Museums and Galleries

n museums and galleries �

www.museumsandgalleries.net

AUTUMN 2010

The People’s History Museum

� museums and galleries n


All other enquiries: Tel: 0161 850 1680 Fax: 0161 834 00773rd Floor, Blenheim Court, Carrs Road, Cheadle, Cheshire SK8 2LA

Copyright Musuems & Galleries.All rights reserved. No part of this publication may be copied, reproduced or transmitted in any form without prior permission of Museums & Galleries.Views expressed in this magazine are not necessarilythose of the publisher. MGA

5 Viewpoint:InthefirstofaregularcolumnAbbyCronin discusseslife-longlearningoutsidetheclassroom

11 MuseumsAssociationConference2010inManchester

13 CollectionscareatStPaul’sCathedral

15 Solarcontrolsolutions

16 ConservationoportunitiesatWestDeanCollege

17 AManifestoforMuseumLearning:Anewfuturefor history?

18 Aretemperatureandhumiditycontrolsreallynecessary?

19 Sustainabilityinpractice–Greencasestudy:Manchester Museum

21 Onyourbikeandreduceyourfootprint

24 Sustainabilityinpractice–Greencasestudy:Killhope –TheNorthofEnglandLeadMiningMuseum

25 Thestructureofpaintings

26 FindingconservatorsusingtheConservationRegister

29 Maintainingandimprovinghighstandardsinpainting conservationandrestoration

31 Nelson’sChair–aconservationvictory

32 AVictoriantreasurefinallypreserved

33 Theconservation-restorationoffurniture–howitall started

CONTENTS

Cover storyThe People’s History Museum, Manchester

7 ‘Therehavealways beenideasworth fightingfor’

8 Theprojectindetail

Richard Shepherd

Business Development Manager

Tel: 0161 232 1124 Mob:07913 740380

email: [email protected]

www.museumsandgalleries.net

Welcome to our

Launch issueSomemightconsideritrecklesstolaunchanewenterpriseinthewakeofthebiggestrecessionmostpeoplecanrememberbutwehavehadwonderfulfeedbackfromthecontributorstothemagazineandIwouldliketothankthemallfortheirparticipation.

IhavehadthepleasuresofarofspeakingtolotsofpositiveandenlightenedpeopleinthesectorandlookforwardtoworkingwiththemandnewvoicesforthenextissueintheWinter.

TheyspeakforthemselvesinthepagesthatfollowandIamsureyouwillbemetwiththesamecourtesyIhavereceivedifyouwishtoknowmoreaboutwhattheyhavetoofferyouandyourorganisationnoworinthefuture.

Wearekeepinganopenmindoncontentsforfutureissuessodoletmeknowifyouhavesomethingtosharewithus–whetheritbeaparticulartopic,project,productorotherrelevantpieceofinformationyoucaretoairwithusandouraudience.

Onethingforsure,thenextissuewillcarryareviewoftheMAConferenceandExhibition,sodoletmeknowifyouwouldliketoflagupyourpresence.Wehaveastandattheshow–No.6–andwillbedistributingcopiesofthemagazine,sopleasecallandsayhello.TheMuseumsAssociationhasbannersonourwebsitetofacilitateinstantandcomprehensiveinformationabouttheevent.Thislinkstoouronlinedirectorywhereyoucanbeincludedifyouwish.

Ifyoufeelwearetherightplatformforyourmarketingeffortswewillobviouslylooktoyounowandinthefutureforyourexpertadviceandknowledgeandwouldwelcomeanyarticlestokeepourreadersinformed.

IwillbehappytogiveyouacallifyouwishorIcanbereachedanytimeonmymobileorviaemail.Onceagainthankyoutoallourcontributorsandwehopewecanhelpyouandotherpeopleinthesectortoreachyourintendedaudience.


n After30yearsintheclassroom,Ihadcometoacrossroad–shouldIoptforearlyretirementfromuniversitylecturingorsoldierontoage65?Burnoutorchangegear?Imadethedecisiontogo,

butsteppingoffthecollegetreadmillwasmorethanalittledaunting.WouldImissmystudentsandcolleagues?OfcourseIwould,butifIstayed,whenwasIgoingtohavethetimeandenergytoenjoytherichesinLondon’sworld-classmuseumsandgalleries?Afterall,theywereonlyatuberidefromhome.

Itwastherightdecision.Iheadedoffinanewdirectionandfoundmyselfonasuperbpart-timecourseinMuseumandGalleryManagementatCityUniversity.AwholenewworldofculturallifeinLondonopenedup.Iwasrejuvenated.Butitwasimpossibleformetowalkawayfrommypassionatecommitmenttoeducation.MaybeIwouldfindeducationalopportunitiesinLondon’smuseumsandgalleries.Itdidn’ttakelong.IsoonfoundmyselfvolunteeringtohelpwitheducationalinitiativesintheGeffryeMuseumandatApsleyHouse.Imetcuratorsandconservationprofessionalsandlearnedwhatwentintoplanningandmountingexhibitionsforawideaudience.Igainedenormoussatisfactioninhelpingwiththepartiesofschoolchildrenwhowereregularvisitors.ThekidslovedtolearnaboutperiodstylesindomesticinteriorsattheGeffrye.TheVictoriansittingroomwasarealfavourite.I’llneverforgetthejoyexpressedbyalittleboywhosaid:“IwishIcouldlivehere.”

AtnumerousothermuseumsandgallerieschildrenmakeDiscoveryVisitswhichinvolvehands-on,site-basedactivitiesdesignedtomeettheneedsofdifferentgroupsacrossthekeystages.Studentsofallagesandabilitiesmeetcharactersfromthepast,engageinrole-playorhandleintriguingobjects.Theyleavewithagreaterunderstandingofhistory,thearts,designandarchitecturewhichissimplynotaccessibleinclassrooms.TheBritishMuseumorganisefreefamilyeventsasjustoneaspectoftheirdiverseprogramme.TheBMisnotunique.ThroughouttheLondonareanumerousmuseumsandgalleriesinvitefamiliestoparticipateinamultitudeoffreeweekendandhalf-termactivities.It’simpossibletomeasurethebenefitsoftheseopportunities.Surely,inthecurrenteconomicclimate,thevalueofmuseumvisitsfaroutweighsafamilyoutingtothecinema,whenyouconsiderthehugeexpenseofticketpricesandsittinginthedarkforanafternoon.It’scheapertowatchtelevisionoraDVDathome.

DespitethedireeconomiccircumstancesinBritaintoday,wemustquestiontheGovernment’swisdominimposingstringentcutsinfundingformuseumsandgalleries.Thelossoffundinginthissectoristhefalsestoffalseeconomies.Iofferonlyafewexamplestoillustratehowshort-sightedthispolicyis.Specifically,thefashionindustrycontributes£21billionayear(Guardian16.09.2010)totheUKeconomy.Businessskillsarerequiredtomaintainthestrengthofthissector,buttherehasbeenaseriouslossofopportunitiesforyoungpeopletotakepracticalcoursestopreparethemforworkinfashion.CoursesofferedattheFashionandTextileMuseuminSouthwarkhaverecentlylosttheirfundingandclosed.YoungpeopleintheEastLondonareaarelosingopportunitiestodevelopthebasicskillsneededforacareerinfashion.Asecondexampleisthenear-closureoftheworld-famousWilliamMorrisGallery,acentreofexcellenceforthestudyofWilliamMorrisandtheArts&CraftsmovementintheLondonBoroughofWalthamstow.Fundinghasbeensignificantlyreduced,butcompleteclosurehasonlybeenavertedbecauseoftheincrediblefighttokeepthegalleryopen.Third,butbynomeanslast,isarecentArtsPetitionannouncedon11thSeptemberpromotingacampaign,I Value the Arts,urgingthepublictovoicetheirsupportforthearts.Peoplearebeingaskedtoregisteratwww.ivaluethearts.org.uk.

