This project includes examples of: Documentation including, Condition Reporting, producing a Final Treatment Report and Future Care Recommendations. Project management, Including managing a team of Conservators both in the studio and on-site Working in Collaboration Transportation and Logistics ‘The Adoration of the Magi’ a well-known tapestry, the design originally commissioned by John Prideaux Lightfoot the Rector of Exeter College in 1886, where both William Morris and Edward Burne-Jones were former students. Several versions were later commissioned including the tapestry in St Andrews Church, known as the Arts and Crafts Cathedral of the North and this is where I first viewed the tapestry in 2008 along with two William Morris carpets that are situated in the nave.

The removal, conservation, fabrication of a bespoke mounting and installation system and installation at the Museum of Liverpool of Galkoff’s Jewish butcher's shop front.

On-site condition assessments of ceramic items in China and then their installation at World Museum Liverpool

The painting was barely visible through layers of dirt and varnish.

This C20th paining had never been cleaned. There was a heavy, blackish dirt layer, and an average amount of heavily discoloured varnish. Removal of the varnish enabled the blues and violet shades that Munnings liked to use to be seen, playing their part as they do in creating form, shadow and distance. [case-study-gallery]

This landscape painting was torn, and suffering from flaking paint. It was covered in a heavy grime layer on top of a thin varnish. [case-study-gallery]

The unlined portrait was torn and very fragile. There were layers of dirt and varnish distorting the colours and picture space of the painting. [case-study-gallery]

‘The Battle of Pharsalus’ cassone panel, tempera, gold and silver on panel, 16 x 61 ⅞ inches (40.5 x 157.2 cm). The treatment involved retouching to correct areas of wear and unresolved old restoration, in order to improve the readability of the scene. External structural work was commissioned to remove an old cradle that was holding the panel under considerable tension. This restoration was carried out on behalf of a private collector.

‘Still Life of Flowers in a Glass Vase’, ca. 1685, oil on canvas, 31 ¾ x 26 ¼ inches (79.5 x 66.5 cm). The project focussed on improving the legibility of the painting, as scattered light caused by elevated craquelure obscured details within the composition and was distracting to the eye. The painting was cleaned, relined, and losses were filled and retouched, before the work was varnished and re-presented in its frame. This restoration was carried out in advance of the painting’s acquisition by an American museum.

‘A Fête at Bermondsey’, oil on panel, 29 x 40 inches (73.8 x 99 cm). Previously attributed to Joris Hoefnagel. Treatment for this painting focused on consolidating areas of elevated craquelure, and integrating areas of wear through retouching to reunify the overall painting. The restoration was carried out for an English public collection, in collaboration with a research project on the attribution of the painting.