Ros Hodges ACR
I am currently Chairperson of the ICON Ceramics and Glass Committee.I trained at West Dean College from 1991-1993. I immediately started work with Allyson McDermott setting up a Ceramics and Glass studio at her workshop in Billingshurst where we worked closely with Sotheby's. We later moved to a larger premises at Petworth House but continued working with Sotheby's. In 1995 I left to start a family but by December that year I had set up my own workshop and have been self employed ever since. My studio is now near Battle in East Sussex.
I have 30 years experience of practical conservation and am confortable working on site on large architectural projects or in my workshop on the most delicate enamel jewellery and glass pieces. I am highly experienced in condition reporting for collections care and maintenance and provide specialist reports for objects travelling for exhibition. I will also provide insurance claim reports. I offer collections care training and advise on preventative care for ceramics. Following the fires at Uppark House and Clandon Park I have experience of fire dmaged ceramics and am able to advise on their treatment.
My clients include The National Trust, The Dean and Chapter Westminster Abbey, Regional Museums, Specialist Dealers, Private Collectors and Members of the Public.
I have previously served on the ICON Ceramics and Glass Group Committee, serving 3 years as Chairperson ending my tenure in 2008.
“Ros Hodges is a joy to work with. Excellent communication, attention to detail, and a consummate professional. She clearly brings a wealth of knowledge and experience to any project. I look forward to working with Ros again and will happily refer others to her".
Perry Hurt,Director of Conservation, North Carolina Museum of Art
Ros worked on a project at Rainham Hall to conserve and secure the fireplace delft tiles. Ros did a wonderful job on the conservation work despite the challenging circumstances of working in situ. I always know that Ros will work to time and budget and is always more than happy to share her expertise with any of the staff on site – something that they always comment on. Whether it is information about future care and cleaning, or fascinating insights into how the objects were made and when, Ros always shares her great knowledge openly.
Siobhan BarrattConservator, National Trust
I have absolutely no hesitation in commending and recommending Ros Hodges for her outstanding restoration work. For over ten years, as both dealer and collector, I have had the benefit of Ros's exemplary skills in the restoration and conservation of mainly C18th ceramics.
I have asked Ros to undertake the restoration of cracked or broken items such as a fine sauce tureen or rare bough pot with inherently problematic and complex stress aspects to their shape - and I have always been delighted with the high quality of results that she achieves.
To be able to colour match original decoration, shades of pastes and glazes successfully, requires a level of experience and skill (and much patience!) that is rarely found but Ros's fine work never fails to reach that rare level. Restoring C18th porcelain figures in particular requires a "feel" for the subject matter which goes beyond the actual repair, restoring the original flow and nature of the piece.
Peter WellerCollector and Dealer
Housekeeping Study Day at National Trust Polesden Lacey. Basic introduction to the different types of ceramic body. Discussions on the best display methods to promote the safety of objects. Suitable cleaning regimes for different types of objects. Handling objects at height and in low positions where they might be in danger from visitor interaction. Hands on cleaning training for volunteers. Instructions on how to react and contain emergency situations. Packaging and transport of objects.
Cleaning of Fire Damaged Ceramics following the Clandon Park fire. I led a training day with the staff and volunteers to determine the most effective methods to clean the objects being brought out of the deep levels of ash. This was a hands on interactive training session designed to determine what it would be possible to achieve in a set time frame with field facilities. It included training on identification of objects, suitable cleaning, drying, labelling and subsequent packaging for storage.
Glass reconstruction project for National Trust Sissinghurst. A large Bristol Blue Glass Vessel broken into approx 50 pieces. A challenging project as the glass flared outwards making rebuilding a delicate task.The rim area was badly damaged with many of the shards being reduced to dust. It was crucial that all pieces were retained and that the overall finish was pleasing to the eye and that the conservation was sustainable. Work is ongoing to improve protection for the display collection.
Reconstruction of elements of a large black Basalt Wedgwood figure of Neptune, the figure was travelling to the USA for a special exhibition and the brief included ensuring that it was safe for travel and advising on exhibition display conditions. Complications included large quantities of original firing cracks, protruding limbs with historic breaks and old unstable conservation. I included comprehensive reports and images on its condition for the use of all stakeholders.
Condition reporting and conservation of 5 sets of fireplace tiles at Rainham Hall, National Trust. This project was carried out over a number of years as budgets became available. All work was carried out in situ as the tiles could not be removed, work included cleaning, rebedding onto the original chimney piece mortars. cracks were consolidated, old concrete repairs were removed, gaps filled and missing areas retouched to museum standards. Extensive conservation reports were produced.
Ham House, National Trust, Extensive Condition Reporting on a collection of Ceramics coming to the end of a 40 year loan. Every items was inspected, photographed, its condition described with annotated images and compared against historical data. Objects were packed for transport and paperwork prepared for all the stakeholders. This involved working with an extensive team from different stakeholders. Discretion, accuracy and impartiality were key.
Conservation of the Cosmati Floor at Westminster Abbey. My brief was to carry out the practical conservation of the glass mosaics on the tomb tops and central roundel of the the Cosmati Floor. This involved, consolidation, colour filling and sensitive finishing of the colour fills. The work was time sensitive and dovetailed with other teams, Abbey services and Visitor interaction. Extensive recording of the work carried out was essential.