The 100 artists have joined almost 2,000 people who have signed

a petition against proposed cuts to government funding of the arts,

which are expected imminently as part of the Spending Review to

be announced next month.(Independent11.09.2010)

Ihavetoadmitthatmyoptimismforpreservingourpreciousculturalvenuesacrossthemuseumsandgalleriessectorisonthewane.Still,wemustpulltogether,signthepetitionandcontinuetourgetheGovernmenttochangeitspolicyofimposingseriouscutstotheArtsinthiscountry.q

View

poin

t

by ABBY CRONIN

•AbbyCroninPhDisanindependentresearcherandfreelanceartsjournalistbasedinLondon.ShelecturedformanyyearsatLondonMetropolitanUniversityandforthepasteightyearshaswrittenacolumnonartsandantiquesforthequarterlymagazineAmerican In Britain.SheisacommitteememberoftheWallpaperHistorySociety.


Life-long learning outside the classroom

The British Museum organise free family events


‘There have always been ideas worth fighting for’

nFollowingmorethantwoyearsofre-development,March2010sawtheofficialreopeningofthePeople’sHistoryMuseumin

Manchester-auniquecentrewhichexploresmanyoftheworld-changingideasfoughtforbytheworkingpeopleofBritain,andchartsthehistoryofdemocracyfromtheearly18thcenturytodate.

Theextensive£12.5millionre-developmentwassupportedbya£7.18milliongrantfromtheHeritageLotteryFund,alongwith£2millionfromtheNorthwestRegionalDevelopmentAgencyandadditionalfundingfromtheEuropeanRegionalDevelopmentFund.

Spanningtwocenturies,themuseumprovidesajourneythroughthelives,historiesandissuesoftheworkingpeopleofBritain,andhousesanunprecedentedcollectionofalmost1,500historicobjects,includingtheworld’soldesttradeunionandminers’banner,theTinplateWorkers,1821andAshoverMiners,c1825,andthetableonwhichthe18thcenturywriterandrevolutionaryThomasPainewrotehisground-breakingpublicationRightsofMan.

ThemaingalleriesopenwiththestoryofthePeterlooMassacre–areformmeetingheldonStPeter’sFieldinManchesterin1819,whichturnedtotragedywhenmagistratesattemptedtobringthe60,000plusworkersandfamiliesundercontrolandseveralpeoplewerekilled.TheaftermathresultedinthefirstreformofParliamentin1832

whichgavethevotetosome,butnotall,men.ThegalleriesthentracktheriseoftheRevolutionariesand

Reformersofthelate18thandearly19thcenturies,throughtotheWorkers,VotersandCitizensofthe19th,20thand21stcenturies-thosewhogavebirthtoandfoughtfortheideasbehindmanypoliticalreformstakenforgrantedtoday,includingthewelfarestate,theNHSandgovernmenthousing.Newdisplaysincludethemuseum’scollectionofradicalbannersacrosstheages–thelargestintheworld–andshowhowworkersinthe19thcenturywonandspentprecioustimeoffwork,includingthestoryoftheCo-op.

Award-winningarchitectsAustin-Smith:Lordrenovatedthemuseum’soriginallocation,formerlyanEdwardianhydraulicpumpingstation,andhaverevealedtheeleganceandworkingsofthesitewhichoriginallysuppliedpowertomillsandwarehouses,andfamouslywoundtheTownHallclock.Themulti-millionpoundre-developmentjoinsthisoriginalsitetoafour-storeyextensionbyaspectacularwalkway,andisthefirstpublicbuildinginBritaintobecladinCor-Ten,asteelthatwillrustandprotectitself,changingcolourastheyearspass.Thenewmuseumincorporatesover1384m²ofnewgalleryspaces,afullyoperationalconservationstudio,archive,shopandtheLeftBankcafebar.q

The People’s History Museum, Manchester



n InJanuary2004Austin-Smith:Lordwereappointedtoleadamulti-disciplinarydesignteamtoexplorethepossibilitiesfor

consolidationofthePeople’sHistoryMuseum’stwooperationalsitesinManchesterintoonelocationthroughanexpansionoftheexistingPumpHouseMuseum.

OccupyingtheonlyoneofthreeEdwardianhydraulicpowerstationstosurviveinthecity,thePumpHouseissituatedtothenorthwestofthecitycentreborderedbytheRiverIrwell,BridgeStreetWestandthenewmulti-storeyCivilJusticeCentreonGartsideStreet.

Thisareaformsthenortherntipoftheextensiveredevelopmentareainthecityknownas‘Spinningfields’.Thisisanareaofthecitythathasundergoneasignificantchangeofscaleandimportancewhichoverthelastfewyearshascreatedover2.5msq.ft.ofnewcommerce,retailandresidentialspace.

TheavailabilityofanareaofcitycouncilownedlandadjacenttothePumpHouseprovidedtheopportunityforconsolidatingallthemuseum’spublicfacingactivitiesontoonesitethroughtheprovisionofanewextensionwhichwouldallowtheexpansionofpermanentgalleriesandnew21stcenturyfacilitiesforthepublic.

ThesitebenefittedfromaprominentriversidelocationattheManchester/Salfordborderand,affordedspacebyboththeriverandthepublicpiazzainfrontofthenewCivilJusticeCentre,hadthepotentialforadramatic‘object’buildingwhichcouldsignificantlyimprovetheMuseum’spresenceinthiskeynewareaofthecity.

TheMuseum,whichre-openedinFebruary2010,hasbeencompletelyrefurbishedandextendedtoprovideafittingnewhomeforauniqueandnationallyimportantcollection.

The DesignThenewmuseumconsolidatesallpublicfacingactivitiesontoone

site.Thenewextensiontakestheformofafive-storeybuilding,builtintothesite’ssloping,riverbanklocationandthesite’spotentialhasbeenexploitedbyaboldanddramaticnewpresenceonthisimportant

citycentrearteryandgatewaylocation.Afullyglazedgroundfloorconcourseprovidesawelcomingnew

mainentrance,allowingdeepviewsacrossthebuildingandprovidingactivityandinterestatstreetlevel,animpressionreinforcedbyacaféterraceoverlookingtheriver.

Thenewconcourseprovidesagenerousspacefornewcafé,baranddiningfacilitiesalongwithanewshop,receptionandtoiletfacilitiesandmostimportantlyencouragesaccessviaadramaticnewglazedlinktowardstheoriginalPumpHousebuilding.

Twolevelsofclimatecontrolledpermanentgalleriesareprovidedathighlevel,accessedbyanewliftandstairtowerthatcelebratesthemuseum’swatersidesetting.ThetopfloorprovidesalargeConservationStudioforbannersandtextiles.

Undertheconcoursealowerlevelfacesontoariversidewalkwayandaccommodatesanewarchive(toBS5454:2000standards)andanewReadingRoomwithriverviews.

Indevelopingamasterplanfortheexpandedmuseumthesuccessfulbalanceofusebetweennewandoldbuildingswasakeyaim.Providingthemajorityofcloseconditionedspaceandvisitorfacilitiesinthenewextensionhasallowedthesensitiverestorationofthekeyspaceswithinthehistoricbuilding.

TheEngineHallhasbeenstrippedofitsoriginalshopandcaféintrusionstorecoveritsdramaticvolumeandnowprovidesamulti-purposespacefordaylighttolerantexhibitions,educationandconferenceevents.

Anewexpandedchangingexhibitiongalleryhasbeenprovidedatgroundfloorlevel,whichcanbelinkedflexiblywiththeEngineHallandthishasallowedtheoriginalformofthefirstfloor‘coalstore’toberecoveredandusedasaconferencefacility.

ThebasementofthePumpHousehasbeenconvertedfromgalleryusetoprovideofficesandthebigwindowstotheriverhavebeenopeneduptofloodthisspacewithdaylightagain.

Theneedforclosecontrolled,light-proofgallerieshasbeenexploited


The project in detail



visuallytomarktherefurbishedmuseum’spresencethroughstrongsculpturalform-making.ThedesignhasachievedprominencewithoutoverbearingtheoriginalPumpHousebuilding.

TheextensionisunmistakablyanewbuildingyetitestablishesasympatheticrelationshipwiththematurityofthePumpHousethroughthetonalityoftheCOR-tenrainscreencladdingandboldmassingthatechoestheindustrialformsoftheexistingbuilding.

ProjectPartner,ChrisPritchettwrites:ThisisoursecondculturalprojectinManchester’shugeSpinningfielddevelopmentarea.Ourpreviousschemeto‘UnlocktheRylands’sawthere-openingofBasilChampneys’Neo-Gothicmasterpiecein2007afteraprogrammeofsensitiverepairsandalterationsandthedesignofanewlandmarkentranceandarchivebuilding.

