CONSERVATION AND RESTORATION BOOKS AND SUPPLIES

Books

Archetype Publications publish many conservation books 
their website can be found here

CONSERVATION AND CARE OF GLASS OBJECTS

STEVEN KOOB

Hardcover: 160 pages

• Publisher: Archetype Publications Ltd (1 Nov 2006)
• Language: English
• ISBN-10: 1904982085
• ISBN-13: 978-1904982081
• This book is designed to aid conservators in understanding the materials used in the conservation and restoration of glass objects. Principles and methods involved in the cleaning and restoration of historical and archaeological glass objects are addressed, including aspects of deterioration, the ethics and aesthetics of restoration, and proper conditions for storage and display. There is also a discussion of techniques for repairing broken glass and for filling gaps in colorless and colored glasses. Particular emphasis is placed on the correct and safest methods of handling, cleaning, displaying, mounting, lighting, transporting, and storing glass objects, with an in-depth look at the causes and symptoms of "sick" (crizzled) glasses.
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PORCELAIN REPAIR AND RESTORATION - A HANDBOOK

W.A. Oddy and Nigel Williams 

Hardcover: 160 pages

• Publisher: British Museum Press; 2nd Revised edition edition (17 Jun 2002)
• Language: English
• ISBN-10: 0714127574
• ISBN-13: 978-0714127576

This text explains simply, step-by-step, how even inexperienced amateurs can achieve excellent results when they embark on porcelain restoration. Would-be restorers are introduced to the many options available and encouraged to discover which techniques suit their individual circumstances. Each stage in the process is illustrated and there is advice on the functions and uses of specialist tools. The book should prove of use to the experienced professional restorer as well as the novice.

• PRACTICAL CERAMIC CONSERVATION (2003)
• Leslie Acton and Natasha Smith
• Hardcover: 128 pages
• Publisher: The Crowood Press Ltd (25 April 2003)
• Language: English
• ISBN-10: 1861264836
• ISBN-13: 978-1861264831

Written by two leading conservators, it explains the various stages of the conservation process. Step-by-step instructions and examples show how staining may be removed, cracks stabilized, pieces rebonded, moulds taken, areas retouched, lustres applied and gilding restored. Reference information provides a usuful aid for anyone unsure about the different qualities of clay, solvents, adhesives, bulking agents, plaster, paints and varnishes. This handbook should be useful for anyone interested in the conservation of ceramics, whether their aim is to pursue a career in this field or to mend a favourite plate.

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• CONSERVATION AND RESTORATION OF GLASS
• Sandra Davison and Roy Newton
• Hardcover: 392 pages
• Publisher: A Butterworth-Heinemann Title; 2 edition (15 Jan 2003)
• Language: English
• ISBN-10: 0750643412
• ISBN-13: 978-0750643412

Conservation and Restoration of Glass is an in-depth guide to the materials and practices required for the care and preservation of glass objects. It provides thorough coverage of both theoretical and practical aspects of glass conservation.

This new edition of Newton and Davison's original book, Conservation of Glass, includes sections on the nature of glass, the historical development and technology of glassmaking, and the deterioration of glass. Professional conservators will welcome the inclusion of recommendations for examination and documentation. Incorporating treatment of both excavated glass and historic and decorative glass, the book provides the knowledge required by conservators and restorers and is invaluable for anyone with glass objects in their care. 

* Includes both theoretical background and practical procedures, providing a comprehensive view of the subject
* Contains new highly illustrated case studies* Concentrates on 2 and 3 dimensional glass object restoration

RESTORATION AND CONSERVATION OF CERAMICS 
Susan Buys and Victoria Oakley

Paperback: 252 pages

• Publisher: A Butterworth-Heinemann Title; New Ed edition (28 Nov 1996)
• Language: English
• ISBN-10: 0750632194
• ISBN-13: 978-0750632195
• The Conservation and Restoration of Ceramics brings together the wide range of current information relevant to the practising conservator. The book opens with a discussion of the fundamental nature of the ceramic medium, information which is of primary importance when selecting treatments or considering preventive conservation measures.

Details on techniques are given in a series of chapters covering the restoration and conservation processes, but the emphasis is on the basic principles involved in the choice of materials and methods. The nature and properties of materials commonly in use are fully discussed and guidance is given on the facilities and equipment needed.

Also covered in the book are old restoration materials and methods, the ethics of ceramics conservation, examination and recording, display treatments and emergency procedures.

