Rachel Howells ACR
Projects
About Me
Rachel Howells works as a freelance painting conservator based in South Wales.
She works on a wide range of paintings, from medieval panels to contemporary works on canvas, conserving paintings for museums, galleries, heritage organisations such as the National Trust and CADW, as well as private individuals. She carries out surface treatments such as stabilisation of flaking paint surfaces, surface cleaning and varnish removals, as well as structural conservation; mending torn canvases and supporting weak canvases with strip lining or carrying out full lining treatments if necessary. Paintings conserved, if framed, are re-framed to conservation standards.
Conservation services included conservation surveys and advice on storage and display.
Since graduating, with a Diploma in the Conservation and Restoration of Easel Paintings from the Courtauld Institute of Art in 1984, Rachel worked as Assistant Painting Conservator for the Area Museum Service for Yorkshire and South Humberside. In 1986, after a five month self funded internship at the Tate Gallery, Rachel moved to South Wales. She set up the Painting Conservation Studio for the Glynn Vivian Art Gallery in Swansea where she became their first Painting Conservator. Rachel became a freelance painting conservator in 1990.
Client Testimonials
The reports detail your excellent work, Rachel, along with the photographs and it is particularly good to see the successful conservation of Man carrying his Wife. A really expert job given the severe damage to this canvas. Many thanks on behalf of the Trust.
David Alston
Trustee Evelyn Williams Trust, former Arts Director, Arts Council of Wales, CardiffRachel Howells completed conservation work to the Bishop Marshall Panel to an excellent standard. The costs were itemised and explained in an easy-to-understand way, and Rachel was very patient and helpful while options for the panel were deliberated. Her input helped immensely with the understanding of the panel, and she demonstrated a deep knowledge and regard for the artwork that went far beyond the scope of the conservation commission.