ThecreationofthenewPeople’sHistoryMuseumhassharedmanydesignchallengeswiththeprojectto‘UnlocktheRylands’includinganew‘landmark’extension,and,asattheRylands,animportantroleforthisnewbuildingwastore-invigoratetheClient’spublicpresenceinthecitywhichagainrequiredbalancinganappropriatelevelofassertivenessandpersonalitywithasensitivitytothecontextoftheexistinghistoricbuilding.

Thebriefcalledforanewextensionthatwouldbewelcomingandopenenoughtobecomethenewentrancebutthatwouldalsoprovideaseriesof‘closed’spacesforsensitivecollectionsreducingtheexclusionofdaylightandcloseenvironmentalcontrol.

Providinglargewindowlessvolumesinaprominentcitycontextisalwaysanarchitecturalchallenge,withtightcitysitesthemostviablesolutionappearstobetopushthebig,closedvolumesupintotheair,leavingthegroundflooravailableforentrance,circulationandamenityspaceswhichcanbecelebratedthroughhighlyglazedfacades.

Thisnaturaldivisionofclosedandopenspacesseemstocreatenaturallydramaticarchitecturalcompositionswhichperhapsachievemorevisualimpactthanthebuildingmightotherwisedeliver.

AtthePeople’sHistoryMuseumthiseffectisreinforcedbyasimplesculpturalapproachtothemainvolumeofthebuildingandacarefulhandlingofexternalmaterials.

Theconnectivitybetweennewandoldbuildingsisalwaysimportant.Theconcourselinkingnewandoldbuildingsisdeliberatelykeptwidetopreserveviewsintothehistoricbuildingandthelinkisgivendramathroughitsdoubleheightspaceandhighlevellinkingbridgetoprovideavarietyofroutesandasenseofpromenadingthroughthebuilding.

ThedistinctivecolourandtextureoftheCortencladdingwasalsochosentoreflecttheMuseum’sconnectionwithWorkingPeopleandtheimpactofindustrialisationonthedevelopmentofthecounty’spoliticalhistory;asthereisadeliberateelementofnarrativeinthechoiceofthebuilding’sfaçadetreatment.

Thenaturallayerofoxidisationthatformsonthesteel’ssurfacealsoformsasuitablysympatheticfoiltotheredbrickoftheoriginalPumphouse,yetisrichenoughtocontrastwiththepredominantlysilverandglass‘corporate’architecturethatotherwisedominatesSpinningfields.

Thenewbuildingisastronglycontextualresponse;itworkswiththemuchlovedhistoricbuildingtomakeasuccessfulandsustainablemuseum;itdramaticallyreinforcesthepresenceoftheMuseuminthecity;itcelebratesakeylandmarksiteandriversidesetting;itcontributestothecommercialandculturaldiversityofanewcityquarterandtheboldnessofthebuilding’scolourandformaimstoreflecttheindependenceandspiritofthepeoplewhosestoriesaretoldwithintheMuseum.q


4 JORDAN STREET, MANCHESTER M15 4PY

T: 0161 228 7569 E: [email protected]

www.austinsmithlord.com

�0 museums and galleries n

n museums and galleries ��

Museums Association Conference2010 – Manchestern TheMuseumsAssociationhasannouncedthefull

programmeforitsAnnualConferenceandExhibition,whichtakesplacethisyearinManchester,from4-6OctoberattheManchesterCentralConventionComplex.ItisEurope’sbiggestgatheringofitskindformuseumandgalleryprofessionals.

ManchesterboastssomeoftheUK’sbestmuseumsandgalleriesoutsidethecapital.Theconferencewillincludestudytoursofmanyofthese,aswellasmajoreveningeventsatthenewly-reopenedPeoples’HistoryMuseumandthenewextensiontotheMuseumofScienceandIndustry.

TheConferenceseesoverfiftysessionsaswellastheExhibitionanditsseminarprogramme(freetoall),networkingevents,eveningreceptions,professionaldevelopmentsurgeriesandfringeevents.

Conference themesWorking in partnershiplooksatwhypartnershipsarealltherage

andrevealsthesecretsofcollaborativesuccess.Showing offpositsthattheageoftheblockbusterexhibition

isdeadandlooksathowmuseumsandgalleriescanencouragecreativityandusecollectionstobesteffectwhenthehardtimesbite.

Whose museum is it anyway?examinesthebenefitsandbarrierstopublicparticipationinmuseumdecisionmaking,andasksifitshouldbetheultimategoalofamuseumtobeatrulydemocraticorganisation.

Keynotes•NeilMacGregor,DirectoroftheBritishMuseumontheBMand•BBC’sA History of the World in 100 Objectsseriesanditslegacy.•AlexPoots,DirectoroftheManchesterInternationalFestivalwill•talkaboutleadership,creativityandtakingradicalrisks.•JeremyHunt,SecretaryofStateforCulturewillopenthe•conferencewithanaddress.

For more information see the Museums Association website www.museumsassociation.org/conference. q


�� museums and galleries n


n StPaul’sCathedralisarguablyLondon’sbestlovedbuilding.IthaslongenjoyediconicstatusamongBritonsandtourists

alike.Currently,itsfamousprofileshinesevenmorebrightlyastheCathedralhasrecentlyundergoneamulti-millionclean-upoperationtoremovethreecenturiesofcitygrimefromitsbrilliantwhitePortlandstone.

However,notalloftheworkunderwaytopreservethisjewelof18thcenturyarchitectureissoimmediatelyobvioustothepassingobserver.Withinitswallsworkasmallteamofdedicatedprofessionalswhocareforanamazingassortmentofsculpture,artworksandarchitecturalarchivesthatmakeuptheCathedral’shistoriccollections.

ThesecollectionsarerecordedandmanagedwiththeaidofanAdlibMuseumandArchiveCollectionsManagementSystemsuppliedbyAdlibInformationSystemsLtd.Thispowerfulsoftwarepackageallowsarchivesandcuratorialstafftoemployconsistentterminologyforcataloguingandinventorymanagementofthedifferentcollectionsandalsoenableslinkstobeestablishedbetweentherecordsofartefactsandarchives.

Expansionofthesystemtoincludeawebinterfacetograntaccesstoselectedcollectionsdataforresearchersandthegeneralpubliciscurrentlyunderconsideration.

FormoreinformationabouttheCathedral’scollections,pleaseseewww.stpauls.co.uk.FormoreinformationaboutAdlibsoftware,pleaseseewww.adlibsoft.comq

Collections care atSt Paul’s Cathedral

A design for one of the apse windows by Julius Schnorr von

Carolsfeld and FC Penrose, 1862.Image courtesy of St Paul’s Cathedral

Perspective elevation showing the quire and a proposed open screen, by FC Penrose, October 1860. Image courtesy of St Paul’s Cathedral


�� museums and galleries nKAD - Asbestos Specialists for Museums & Historical Objectsn Mostpeopleareawareoftherisksassociatedwithasbestos

frombuildingfabricmaterialsinmuseums,buthaveyoueverconsideredasbestosbeingpresentinthedisplayshowcasesorhistoricalobjects?

KADhavespent5yearsdedicatingourspecificallydesignedasbestosservicestoprotecttheliabilityofmuseums,byreducingtherisksofexposuretoasbestosandpreventingthespreadofasbestosinmuseums.

KADhavehandled,inspectedandidentifiedahugenumberofasbestosrisksinhistoricalobjectsbothinstorageandonpublicdisplay.We’veinspectedpracticallyallformsofcollectionsfromaircrafttolightbulbsandfoundasbestosinapprox80%ofthecollectionswe’veinspected!

PracticallyallAsbestosContainingObjects(ACOs)KADhaveidentifiedpresentasignificantrisktocollectionscarespecialists,andinmanycasesthegeneralpublic.Themainreasonforthisissimple–lackofaccurateinformationandknowledgeonasbestosinthecollections.

