & December 2012

The newly reformed furniture and woodgroup held two events in 2012. In Septemberwe were invited to a private viewing and apresentation of the conservation project ofthe Marianne North Gallery in the RoyalBotanic Gardens Kew.

Jonathan Farley, Head of Preservation inRBG Kew gave an open presentation in thegallery itself of the project. He started withan overview of Marianne North, artist andtraveller, and described the conservation ofthe listed building and its 843 art works,frames, wood samples, painted cornicing;doors and surrounds from the project’sconception to its completion. Issues likeconflicts with current H&S regulations andresearching colour schemes were describedalong with the bespoke climate controlsystem. The talk concluded with thereinstallation of the art works and the uniquehanging system for the art works inventedfor the gallery.

‘What’s in your wax’ was arranged by thegroup in December. Most people involvedwith the conservation industry will be familiar

with the range of materials available fromMylands. This was a talk and tour of theMylands headquarters and productionfacility in Norwood, London. Our host for theday was the current managing director, JohnDominic Myland, and after coffee andmuffins he began with a talk about thehistory of the business started by his greatgrandfather in Stockwell, south London in1884.

It was a hands on session and we were ableto examine amongst other interesting itemssome ceramic jars and other vessels used tosupply shellacs and other materials in the past.Some historical order books gave an insightinto some of Mylands many interestingcustomers over the years particularly in thetheatre, television and film industries.

We then toured the impressive purpose builtfactory and warehousing facilities wheretraditional shellac polishes and waxes aremade alongside modern interior and exteriorpaints. The clearly very experienced staffpatiently answered questions for some time.

The Furniture and Wood Group would like tothank Dominic Myland and his team for avery interesting and educational day.

Piran Harte, Conservator, Cutty SarkGreenwich, Group Treasurer

Phil Lyons, Conservator, Lyons RestorationLtd, Group Events Officer

WORKSHOP

SILICONE MOULD MAKING WORKSHOPAshmolean Museum, Oxford 24 November 2012

Making moulds for casting may well be atask that is familiar to you, easy even.However, for members of the Ceramics andGlass group a simple little task was madejust a little bit harder!

Course leaders Dana Norris and KennethWatt took participants through a processthey admitted would ‘usually take them aweek’ in just one day. With the aid of fastcuring silicone, clear instruction, and plentyof tea, everyone succeeded in producingtwo and three part silicone moulds completewith plaster mother moulds. A variety ofobjects were chosen for the activity, broughtby participants from their own studios andhomes – everything ranging from a tea cuphandle to a Lego man – proving that withcorrect technique you can produce a mouldfor just about anything.

The unexpected hit of the day was themodelling wax used in the creation of themoulds. Ken recommended this over the moretraditional plasticine as it doesn’t containthose oils which can be harmful to the surfaceof the object. Members of the group had funsoftening the wax before use with a varietyof methods including a hairdryer.

There was just time whilst the silicone wascuring for a whistle stop tour of the recentlycreated conservation galleries in theAshmolean. Interestingly, the group was ableto see some of Dana’s work on casting newpieces for glass objects in the museum, bring-ing the slideshow we had initially seen to life.

I think I can speak for the whole group insaying that the workshop was an invaluableexperience, introducing new materials andtechniques.

Participants told me:

• ‘It was very good to be able to experimentwith the processes used to make a multipart mould and to have expert advice onhand all day. I will certainly feel a lot moreconfident when making my moulds in thefuture.’

• ‘An action packed, but enjoyable day; tosee the process from start to finish in a fewhours was extremely useful’

The Ceramics and Glass group hope to runthe workshop again soon - look out for allthe details. But make sure you get yourbooking form in quickly, places will belimited and you won’t want to miss out.

For more pictures from the day go to theCeramics and Glass Blog:iconcgg.blogspot.co.uk

Rachel SharplesCGG SecretaryIcon Furniture and Wood Group

Furniture and Wood Group members outside the Mylands factory during the ‘What’s in YourWax’ event

Participants at the Ashmolean workshop



BUILD YOUR OWN PAPER MANNEQUINby Christine Supianek ACR and Helen Ganiaris ACR ofthe Museum of London

INTRODUCTIONThe production of mannequins is often the most costlyelement of costume displays. For small institutions with tightbudgets, a low cost solution is very welcome. Themannequins described below are made from archivalgummed paper tape and are relatively simple to make.

For large exhibitions and permanent displays, the Museum ofLondon normally commissions mannequins from outsidecompanies. However there are situations when a simpleshaped mannequin is needed. This method has been widelyused in Germany; recently an opportunity arose to use them atthe Museum. They are best for the ‘cut out’ type, with simpleshapes and when light weight but sturdy support is needed.

For this project, the ‘cut out’ mannequin type was required,with a dark blue interior to match the costume, in this case,uniforms. For all three mannequins, a standard Stockmandressmaker’s mannequin was used as a basic shape.

STEP BY STEP GUIDE(i) The dressmaker’s form was padded to the desired shapeand covered with cotton jersey. The fit should be left a littlesmall because the paper layers will add to the volume. A clingfilm layer protects the base form from the gummed paper andacts as a release layer.

(ii) Cut circa 10cm long paper strips and keep them dry.

(iii) To apply your first layer of paper, wet each strip over asponge and evenly apply each tape overlapping a little. Applya second layer in the opposite direction to strengthen the

in practice

Applying the paper tape in a different direction for each layer.

Let the paper tape dry after each layer.

Cutting the gummed paper tapeto a convenient length

Applying the wet paper tape.

structure. Vary paper length depending on the curve of themannequin.

