Clare Reynolds ACR
About Me
I have been working as a self-employed paper conservator for a variety of private individuals, galleries, auction houses and public institutions since 1987.
My expertise is wide ranging: including watercolours, prints and drawings, Eastern objects such as paintings on silk, scrolls, screens, pith paper paintings and also works on parchment.
Surveys of collections and provision of advice for storage and display are also undertaken.
I also run small classes for museum volunteers on how best to look after paper collections, how to display books and paper objects and also on the history of paper, with lots of practical activities and examples.
Training
Work History
Initial survey of c.200 works on paper and subsequent conservation of c.50 works from the Palace of Westminster. This included drawings, watercolours, lithographs, etchings and engravings. Some works required specialist wash-lined mounts with calligraphy titles.
Conservation of 4 prints by Picasso for clients to be sold at auction house.
Conservation of 20th century British artists including Lill Tschudi, Cyril Power, Sybil Andrews, Ethel Spowers, Claude Flight and William Greengrass from the The Grosvenor School of Modern Art. These artists typically printed on very fine Japanese paper such as Gampi, which can be challenging to handle. Other artists' work conserved include John Craxton, Paul Nash, Ben Nicholson, C.R.W Nevinson, William Roberts, William Scott, Patrick Heron, Barbara Hepworth, Lynn Chadwick.
Conservation of watercolours, prints, posters, books and other ephemera including cardboard packing for beer, for an exhibition called From Foe to Friend about Anglo-German relationships at the National Army Museum. Many of the works were also mounted, and framed.
Provision of a full condition report with photographs for pastel portrait of Queen Charlotte, attributed to Jean-Étienne Liotard, prior to its loan from Syon House to Kew. I provided specifications for T-frame and move requirements, and oversaw the transport and installation of the picture at the start of the exhibition and return at the end.