Toexplainthedifferencebetweenbuildingfabric,AsbestosContainingMaterials(ACMs)andAsbestosContainingObjects(ACOs):-

•Approximately3,000AsbestosContainingMaterials(ACMs)have•beenusedasbuildingfabricmaterials•Thereareover5,000ACMsusedinhistoricalobjects•Buildingshaveusedasbestosforover100years•Historicalobjectshaveusedasbestosforover5,000years•BuildingfabricACMsareusuallyrecordedandingoodcondition•HistoricalobjectACMsareusuallyun-identifiedandinpoor•condition.•Buildingcontractorsareasbestosawarenesstrained•Veryfewcollectionscarestaffareasbestosawarenesstrained•Buildingfabricmaterialsareonlyusuallydisturbedduring•maintenance,repairorrefurbishment•Historicalobjectsarehandled,cleanedandregeneratedonadaily•basisSowhyaretheHSEnowlookingformuseumorganisationsand

heritagesitestomanageAsbestosContainingObjects(ACOs)?Because

therisksofexposuretoasbestosinthecollectionsisfargreaterthantherisksofasbestosinthebuildingfabric.

Fromyearsoftraining,inspectingandassistingUKNationalMuseumOrganisationsinmanagingasbestosincollectionseffectivelyandefficiently,wehavedevelopedmuseumspecificpoliciesandproceduresforasbestosmanagement.Ifsuitablemanagementproceduresarenotinplacethereisasubstantialriskthatinthefuturecollectionscarestaffwhoareexposedtoasbestosmayseeklegalcompensationfromyoutheemployer,towhichinsuranceusuallywillnotcover.

Sohowcanyoureduceyourexposurerisksandlimityourorganisation’sliability?KADhaveworkedcloselywiththeHSEfor5yearsensuringourspecificallydesignedasbestosmanagementproceduresnotonlymeetthecurrentregulations,butexcelthem.KADarecurrentlyworkingwithmanyNationalMuseumOrganisationsthroughoutEngland&Scotlandtominimiseandreducetheirliablerisksandresultshavebeeninstant.KADhavedesignedahistoricalobjectsspecificriskassessmentthatappliestoanyobject,anywhereintheworld,andcompletedbythecollectioncarestaffwithin10seconds!

KADspecialiseininspectinghistoricalobjectsinordertolocateandassessanyasbestosthatmaybepresent.Theinformationisrecordedandpresentedinasurveyreportwithcolourphotos,floorplansandanasbestosregistertocompleteyourlegalrequirements.IfanyasbestosisdetectedKADworkcloselywiththeclienttoensureanytreatmentisconductedsafely,correctlyandeffectivelytoprotecttheobjectsandtheclientinterests.KADcanmakeallnecessaryarrangementstotreatanyACMsthatareidentified,designaremediationproject,projectmanagetheentireprocess,updatealldocumentsandissuecertificatestoensurelegalcompliance.

KAD Environmental Consultancy are the only one-stop-shop asbestos professionals specialising in historical objects and are members of the Museums Association. So remember, before conducting any refurbishment of galleries all building fabric, showcases AND historical objects need to be professionally inspected for asbestos.q


Solar control solutionsn CSCWindowFilms&Blindsarepleasedtoannouncea

partnershipwithTheScottishHollandBlindCompany.ThispartnershipaimstosupplyqualityBritishmadeblindsusingtraditionalsystemsandScottishHollandfabrics.TheblindswillbemadeexclusivelyforCSCWindowFilms&BlindsatTheScottishHollandBlinds’factoryinScotland.

CSCWindowFilms&Blindsnowofferafullrefurbishmentservicefortraditionalratchet,cap&rackandsheathendrollerblinds.Inaddition,newScottishHollandfabriccoverscanbemadetomatchexistingrollersystems.

AswellasprotectinginteriorsfromUVandinfraredrays,therangeofproductsavailablefromCSCWindowFilms&Blindsisdesignedtoenhanceinteriors,addingadistinctivetouchofstyletoanyroom.

CSCWindowFilmsandBlindsareusedextensivelywithinNationalTrustandEnglishHeritagepropertiestoenableroomstobeopenedtothepublicwhilststillbeingprotectedagainstsundamage.

ThenewpartnershipbetweenCSCWindowFilmsandBlindsandScottishHollandisgearedtoofferingclientscompletereassuranceofsolarprotectionbydealingwiththeleadersinthemarket,andbothcompaniesareproudtobelistedassupplierstotheNationalTrustintheManualofHousekeeping.Anumberofnewservices

previouslynotavailabletotheheritagesectorarenowonoffer,including:

• Refurbishmentofexistingbarrelsandcoversat60%of costofnewblinds,inhouseoron-site.

• Matchingblackoutcolourstocomplementoriginalfabric colours

• NewTandemstyleassemblytoallowshutterstobe closed

• FreeLux&UVon-sitesurveyAsolarprotectionconsultantwillvisitthepropertyanddiscuss‘at

risk’areasandareasofpersonalconcernandwillalsocarryoutafulllightsurvey,enablingclientstodecidehowtheywishtoprotectthecontentsoftheirproperty.Thisserviceisfreeofchargewithnoobligation.

CommissionsundertakenrecentlyincludetheCastleofMey,Chequers,CastleHoward,TorreAbbey,BowesMuseum,BeamishMuseum,KnowsleyHall,KelmscottManor,BurghleyHouseandmanyNationalTrust&EnglishHeritageproperties.

Thecompanycanbecontactedforafreeno-obligationsurveyandquotationontel01159665296oremailsales@cscwindowfilms.co.uk.q



Conservation opportunities atWest Dean College

n EdwardJamesinheritedtheWestDeanEstatein1912and,whenhecameofageinthe1920s,hebeganinvestinghis

moneyandtimeinsupportingartists,craftspeople,dancersandpoets.Hisexcitementbyallaspectsofthearts,hisdeterminationtopushtheboundariesbyinvestinginartists–notartperse–broughthimintocontactwithmanyofthegreatestartistsoftheperiod.

AttheoutbreakoftheSecondWorldWarEdwardJamesbecameconcernedthat‘certainartswillbecompletelylost,andartistswillneedprotection’.

ThisquestforpreservingtraditionalcraftsandskillsandusingthemwithinthecreationofartandobjectsandintheconservationofourheritageiscentraltoallstudyatWestDean.

TheCollegeishousedinEdward’sformerfamilyhome,a19thcenturyflint-facedmansion,in6,400acresofstunninglandscapewithintherollingSouthDowns.

OverthepastfortyyearstheCollegehasbuiltaworld-widereputationinbothfullandparttimestudy.Full-timeprogrammesofstudyencompassfourbroadareas:ObjectConservation(books,clocks,ceramics,metalsandfurniture),Making(stringedmusicalinstruments,

furniture,clocksandmetalwork),VisualArts(painting&drawing,sculptureandtapestry&textileart)andCreativeWriting.ManyoftheprogrammesarevalidatedbyUniversityofSussex–studentscanstudyfromdiplomalevelthroughMA/MFAtoPhDlevel.

Studentnumbersaredeliberatelykeptlow,andWestDeangraduatesareamongstthemostsoughtafterinthenationalandinternationalworkplace.GraduatesfromtheCollege’sobjectconservationprogrammescanbefoundinsomeoftheworld’smostprestigiousmuseums,heritageorganisationsandcommercialsettings.

Student testimonialsEdward Cheese, Book conservator, Cambridge Colleges’

Conservation Consortium:“WestDeanCollegewasatremendouslyexcitingcollegeatwhichtostudy:enthusiasticexpertsasteacherswhowerefullyengagedandtheethosofexcellenceincraftworkwasdeeplyinspiringandhaveleftalong-lastingdeterminationinmetostrivealwaysforthebestIcando.”

Marc ter Kuile, Self employed clock conservator:“Aftera25yearcitycareer,Iwantedtolearnanewtrade,somethingthatI

coulddofromhome,whichwouldcreateanincome,allowmetobemyownbossand,ideally,wouldforcemetousebothmyheadandhands.IfounditatWestDeanCollege,ontheclockconservationprogramme.”

Georgina Castle, Ceramics and glass conservator:“WestDeanprovidedexcellenttuition,setwithinastimulatingenvironment.InternshipswithintheprivateandpublicsectorswerearrangedtogetherwithvisitingprofessionalswithinthefieldofConservation.MyinternshipstudywasheldattheVictoriaandAlbertMuseumduringwhichtimeIwasinvolvedinthesettingupoftheGlassGallery.InowrunastudiospecialisingintheconservationofdecorativeobjectsinThameworkingforprivatecollections.