(iv) After each layer, let the mannequin dry off and continuenext layer; five layers are sufficient to give a full figure enoughstability. Vary the number of layers depending on yourrequirements.


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(v) Cut the back open along the centre with a Stanley knifeand pull the paper mannequin gently from the base form. Re-join the hollow paper mannequin as quickly as possible; usemasking tape for initial reshaping and apply more paperstrips. A 5cm thick Ethafoam disk cut to shape sandwiched inbetween two plates of Perspex fits tightly in the waistline ofthe mannequin and gives it more rigidity.

(vi) The neckline can be cut carefully with a scalpel; applypaper strips over the cutting edge to give it a neat finish.Paint inside and just around the neckline with water-basedpaint and finish as desired.

(vii) Cover figure with the jersey and pad up mannequin asneeded.

DISCUSSIONThese mannequins take time to produce but can be made bystudents or volunteers with training and supervision.

Other advantages include reduced use of fibreglass, paints,MDF or wood inserts, as found with some traditionalmannequins.

They are easy to replicate if several similar figures are needed.

At the time of writing, it was found that the adhesive of thegummed paper tape (supplied by Klug) had been changed;newly performed Oddy tests confirm that the papermannequins are recommended for permanent use*.

At current prices, the paper tape used for one figure wouldcost less than £20; other elements such as Ethafoam, Perspex,poles and bust runners would need to be costed in addition.

The finished neckline painted with the desired colour

Base plate with bust runners for mannequin pole made of densefoam, Plexiglas and standard mannequin fixings.

The inside of the paper mannequin.

The re-joined centre back

Drawing the desired shape to cut out for the neckline



Thames Waterman’s coat of 1881mounted on a paper mannequin.

The overall weight of themannequin is ca.7kg m

The different stages of making a paper mannequin ( far back:padded base figure; left: paper strips on base figure; centre: hollowpaper mannequin with painted inside; right: finished mannequinwith jersey cover before opening the neckline)

Christine Supianek is a Textile Conservator at the Museum ofLondon and Helen Ganiaris is Conservation Manager (Objectsand Paper). www.museumoflondon.org.uk

* From the Klug website: A totally acid-free paper tapemade on the basis of potato starch and manufactured withoutthe usage of softeners or plasticizers. Used for themanufacture of mounts, file and preservation folders as well asfor conservation quality picture framing. Free of acid formingsubstances.

All images © Museum of London


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Nutrient agar press plate of wool with Aspergillus Venizolon thatwas treated with Isopropyl alcohol: re-growth after 6 weeks.

REMOVING MOULD FROM HISTORICTEXTILES Sophie Downes, textile conservator, reports on herresearch so far

The removal of mould from historic collections is an imprecisescience, at best, and there is quite often limited literature tosupport the creation of effective treatment plans whendealing with an outbreak.

Objects that are displayed within their original context areparticularly vulnerable to biological attack as they may well beon open display in buildings with limited or no environmentalcontrol. Quite often the conservator can only watch the RHrise with little hope of being able to alter it.

THE OBJECTIVEThe aim of my research is to study collections in historichouses, ecclesiastical buildings and provincial museums in thehope of finding methods of treating and preventing furtherproblems with mould.

The preliminary results were obtained by cultivating thegrowth of mould on swatches of cotton, linen, silk and wooland then subjecting them to some common conservationtreatments. These treatments were a combination of commonsolvents (acetone, IMS, Isopropyl alcohol, Stoddard Solvent), adetergent (Lissapol D), vacuuming and the old favourite offreezing.

After the treatment phase some of the fabric samples werethen returned to the same environment and left to see if themould would re-grow. The remaining fabric swatches werejust pressed onto a nutrient agar plate to see whether therewould be a transfer of viable spores after treatment.

THE RESULTS These were a little worrying.

Almost all of the fabric swatches showed signs of re-growth tothe naked eye and with a few exceptions the spore transferplates all produced 100% coverage of the nutrient agar.

Comparing the treatment methods to the control results (seetable) it is possible to see the positive and the detrimentaleffects of certain treatments. Notably, that the use of alcoholbased treatments seems to encourage growth rather thanpreventing it as does mineral spirits and freezing. The otherthree treatments exhibited less growth than the controls, sowere deemed to be beneficial.

However, nothing that was done prevented further growth.Everything showed an average re-growth of over 50%.

Looking at the spore transfer plates, the only treatments thathad any effect were the two alcohols. They reduced thegrowth of spores by 8.25% (from 100% to 91.75%). This is stilltroubling but does show that cleaning surfaces with alcoholhas at least some effect, although minimal. The two images,aside, illustrate the two sides of the experiment.

Silk swatch on water (ie no nutrition) agar plate with ChaetomiumGlobosum that was treated with Acetone and returned to the sameenvironment: re-growth after 6 weeks.

The different treatments tried and the average regrowth whencompared to the control

in training

LOOKING AHEADThese were the first batch of results and it is clear that a lot offurther work is needed. I am hopeful that by the end of myPhD a clear set of guidelines for collections care, generaltreatment methodology and salvage situations will beproduced.

If anyone has any questions or a problem with mould in theircollection and would like to be used as a case study pleasecontact me via email at [email protected].

Funding permitting, Sophie will be pursuing her PhD full timeat Birkbeck College, University of London, later this year


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Documents

Munich glass in Glasgow - Institute of Conservation · Munich glass in Glasgow Also in this issue How to make a mannequin Running a roadshow Don’t mess with moths THE MAGAZINE OF