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.

The project included the assessment, documentation and treatment of 6 posters, recently donated to the library after years of storage in a garage by a close relative of the artist. They were up to 50% detached from their milldew-stained backings and in danger of further damage due to their unstable condition, lack of protection and the evidence of existing mould. They needed to be stable, safely-stored and be ready to handle and display, as recent and important donations to the collection.

The Downham Benevolent Society, was formed in the 18th century and is an early example of an ‘insurance’ society with the aim to provide benefits in the event of sickness or accident and to help towards funeral costs for members and their families. It is thought to have started in 1795 and commemorated its centenary in 1885 with the unveiling of a large silk banner painted by Joseph Skerret. The banner was formerly kept in the village church in less than favourable conditions until a community group was established to raise funds and have the banner conserved for future generations. The group were successful in their application to the National Heritage Lottery Fund and the banner came to PHM for conservation in 2016.

I have worked on 32 costumes for this client over the last four years which has involved varying degrees of remedial work with the aim of making the costumes safe for display. The costumes I’ve worked on date from the late 1890’s to present day, they vary in condition some required minimal work and others have needed extensive conservation. Some of the modern costumes were extremely challenging due to their construction and mixed media. The conservation work included: documentation, photography, dyeing fabric, surface cleaning, humidification treatment (to relax creases), spot cleaning, wet cleaning and remedial work to support weak areas (both adhesive and stitch treatments). In addition, I work on site along other colleagues to adapt mannequins to fit each costume ready for exhibition (each year). This has also involved me giving advice / training for adapting mannequins, storage and handling textiles. The most recent case history was the conservation of an early dress from the collection which required full conservation. All the brocade fabric needed to be supported with a specially dyed nylon net overlay to impart strength to enable it to be safely displayed.

I have worked for many years for this client, projects include tapestries, large wool hangings, curtains, African textiles and a variety of costumes. The conservation work has included: documentation, photography, dyeing fabric, surface cleaning, humidification treatment (to relax creases), spot cleaning, wet cleaning, board making, mounting textiles for display and remedial work to support weak areas (both adhesive and stitch treatments). I have carried out inhouse training for staff on handling / packing textiles and adapting mannequins. This particular case history was the conservation of a damaged lining on a Liberty dress which was required for exhibition.

I carried out a textile survey for 35 textile items and prepared treatment proposals / estimates for fourteen banners. The banners varied in size, complexity and condition it was an excellent opportunity to conserve the collection. All 14 banners were conserved using a variety of techniques. Conservation work involved: full photography and written documentation, surface / spot and wet cleaning, humidification, dyed suitable support fabric and stitch / adhesive support of weak areas. I carried out a workshop for inhouse staff about handling and packing textiles. I also provided a collection / delivery service for the client. The banners will be on occasional display and be used for study purposes.

The Papal Bull was badly stretched in its frame, due to fluctuations and being adhered all the way round on a card mount. Previous repairs were becoming distorted, with adhesive giving up.

The Lady Matheson photo album is a casebinding with a blue cloth cover and black leather spine - inner wove paper pages. The sewing is loose and the boards have broken away from the text block. The photographs have oxidised, and most of the pages require repair - tears and losses through the volume. As part of the project the photographs have been digitised and the volume restored.