Full-timestudentsalsohaveaccesstoWestDeanCollege’sshortcourseprogramme.Over700coursesareprogrammedthroughouttheyearwithintheareasofarts,crafts,buildingandobjectconservation,photography,creativewriting,music,gardeningandfood.q

Formoreinformation:(+44)[email protected]


A new future

for history?n ‘Culture has plenty of people telling it what to do from the

outside, but no-one on the inside, figuring out its proper place in the modern world’,accordingtoCulture:Unlimited.

Culture:Unlimitedisthenewthink-tankfortheculturalsector.Itisaplacetoshakeuporthodoxy,pioneersomenewideasandinventthefuture.Somewheretodosomeresearchanddevelopmentandtrytoanswerthequestion:Whataremuseumsfor?

Oneexampleofthispioneeringorganisation’sinnovativenewapproachistheirManifesto for Museum Learning.ThegroupwhichconceivedthemanifestowasconvenedbytheCampaignforLearningthroughMuseumsandGalleries(clmg),beforeitwasrenamedCulture:Unlimited.Extractsfromthismanifestooutlinedbelowgiveaflavouroftheorganisation’sradicalthinking.

Indefiningtheroleofmuseums,themanifestostatesthat:

‘At their best, museums can tell us who we are, where we have come from and where we might be going. They are an antidote to short-term tabloid life, a cure for passive living and places whose role in today’s uncertain society is more important than ever.

Museums work by story-telling: they confront us with the familiar and comforting and the new and challenging, inspiring us to look afresh at the world or grasp things that need imagination.

Museums entice us to explore ourselves: they provide opportunities for testing out our ideas, for chance encounter, for discovery and for inventing things anew.

Museums are exploratory, diverse, informal, inspiring and fun: they are purveyors of learning in disguise that appeal to all our senses.’

Themanifestothenintroducestheideaofcreatingmuseumswithlearningattheirheart.Itsuggeststhatoneofthewaysinwhichthisobjectivecouldbeachievedisbyallowingmuseumaudiencestolearnbybeingapartofcreatingthemuseum,aswellasbeingconsumersofitsoutput.Thatoutputtoo,wouldbedrivenbyreachingthepublicwherevertheyare,gettingawayfromtheturnstilethinkingwhichsayssuccessismeasuredbynumbersthroughthedoor.Themuseumwouldessentiallylistentoasmuchasitspeakstothepublic,learnasmuchasitteachesandhaveaninputchannelaswellasanoutput.

Themanifestocontinuesbystatingthatmuseumscouldalsomakethemselvesteachersandlearningorganisationsforprofessionals,aswellaslearningprovidersforthepublic.Amuseumbasedonlearningwouldhaveadutytospread

innovationthroughouttheworldsoflearningandculture.Thiswouldgowaybeyondsanitisedgoodpracticereports,bywelcomingrisk-taking,innovationand,inevitably,failureaspotentlearningtools.

Museumswouldbecomeporous–definedbywhattheydoasmuchasbywhattheyhold–andabletotakeoncontemporaryissuessuchasgenetics,climatechangeorterrorismandholdupaculturalmirrorformodernsocietytoreflectonitsactions.

Anotherinnovativeideaputforwardinthemanifestoistheconceptof4-D–definedaswhatmuseumswouldlooklikeiftheyweredesignedfromalearningpointofview.Theywouldbeplacesofimagination,exploration,debate,democracyandunderstandingforthepublicandtheprofessionals–allofthemonlearningjourneyswithmuseumsastheirnavigators,guidesandguarantorsofsafepassage.

Sowhatwouldtheconceptof4-Dmeaninpractice?Themanifestohassomeanswers.Itsuggeststhatmuseumscouldcontributetorespect,tolerance,dignityandunderstandinginsociety;counteringtheeffectsoflivingin,butnotengagingin,multiculturalBritainbyinitiating,facilitatingandcommunicatingstoriesofcitizenship,cohesionand(multi)culturallife,inanumberofways.

TheseincludeprovidingaculturalwelcometotheUKforallnewarrivals–abitlikethebestinductionprogrammesyougetwhenyoujointop-notchorganisations:somethingtohelpyougetyourbearingsandsomethingthatexplainshowthingsreallywork.Andyes,itwouldbecreatedbymodern,multiculturalBritons,withtheirkaleidoscopeofseveralhundredlanguages,dozensofreligions,myriadethnicgroupsandcountlessoutlooksoneconomics,politicsandsociety.Thelegacyofthis,itsays,wouldbeasetofstoriesaspowerfulinexplaininglifeinBritaintootherBritonsastheyareatunmaskingitfornewcomers.

Anothersuggestionisthatmuseumscouldalsocreatenewculturalgateways–simplytheresultoftakingthewallsoffthemuseum‘box’and‘sprinkling’themanywhere:sowhynottravelagents’windowswithexhibitionsofGreeceandEgypt;GP’ssurgerieswithexplorationsofgenetics;orairportloungeswithmuseumsasanalternativetoshoppingforsuncream?

Forfurtherinformationtel:01288350672,[email protected],visitwww.cultureunlimited.org.q


Are temperature and humidity controls really necessary?n Parametersforenvironmentalconditionsinmuseumshavebeenin

placeforoverfortyyearsbasedprimarilyonthestableconditionsofundergroundtunnels,cellarsandquarrycavesinwhichsomeBritishartworkswerestoredduringtheSecondWorldWar.Theseparameterswerenarrowlydefinedandacceptedduetovariousfactorsatthetimeincludingrelativelyinexpensiveenergysupplies,inadequatescientificunderstandingandthetechnologicallimitationsofheating,ventilationandair-conditioningsystems(HVAC).Sincethen,timeshavechanged.Notably,thecostofenergyhasrisenandtheeffectsofclimatechangeareincreasinglybeingfelt.Furtherresearchanddiscussionhasleadtoaquestioningofthe‘goldstandard’.

ResearchbyMarionMecklenburgandDavidErhardthasbeenparticularlyusefulinillustratinghowmostheritagematerialsaremoreresistanttotemperatureandhumiditythanwaspreviouslythought.Inlinewiththisresearch,in2004theSmithsonianadoptednewguidelineswhichallowedforgreaterflexibilityintemperatureandhumidity

fluctuation.Thishasledtoenergysavingsofapproximately17%peryear,andreducedcondensationonwalls,resultinginlesswear-and-tearonbuildings.Ithashadnoknownnegativeimpactsonthecollections.Thecostbenefitstomuseumsalonebroughtaboutbyadoptingmoreflexiblecontrolsareobvious.

Inmorerecentyearsprogressinthisareahasaccelerated.InMayandOctober2008,meetingsoftheBizotGroupresultedinateamofUKconservatorsandotherstakeholdersundertakingtoreviewenvironmentalconditionsinmuseums.MarkJonesoftheV&A,Londonisastrongadvocateinbringingaboutchangeinthewaythatmuseumsandfundersimplementenvironmentalstandards.Hestatesthatdifferentobjectsrequiredifferentclimatecontrolsandtheimpositionofblanketrequirementsneedstobereconsidered.SirNicholasSerotaoftheTate,Londonhasalsobeeninstrumentalinadvocatingchange,supportingresearchanddrawingattentiontotherelevanceofclimatechangetomuseumsandgalleries.Asafirststepinreformingpolicies,theNationalMuseumDirectors’Conference(NMDC)hasprovidedguidanceonreducingmuseums’carbonfootprints.Youcanviewtheguidelinesonline.

Sowhat’sbeenhappeningrecently?Afterall,theSmithsonianadoptednewguidelinesin2004andtheNMDCguidelinesappearedin2008.What’shappeningin2010?

InFebruarytheIndianapolisMuseumofArtdecidedtomoveawayfromthegoldstandardofclimatecontrolandgavecurrentandfuturelenderstheopportunitytowithdrawcommitments.AsofAprilnoonehassignalledtheirintenttodoso.