MICROMOSAICS (GILBERT COLLECTION)

• Hardcover: 312 pages
• Publisher: Philip Wilson Publishers Ltd (18 April 2000)
• Language: English
• ISBN-10: 0856675113
• ISBN-13: 978-0856675119
• The art of mosaics is of ancient origin, enjoying its first great period during the Roman Empire and its second in 18th- and 19th-century Rome. Affluent tourists provided the ideal market for views of Rome and images from ancient history and mythology, painstakingly worked in tesserae - a technique known as "micromosaics". The range of objects was enormous - from jewellery and snuffboxes to large pictures and tabletops. All of these forms and subjects are represented in the Gilbert Collection. This volume examines the collection through colour illustrations and detailed descriptions and commentaries. Research into the workshops and business practices of two significant Roman mosaicists derived from the archives of the Vatican Mosaic workshops is detailed in an essay by Massimo Alfieri, while Judy Rudoe explores the techniques and materials of small-scale Roman micromosaic objects.

CHINA MENDING AND RESTORATION
C.S.M. PARSONS & F.H. CURL

• Hardcover: 435 pages
• Publisher: FABER AND FABER (1963 Edition)
• Language: English
• ISBN-10: 0571054749
• ISBN-13: 978-0571054749
• I am amazed at the amount of information in this book which shows the methods employed in the 60's.  There's an amazing chapter on how they used to make rivets.  It's essential reading for anyone taking up ceramic restoration as you can get in the mind-set of how it was done then and fill in with the new methods and materials used today.  In my opinion all methods are relevant to the work and the objects people bring to the workshop.

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RESTORATION SUPPLIES AND MATERIALS

Handover Brushes  - for great brushes and gilding stuff, I used to get all my stained glass painting brushes here also Rosemary and Co Artists brushes which looks like an American web site but it's actually in Keighley, West Yorkshire, UK and her prices are very reasonable.

Airbrushes in Lancing, UK do a fantastic range of airbrushes and equipment.  The one which is good to use for the fine detail required for ceramic work is the Iwata Eclipse BS it has one small cup on the top which makes it easier to change colours and clean.  It is also small enough to get in areas that are difficult to get to.  It's worth every penny. I also got from the same supplier a compressor which works very well. 

Cornelissens for art and craft materials, and pigments. They have a shop near the British Museum, Tottenham Court Rd tube, London

Kremer Pigments supply all sorts of conservation materials including pigments and potions. They are very efficient and straightforward to order from and post worldwide.

Habberley Meadows for gold and gilding supplies

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Youtube and other videos of interest

STEPHEN KOOB talking about restoration and conservation of glass here

A great video about The Fitzwilliam Museum reconstruction of vases after a lady fell down the stairs and they were severly smashed up here and the museum website.

FOUR FIGURINES

FOUR FIGURINES

Here are 4 figurines that have recently arrived in the studio.  Previous restoration is evident on all of them with losses and discolouration of varying degrees.  First thing I need to do is to get rid of the old gunk! So DCM, soak, rinse, steam cleaned.  You have to be careful cleaning the tiny pieces as the pressure of the steam can cause small fragments to shoot off in any direction.  One way of stopping this is to use a fine metal gauze placed over the piece that needs to be cleaned.

THE LADY ON PEDESTAL

The above lady's head was partially joined to the body.  On further inspection a matchstalk had been lodged into some grey putty in the head hollow.  The bow on the hat has losses and the rim of the bonnet has a slither lost.

Finished figure

THE VIOLIN PLAYER

This elegant violin player has suffered breakages and losses.  The leg looks to be a clean break but the small hand has missing fingers and the violin has lost the carved scroll machine head.  The broken leg was relatively easy to attach using special epoxy which I propped up using sculptors plasticine.

Mould of scroll made of sculptors plasticine ready for silicone, very tiny piece!

Tiny end piece made and attaching to the violin and hand. I also had to
extend the missing finger and thumb that was playing the strings.

COMPLETED FIGURINE

BOY IN BLUE TROUSERS

This one is more problematic in that there are several losses not obvious until I get it out under some good lighting and magnifying specs. Some pieces remain so this will be a good jigsaw! After having cleaned the pieces individually I can see that the discoloured piece beneath the body is not ceramic but some kind of old fill, looks like plaster.  It has been badly repaired and I'm not sure which angle the head will go? There seems to be a loss on his right cheek which may suggest that the hand touched there.  The head was totally askew when it arrived so I have to think about this one.

       

LOSSES

• Base losses on each side of the feet to base
• Loss on the join of proper right knee
• Loss on joint of proper left knee
• Loss from top of wood stump that joins to the blue trousers (proper right)
• Large loss on proper left ankle and foot
• Loss on inside proper right jacket (yellow)
• Front chip off white blouse and part of the 'v' neck of blouse (front)
• Chip on basket (dark maroon)
• Loss underneath proper right arm around to the back of the jacket (pink enamel)
• Loss to proper right hand which pushes against the pink jacket which has to be created
• Losses of gold borders in many places
• Loss of proper left thumb that's holding the basket

FILLS

I mixed up 3 grams of special epoxy, bulked it up with fumed silica and let it rest for half and hour.  I then mixed some Titanium Oxide white into a small amount of epoxy, to achieve the colour of the white body. Blending the white mix gradually into the rest of the mix to get the correct opacity, looking and holding it against the white body and to the daylight.

