Conservation of the portrait of John Wilton, 1729, belonging to Chirk Castle, National Trust.

Conservation of Mere Poussepin by Gwen John, c.1915-20

This project focused on research, examination, stabilisation treatment and adjustment of the previous retouching of the above sculpture

Conservation and redisplay of a series of historically detached wall painting panels at the Egyptian Museum Cairo.

This project is a good example of the following: - long term collection care - managing a project in a foreign country - treatment of problematic modern easel paintings and wall paintings - use of data loggers for environmental monitoring

Conservation/restoration of the oil painting ‘Brig O' Balgownie’ by William Purser, painted 1835. The varnish coat was degraded apart from the edges that were protected by the rebate of the frame. Paint/ground losses were associated with a large cross shaped tear. A lacuna and abrasions, caused by rubbing in its frame, were present along the edges. Compact dust and debris between the canvas and strainer member were causing bulges along the lower edge. The canvas had oxidised. There were some losses of gesso and gilding on the frame. A small compo piece was moving. The hanging rings were loose and inadequate.

Conservation/restoration of the oil painting ‘White Bud’ by H F Lucas Lucas, dated 1923. The painting had not been varnished. There were numerous brown coloured mouldy spots and a white haze over the paint layer. There were several scratches, abrasions and lacunae. The tension in the canvas had slackened. A small dent was present. The back of the canvas was very grimy. Five of the eight wedges were missing. The wedges were not secured. One wedge had broken off and the remnant sits in the corner hole. The painting had been separated from its frame but the frame was present. The frame was grimy and mouldy. There are inscriptions of the provenance of the painting and the horse at the back of the canvas.

Conservation/restoration of the oil painting ‘Portrait of Professor W M Law of Elvingston’ possibly by William Aikman (Scottish School), c1720s. The varnish and paint layers were affected by water damage, which led to blooming and blanching. The tension in the canvas had slackened and the canvas was undulating. There were two small tears (one was patched) and several holes. The tacking margins had oxidised and were very fragile. The back of the canvas was extremely grimy with cobwebs. One wedge was missing and the wedges were not secured. The painting was poorly held in its frame and rested against a glass sheet. There were no spacers between the canvas and the glass. The painting protruded strongly at the back.

Conservation of an accidentally discovered c19th decorative scheme with multiple damages due to having been covered over and therefore invisible

Conservation repairs to four items, from the early period and formation of the Portmeirion Pottery founded by artist/designer Susan Williams-Ellis (6 June 1918 – 26 November 2007), from the Foundations ceramics collection.