InAprilasymposiumentitledRethinking the Museum Climate,washostedbytheMuseumofFineArts,BostonandtheGettyConservationInstitutetoconsiderandrespondtotheNMDC/BizotGroupdraftguidingprinciples.AtthemeetinggeneralagreementwasreachedoninterimguidelinesforloanstotheAmericanAssociationofMuseumDirectors.

OnMay13ththiswasfollowedbytheThirdRoundtableoftheInternationalInstituteforConservationofHistoricandArtisticWorks(IIC),entitledThe Plus/Minus Dilemma: The Way Forward in Environmental Guidelines.Themeetingraisedtheneedforamoreinterdisciplinaryapproachtoobtainingmoreenvironmentallyfriendlystandards,thelackofproperlydefinedlevelsandtheopportunitiesthatexistthroughcreationofmicro-climatesandthecreativeuseofspace.YoucanfindoutmoreontheIICblog.

So,ifyouhavenotalreadydoneso,perhapsitistimetojoininthedebateandconsiderwhatopportunitiesexistforyourmuseum.

• Greener Museums is a company dedicated to helping museums all over the world accelerate progress towards sustainability. Rachel Madan has over a decade of experience as a sustainability consultant working with NGOs, the US Environmental Protection Agency and major UK companies such as Marks and Spencer and Clifford Chance. She has been quoted in Museums ID Magazine, Museums Journal and Museums Practice and is about to publish a book with Museums Etc on Sustainability in Museums. You can sign up for Greener Museums’ free report on the State of Sustainable Museums at www.greenermuseums.org. q


by RACHEL MADAN Director of Greener Museums


Sustainability in practiceGreen case study: Manchester Museum

n ManchesterMuseumhasbeeninitspresentVictorianbuildingnearthecitycentresince1888.PartoftheUniversityofManchester,it

employs94staff.Followingamajorrefurbishmentprojectbetween1999and2003,

itsenvironmentalcontrolsystemsarerelativelyefficient,howeveritisimprovingtheminlinewithitsobjectiveto‘putsustainabilityattheheartofitsoperations…andtocontributetothesustainabilityagendathroughitsownpractice.’

Inaddition,theuniversityhasintroducedsub-meteringofenergysuppliessothatend-users,includingthemuseum,canbechargedfortheirenergyuse.NigelThompson,themuseum’sassistantdirector,says,“Acarbontrustsurveygaveusanoverallpictureofannualenergyconsumptionforthefirsttime.Recommendationsforreducingenergyuseincludedbettercontroloftheenvironmentandlighting,stafftrainingandawareness-raising,improvedproceduresforout-of-hoursshut-downofbuildingservices,time-switchestolocalhot-waterheatersandoccupancysensorstocontrollightinginWCs.”

ThemuseumcommissionedenvironmentalcharityGlobalActionPlantohelp,workingtogetherwiththeuniversity’sWhitworthArtGalleryandtheJohnRylandsUniversityLibrary.

ExamplesofGlobalActionPlaninitiativestochangestaffbehaviourinclude:

•Smallrewards(suchaschocolatebars)forstaffwhoturnedtheircomputersoffbeforeleavingwork

•Betterprovisionforrecycling•GreenDaystopromoteenergyefficiency,encouragewaste

reductionandgatherideasandfeedback.

Currentplanstoembedsustainabilityinvolve:

•Across-departmentalteamtopromoteenvironmentalsustainability

•Departmentalannualoperatingplansthatincludesustainabilitytargetsforprocurement,travelandwastemanagement

•Annualauditsofdepartmentalperformance

Plannedinfrastructureimprovementsincludesharedofficeprintingfacilitiesandthegradualreplacementoftungstenandtungsten-halogenlightingwithlight-emittingdiodes(LEDs).Thompsonsays,“£6,000spentonLEDsinoneofthegalleriescouldresultinannualsavingsof£5,000inenergycostsand£3,000inmaintenanceandlampreplacementcosts–equivalenttoapay-backperiodofjustninemonths.”

The2007CarbonTrustsurveycalculatedthemuseum’sannualCO2emissionstobe800tonnes.By2011themuseumwantstoreduceittolessthan500tonnes,cuttingenergyconsumptionandtheamountofwasteitsendstolandfillby40%.q


On your bikeand reduce your footprintn Whilstthelatetwentiethcenturyboomincarownership

hasbroadenedthehorizonsofahugemajorityofthepopulationithasalsohadasignificantdownside,bringingnumerousproblemstothecommunityandtheenvironment.Congestion,pollution,laziness,reducedfitnessandpoorerhealthaswellastherecentlycoinedroadrage.

Theincreasedawarenessoftheseissueshasencouragedmorepeopletoquestiontheirneedforamotorcarandselectalternativeformsoftransportthusreducingtheircarbonfootprint.

Agrowingnumberofpeopleofallagesarebeginningtomakeshorterjourneysbybicycle.Theyusetheirbikestotraveltowork,goshoppingandvisitfriendsaswellasmakingrecreationaljourneys.

Whenconsideringrecreationaldestinationsmanycyclistswilllookfordestinationswhichcaterforthemandprovideadequatesafeandsecurecycleparkingappropriatefortheenvironment.Forthisreasoncycleparkingfacilitiesareamustformuseumsandgallerieslookingtoattractthewiderpublicinanincreasinglycompetitivemarket.

Securityandsafetytendtobeuppermostincyclists’mindswhenleavingtheirmounts–youmustgivethemtheabilitytolocktheirbikestoarackorstandwhichwillbothsupportandsecureiteasily.Considerationshouldbegiventothepositioningofanycycleparkingareatoreducethepotentialfor

theftanddamagebyopportunistthieves,aswellasprovidingadequateaccessforthemtoparkandretrievetheirbike.

TheCycleRaxrangeofcycleparkingproductshasbeendesignedtocoveranextensivespectrumofrequirements–environmental,safety,securityandeconomic.Thesheltersaredesignedtocomplementanylocation,providinganuptodate,stylishsolutiontosafeandsecurestorageandweatherprotection.

CycleRaxofferanassortmentoftraditionalstands,aswellasmodernalternatives,tosuitawidevarietyofuses.Theyareavailableingalvanizedandpowdercoatedfinishesaswellasstainlesssteel.

Awidevarietyofverticalandhorizontal,spacesavingcycleracksareavailabletosuiteverycycleandlocation.Theyaredesignedandmanufacturedtomeettoday’schallengingenvironment.Highsecuritylockers,withamodeltosuitanyinstallation,areavailableinverticalorhorizontalversionswithalternativelockingsystems,visionpanelsandmaterials.

CycleRaxcanalsoassistinthedesignofcycleparkingareastoensureoptimaluseofthespaceavailableaswellassafeandsecureparkingforthepeaceofmindofcyclists.

ForfurtherinformationcontactCycleRaxLimitedbyemailatservice@cyclerax.com,telephoneon01709382170,faxon01709480555,visitwww.cyclerax.comorwritetoThornbank,38MoorgateRoad,RotherhamS605QZ.q

A bank of three cycle lockers at Rotherham’s Clifton Park Museum


Sustainability in practiceGreen case study: Killhope – The North of EnglandLead Mining Museum

n Duringitsheydayinthe1870sParkLevelmineatKillhopewasoneoftherichestleadminesinBritain.NowthesiteisamuseummanagedbyDurhamCountyCounciland

employingupto35staff,manypart-time.HelenMarritt,anadministrativeofficeratthemuseum,isalsoitsgreenchampion.When

shejoinedsixyearsagoherpersonalinterestinsustainabilitymadeherdeterminedtogreenthemuseum.Thatroleisnowpartofherjobdescriptionandsheemphasisestheimportanceofgettingstaffinvolved:“Themovetogreenerbehaviourhasbeenarealsourceofprideamongstaffandthey’realsoapplyingwhatthey’velearntathometoo.”