Fill on the back shoulder propped up with sculpting plasticine.
Below the fill to one side of the base

Next fill at other side base and fills at the knees held at an angle whilst curing

Fill at neck and part of right hand

What was I thinking!! I've been looking at how I put the head on and it's just not right at all.  This is tricky and I have come to the conclusion that I have to dismantle and re-do.  The head and shoulder took a good couple of days to come apart again, right ready to go again ........

OK this looks better!!

I used sculptors plasticine to prop up the head and shoulder so I could see exactly how it might fit into the proper position.  I then used part of the epoxy mix to fill only part of the neck.  The next day it was still soft enough so that if I wasn't happy I would be able to move if necessary.  It was ok, so I left it to cure another day. 

• A.  Top of the shoulder filled up to where the collar of the jacket is to be created
• B.  Loss on the top of the cuff
• C.  Fill of the frill on the blouse
• D.  Fill where there were chips on the neck

• E.  Join where the forefinger meets the cheek
• F.  Cut off piece of pipette to keep the shoulder in position which will be removed

I am now going to allow this to cure, put the rest of the epoxy mix in the freezer and come back to it again to create the collar of the jacket.

Now we've got to get the legs and base back on......  when I took the boy apart again I didn't remove the fills that I had previously done on each side of the base.  so I have to refill the knee joints and the large loss on the proper left foot.

AT LAST DONE!

LADY WITH FLOWER

This lady carrying a basket of flowers looked only to be a clean break at the waist but is actually in three pieces with a slither.   She also looks as though she was holding a flower which are missing and also that her little finger looks as though it was extended these have to be re-modelled.  I also re-modelled a leaf and flower petal that had been missing in her basket.

Recreation of flower and extended finger

The finished lady with her missing finger and flower remodelled and tinted.

The final pictures..

About me

WHITING CONSERVATION AND RESTORATION

Working on a Victorian Italian micro-mosaic in my last year at University 2011

This is where I spend most of my time these days!

This blog is a record or diary of work carried out in my new restoration and conservation studio in Kent, UK.  New objects constantly arrive and each one needs different types of work and treatments to be done.  It will be interesting to see how it goes and of course, to look back at how I have progressed through the months and years.  

In 2007 I started a BSc (Hons) Degree in Conservation and Restoration at London Metropolitan University and transferred in 2008 to City & Guilds of London School of Art to do a BA (Hons) in conservation studies.  

I have decided to concentrate on the restoration of ceramics.  My previous work in ceramics has given me an appreciation of the skills and the knowledge of how ceramics were and are made.  It was interesting finding out about the science behind the materials and their treatments as well as informing and building on my skills.  I had been drawn to restoring and conserving ceramics as I was familiar with the material and the decorative processes, but I have found out that making and restoring/conserving are two separate things!  

Anyway here we are at the start of my studio showing you case studies explaining my work and how I'm achieving it ....................

PRIOR TO MY DEGREE

My background has always been involved with hand-made crafts.  Fashion design and textiles, working for a stained glass company (after a two year course) and decorative painting.  Prior to my degree in conservation I spent 8 years creating bespoke tiles and architectural ceramics, from clay to glazed finished product which were sold to interior designers both in the UK and internationally. I particularly enjoyed painting cobalt freehand onto tin glazed tiles (majolica) and using enamels for decorative murals on glazed tiles (see pictures below).

Below a magazine article about the ceramics studio 'The Annexe" in 1996, (the creative arm of Paris Ceramics, London)  You can see me at work with my back facing the photo-shot in the second photo.  I also continued the same work when 'The Annexe' moved the whole operation to France continuing to supply Paris Ceramics to their 10 outlets in America and Europe.

Magazine article about the studio in London 1996

Here I am sitting with my back to the camera in the middle of painting some cobalt work

Bespoke hand-made tiles based on a floor situated at
The Palace of the Popes, Avignon, France.
This floor tile was very popular as I painted more than 4,000 of these tiles 16 designs,
freehand using copper and manganese onto unfired tin glaze. 

Birds and Urn enamels painted on wood fired tin glazed tiles from Spain

Alphabet designs painted in enamels on the same Spanish tiles

Other ceramic projects -  Stone fired ceramic tiles and architectural mouldings for gymnasium for private

client in Luxembourg, below - Sculpted lettering/symbols bathroom panel using oxides and underglazes.

Warrior ceramic bisque with decoration using oxides and mosaic 

SOME OF MY STAINED GLASS WORK

Top left to right - bathroom window panel installed lengthways into exterior encasing with steel supports.  
Window of lady holding flowers with painted panels using silver stain and oxides on coloured glass,  Lower left - bathroom window panel, Lower right - stained glass set into wooden screen using acid etched blue flash glass and a selection of hand blown and machine made glass.