A major conservation and restoration treatment of a seriously damaged and degraded painting.

The 2 sets of 2-light stained glass windows of the North Nave (nIII & nIV) comprised of complete panels and individual pieces of mediæval glass gathered from other windows in the church, and elsewhere, by Horace Wilkinson's company in 1934. The paint work was stable but the glass itself was badly corroded with pitting. The only way to prevent further decay was to remove all the glazing for setting into an isothermal scheme. External protective glazing (EPG) was fitted into the original glazing grooves and the newly-framed stained glass was set onto the stone work with a ventilated inter-space to prevent condensation forming on the delicate ancient glass. The previous EPG was of 5mm plate glass and covered the windows in large sheets, irrespective of the architectural features. We replaced this with a soft reflective glass made to fit each individual opening for a much improved visual effect. Cleaning had a surprising impact by removing much of the previously-applied leadlight cement residue, rendering much of the glass brighter. However, several pieces remained opaque, due to the effects of manganese browning. As the glazing had been fully releaded in 1934, no work was required to the lead work, apart from adjusting the overall shapes to fit the new frames.

This project involved the conservation of eight large scale capricci paintings from the Dining Room at Shugborough Hall, National Trust. Unusually, the capricci were painted in distemper (pigment bound with animal glue) on canvas. With a complex attribution history: seven of the capricci are by Pietro Paltronieri (1673–1741); two were later extended by Biagio Rebecca (1731–1808); and the eighth has recently been re-attributed to Antonio Joli (1700-1777). The capricci paintings were prioritised for conservation work owing to the instability of the distemper paint layers, which were lifting and flaking away from the canvas support. Conservation of the eight large scale paintings took place between October 2018 and December 2019 and was funded by the National Trust. Treatments carried out included: carrying out an in depth mapping survey of flaking paint prior to conservation; taking cross-section samples for analysis; consolidation; surface cleaning; cleaning of the reverse; attachment of protective backings; filling and retouching; full photography and documentation.

The project involved the documentation and conservation treatment of a much-consulted 1920's full leather spring back account binding. The text block had been previously repaired with heavy, damaging repairs that frequently obscured the text. The binding structure had collapsed and 60% of the spine was missing. What remained was worn and de-laminating. The sewing was broken and several sections were detached. The aims of treatment were to enable the book to endure frequent safe-handling by researchers.

This painting was conserved following a flood at Gallery Oldham which occurred during ‘The Beast from the East’ in March 2018. Treatments included: on site visits to carry out emergency first aid treatments; pre-stretching the canvas once it arrived in the conservation studio; consolidation of the tented and flaking paint layers; lining the weakened canvas onto a secondary support canvas; refurbishiing the stretcher; replacing the painting back onto the stretcher; varnish and over-paint removal; filling, retouching and varnishing; full photography and documentation.

A limp vellum binding with foredge flap and short parchment ties, and a paper textblock with manuscript in iron gall ink, predominantly in the first half. The textblock was originally sewn on just two double tanned leather sewing supports with linen thread, but the sewing structure and supports had broken down completely and the textblock had become detached from the vellum cover. Given the shrinkage and distortion of the original limp vellum cover, a new binding was required in addition to extensive textblock repairs. The College Archivist was keen to retain a similar binding with foredge flap while ensuring that it could be opened and displayed with ease.

A mid eighteenth-century compendium of four printed books (Prayers, Bible, Concordance and Psalms) in a full calfskin binding recently located at a local Grantham school and kindly donated to the Trigge Library. The textblock had considerable surface dirt, tears, losses, and loose sections. The calfskin binding had a detached front board, loose back board, no spine leather, bumped boards and missing board leather. The book required extensive conservation so that it could be consulted and displayed in the Trigging Library in future.

Conservation, restoration and technichal analysis of the panel.

The full conservation and restoration of the portrait of William Talbot by Sir Godfrey Kneller

The Margaret Lindsay Williams project included the full conservation and restoration of the 'Imprisoned Soul' by Margaret Lindsay Williams, and the in situ conservation of three paintings by the same artist at Dyffryn House, South Wales. All four paintings were found in the house in less than ideal conditions when the National Trust took over lease of the house a few years previously. The Margaret Lindsay Williams project aim was to conserve the paintings, three in situ, and included the re-display of all four paintings in an exhibition alongside information about the artist, who was born in Wales. This was due to open in March 2020, but because of the situation with Covid-19 this is likely to be postponed until later in the year.