Kilhopenowhas:•Agreenpolicy,adaptedfromthecouncil’ssustainabilitypolicy,containingtenpractical•objectivesforstaffandvisitors•Inductionpacksandtrainingaboutsustainabilityforstaff•AccreditationundertheGreenTourismBusinessScheme•Agreenteamofstaffmembers

Themuseumencouragesvisitorstobegreenerwith:•A‘greendiscount’of10percentoffadmissionforvisitorswhowalk,cycleorusepublic•transport•A‘lunch-boxchallenge’togetschoolgroupstothinkabouttheresourcesandwaste•involvedintheirpackedlunches–withasmallprizefortheschoolthatgeneratesthe•leastamountof non-recyclablewaste•Acarbon-offsetschemesovisitorswhoarrivebycarcan contributetothecostof•restoringlocalpeatlands•Anoticeboardattheentrancedisplayingthemuseum’sgreenpolicyandinformationon•itsaimsandachievements•Agreennewsletterforvisitors

Themuseumisalsoworkingonthesocialandeconomicaspectsofsustainability.Aswellasemployinglocalpeople,ithelpsyoungpeopleacquiretheskillsneededtofindemployment.Ituseslocalfoodforitscaféandsellslocalgoodsintheshopwhereverpossible–anapproach,saysMarritt,thatsometimeshastobedefendedagainstthecouncil’sprocurementprocedures.

Marritt’sadvicetoothersisnottogetcomplacentaboutachievements,tokeepthepressureupandconstantlylookforwaystoimprove.q


The Structure ofPaintings

n Paintingswere,andstillare,generallyconstructedoneithercanvasorwoodpanelcoveredwithaplaster-based

groundlayer,uponwhichthedrawingandpaintisapplied.Thismightbefollowedwithfinepaintedglazes.Later,anumberofmonthsafterthepaintingwascompleted,itmighthavebeengivenatleastonecoatofaresinbasedvarnish,notnecessarilybytheartist.Thisvarnishgaveanenrichedappearancetothecoloursofthedriedpaintandhelpedtoprotectthepaintsurface.

Unfortunately,theresinvarnishusedtraditionallyispronetodiscolourationovertheyears,eventotheextentofdisguisingordiffusingthetruecoloursofthepaintbeneath.Addedtothisproblemistheaccumulationofdirtingrainingitselfwithinthesurfaceofthevarnish.

Withage,thepaintandvarnishdevelopfinecrazingorcracks,notalwaysvisibletothenakedeye.Thecanvas,being

hygroscopic,willabsorbmoisturefromtheairanddryoutrepeatedly,graduallyshrinkingovermanyyearsandsometimescausingthepainttocrackmoreseriously.Dirtcanbecomeembeddedbetweenthecrackscausingthepainttolift.Thisdryingoutprocessismoreprominentinwarm,centrallyheatedatmospheres.

Theamountofsubsequentflakingdependsonthequalityofthecanvasandthepreparationusedintheconstructionofthegroundlayersbutperhapsmoreparticularlyontheenvironmentalconditionsthepaintingissubjectedto.

Thefirstchallengeforanyonechargedwithresponsibilityforapainting–betheyowner,curatororconservator–ishowtokeepthepaintinginconduciveconditions,thatistosay,awayfromharmfulsunlight,dustanddamp,whilealsoensuringtheatmospheredoesn’tbecometoodry.

ConservationWecareforpaintingsfrominitialcleaning,repairandessential

treatmenttoconsolidationofflakingpaintincludingliningandnecessaryretouching.Advice,examinations,conservationandrestorationworkisregularlycarriedoutforMuseumsandGalleries,StatelyHomes,Churches,AuctionHouses,LocalAuthorities,FineArtInsurers,LossAdjustersandPrivateClients.Regardlessofqualityorvalue,nopaintingorpaintworkisbeyondconsideration.

Photographsanddetailedreportsarepreparedduringthework,ensuringethicalguidelinesarefollowedandrecordedateverystage.Allworkisassessed,recordedandcarriedouttoMuseumStandardsusinghighqualityreversibleandremovablematerialsanduptodatetechniques.Wherenecessary,microscopic,x-ray,infra-redandchemicalanalysisareusedtosupportexaminationpriortoanywork.

FrancisDowningalsoworksasaForensicConservatorandinvestigator.Withgreaterinterestincollectingandinvestingintheartmarket,arttheftanddeceptionisontheincrease.Theftofbothsmallandlargeitemshasbecomeprolificandorganised.Consequentlysupport,helpandadviceneedstobeavailableforinvestment,preservation,securityandrecoveryofartwhennecessary.

Unfortunatelyforgeryisnotoftennoticeduntiltoolateandsuchdeceptionisrarelyregardedwithsufficientinteresttowarranttracingandexposingtheoriginalsource.Signaturesarealtered,addedorremovedinattemptstoincreasevaluebuteventuallywithsignificantlosstotheinvestor.

Basicassessmentandanalyticalworkcangenerallybecarriedoutonsite,soasimplephonecallwillensureaswiftresponseandasubsequentreport.

For a free, no obligation examination, assessment and estimate, whether at the studio or on site, contact Francis Downing, AIFCA, 01423 886962, email [email protected] or visit the website www.francisdowning.com.q

by Francis W Downing, AIFCA


Finding conservators using the Conservation Registern Apassionformuseumsandartissomethingshared

byreadersofMuseumsandGalleriesandmembersofIcon,theInstituteofConservation.AsthelargestorganisationforconservatorsandrestorersintheUK,Iconiscommittedtohelpingeveryonewithaninterestinthecareandconservationofheritage.Oneofthewaysthisisachievedisbyhelpingpeoplefindexperiencedandqualifiedconservatorstoworkinmuseumsandgalleries.Itcansometimesbedifficulttofindconservatorsworkingincertainnichedisciplines,andeveninbetterserveddisciplinessuchasstainedglassitcanbedifficulttofindsomeonewiththeconservationapproachandskillrequiredbyorganisationssuchastheMuseumsAssociation,EnglishHeritageandtheHeritageLotteryFund.

TheConservationRegisterisalistofbusinesseswhichcanbesearchedbythetypeofworktobeundertakenandlocation.Itssearchfunctionsaredesignedtoproducealistofbusinessesshowingthosethatareclosesttotheareayouhavesearchedatthetopofthelist.Thismeansthatyouwillalwaysbeabletofindsomeonetohelpyou.EachofthebusinessesincludedintheRegisterhashadtoprovideextensiveinformationinsupportoftheirlisting,mostofwhichisavailabletopeoplesearchingtheRegisterwhocanbuildupagoodpictureoftheservicesonofferbeforegettingintouch.Thisdepthofinformationdistinguishesthe

ConservationRegisterfromotherdirectories.Requiringstandardsofprofessionalaccreditation,theConservationRegisteralsoshowsdescriptionsofworkrecentlyundertakenbyeachbusiness.Theseprojectdescriptionsareregularlyrenewedandeachhasbeenreferencedbytheclientforwhomtheworkwasundertaken.

Attheverybestoflevelsistheexpertontheregister.Heorsheseestheoverall‘picture’andhowindividualactionsfitwithinit,dealingwithcomplexsituationsholisticallyanddecision-makingmoreconfidently.Theyareabletotakefullresponsibilityfortheirownworkandthatofotherswhereapplicable.Fullyacceptablestandardsareachievedroutinely.Depthofunderstandingofdisciplineandareaofpracticearealsonaturalassets.

TheexamplesofworkprovideafascinatinginsightintotheworkcarriedoutbytheConservationRegisterbusinessesandrangefromtheconservationofanarsondamagedcoatofarms,conditionsurveysofstainedglass,throughtocleaningofpaintingsandconservationofsculpture.Iconregisteredconservatorsreceivecompletedreferencesfromclients.Thecommentsreceivedandthetrustandrelationshipsbuiltupbetweenclientandconservatorprovidereassuringreadingforexistingandfuturecustomers.

SomefineexamplesofthisworkarefeaturedinthisconservationsectionofMuseums and Galleriesandthecompaniesconcernedwillbemorethanhappytotakeyourenquiriesforfurtherinformation.


Finding conservators using the Conservation Register

Asaregisteredcharity,IconprovidestheConservationRegisterservicefreeofcharge.ItispartoftheworkIconundertakestoraisestandardsinconservationandraiseawarenessofthebenefitsofusingaccreditedconservators.Iconalsorunsaseriesofwork-basedtrainingschemestoincreasethefundofskillsandknowledgeinconservation.TousetheConservationRegisterpleasevisit:www.conservationregister.com.

Welcomingindividualsandorganisationsfromallbackgroundswhoidentifywiththeconservationandpreservationofourculturalheritage,Iconhasadynamicandenthusiasticmembershipofbothprofessionalconservatorsandpeopleinterestedinconservation.MembershipgroupsarethemainhuboftheInstitute’sactivityandspanspecialistinterestsfromstoneandstainedglasstotextilesandmetals.Iconnowhasintheregionof20ofthesemembergroupsallofwhichregularlyruneventsandprovideopportunitiesforpeopletomeetandexchangeideas.

Speaking up for conservationScienceandheritage,protectingandpreservingourheritage,caring

forourcollectionsandtheNationalLotteryaresomeofthetopicsonwhichIconhassubmittedconsultationresponsesandgivenevidenceovertheyears.Forconservationtoflourishitisvitallyimportantthatpublicpoliciestakeaccountofitspriorities,andthatpublicfundingflowstowardsitsneeds.MuchconservationtakesplacewithinthepublicsectorandasignificantshareoftheworkundertakenbyindependentconservatorsiscommissionedeitherbypublicbodiesormajornationalorganisationssuchasTheNationalTrust.MakingthecaseforconservationisthusakeyroleforIcontofulfil.

Professional accreditationIconalsoworkshardtoraisestandardsinconservationand

increaseunderstandingofconservationamongstthewiderpublic.Thisisarigorouspeerreviewprocessthroughwhichconservatorsdemonstratethattheyhavedeeptechnicalknowledgeoftheirsubject,significantexperienceandtheabilitytomakesoundandethicaljudgementswhenpresentedwithcomplexconservationproblems.AccreditedconservatorscanberecognisedbythelettersACR.

New ‘Care and conservation…’ guidanceTheConservationRegisterwebsitecannotonlyputyouin

touchwithconservatorsbut,thankstoagrantfromTheRoyalCommissionfortheExhibitionfor1851,itnowalsoincludesarange

ofinformationonthecareandconservationofdifferentobjectsandmaterials.Thishelpsindividualownersandcustodianslookafterawiderangeoftheitemsintheircare.Amongstthesubjectscoveredarecarvedstonework,stainedglassandarchitecturalironwork.Ineachcasetheguidanceoutlineswhatcangowrong,whatindividualscandotopreventdamageandslowdeterioration,andgivesexamplesofinstancesinwhichitisbesttoconsultaprofessionalconservator.Seewww.conservationregister.com/caring.asp.

HLF Training Bursaries schemeBackin2006,Iconwasgranted£1millionbytheHeritageLottery

Fundtowardsthecostofdeliveringanewinternshipschemeinconservation.Upto60conservatorshavelaunchedtheircareersthroughthisrouteoverfouryears-helpingtoaddresstheshortageofconservationskillsacrosstheUKandincreasethenumberoftrainedconservatorsandconservationscientists.Theschemeoffersnewopportunitiesforthosewithoutconventionalconservationtrainingtoentertheworkforce.Italsohelpstobridgethegapbetweentrainingandfirstjobfornewconservationgraduates.

ForfurtherinformationonthefullrangeofIconactivitiesandevents,pleasevisitwww.icon.org.uk.q

A portrait of Lady Stafford before and after restoration, by Francis W Downing


Maintaining and improvinghigh standardsby SIMON PADFIELD FBAPCR of J H Cooke & Sons.

n Whentheobviousrouteshaven’tworked–personalcontact,therecommendationofacolleague–wheredoesanowner

orcustodianofeaselpaintingsturnwithconfidence?Itispossibletoleavetheweedingoutoflesssuitableorqualifiedrestorerstoalong-standinginstitutionwithexpertmembers.

TheBritishAssociationofPaintingsConservator-Restorers(BAPCR)wasfoundedin1943to‘maintainandimprovehighstandardsinthetrainingandpracticeoftheprofession’.SincethenithasrestrictedevenitsmostbasiclevelofmembershiptopractisingrestorersandforhalfacenturyhasbeenevolvingandimprovingtheaccreditationsystemforitsFellowship.

Duetothehighlyindividualandcomplexcharacterofeachpainting,applicantsforFellowshipareexpectedtohavesevenyears’experienceoffull-timepaintingsconservationbeforetheycanapply.Thisistogivetimeforthemtohavemetwithalargenumberofpictures,foritisthroughimmersioninacontinuallychangingstreamofpracticalexperiencesthatthedeepestsortofunderstandingcanbegained.

Unusually,candidatesforFellowshiparestillexaminedinperson,intheirworkplaces,withthetestpiecesandattendantdocumentationlaidoutbeforethembyspeciallyselectedFellowsfromtheBAPCR–thatis,experiencedpaintingsconservators.

Candidatesareencouragedtoshowawiderangeofproblemswithinthesetestpicturesand,attheveryleast,examplesshouldappearoftwoimportantareasofdifficulty.Thereshouldbesomeevidencethattheyhavedealtsuccessfullywithadifficultcleaningproblem–forexampleahardintractablevarnishandsomeareasofagedoil-paintretouchings–aswellasafairlydamagedpaintingwhichshouldgiveanindicationthatacandidatecanovercometheproblemsofaworn,crackedsurfacewithsomesignificantlossestocomplicatedareas.

AstheFellowshiptesthasevolvedsincethemiddleofthelastcentury,candidatesmustnowalsoshowthattheyworkinastraightforwardandprofessionalmanner,whetherrelatingtorecord-keepingandhealthandsafety,orsecurityandinsurance.Infact,theexamisnowdesignedtocoverallaspectsofmodernpractice.Fellowsshouldbeabletogiveaclearpictureofwhatisrequired,whatispossible,atimescalefortheworkandanestimateofallcharges.AclienthasthefurthersafeguardoftheBAPCRinthebackgroundwiththepowertodisciplineFellowsincaseofanydispute.

ThecorpusofFellowstheBAPCRhasbuiltuparethuscapableoftakingonthewidestrangeofeaselpaintingworkandthenamesandcontactdetailsofFellowsnearbyareregularlygiventooutsideenquirers.Fellowshipisalsoacceptedasahighstandardbyotherinstitutions.ICONacceptsitasoneofagroupofqualificationsthatallowconservationpracticestojointheonlinedatabaseofpractitioners,theConservationRegister.

Manyeminentconservator-restorershavebeen,andare,Fellowsincludingthoseinprivatepracticewhohaveworkedforclientsallovertheworld,headsofdepartmentinnationalmuseumsandgalleriesandseniorstafffromtrainingcoursesbothhereandabroad.

Moregenerally,fromtheBAPCR’spointofview,Fellowshiphasalsobeenanentréetoanyonewantingtohelpwiththemechanics

oftheassociation–Fellowscanbecomeexaminingmembersofthegoverningcouncilaswellasholdingoffice,andareregularlyheardasspeakersattheBAPCR’seveningmeetingsinBloomsbury.ThroughBAPCR’sactivities–meetings,annualconferences,studiovisitsandofcourseourmagazineThe Picture Restorer–FellowsareabletosustaintheCPD(continuingprofessionaldevelopment)insistedonbyallprofessionalbodies.

AlthoughworkingpracticesamongstFellowscanvary–sometimesdependingonwhereandwhentheytrained–thisconstantcontact,asortofmelting-potofideas,isalwaysavailableformembers.

Withthislong-standinghighlyevolvedaccreditationsystem–runbypractitionerswhoworkinthrivingprivatepracticesorgallerydepartments,andwho,bytheircontinuingmembershipofBAPCRformacoherentandforward-lookingcommunity–contactingtheBAPCRisanexcellentstartingpointforanyonewantingtocommissionconservationq



Nelson’s Chair– a conservation victoryn Furniturethatismadepartiallyofleather

canoftengetarawdealwhenitcomestoitspreservation.

Whilethewoodencarcasswill–hopefully!–beplacedinthehandsofaqualifiedfurnitureconservator,theclientmaynotbeasawareofthenecessitytohavetheleathercaredforbyequallyqualifiedprofessionals.

Fortunately,RichardNoyce,CuratorattheRoyalNavalMuseumatPortsmouth’sHistoricDockyard,knewwhotocontactwhenaveryspecialpieceofhistorywasdonatedtothemuseum.HecontactedTheLeatherConservationCentreinNorthampton.

ThedaybedusedbyAdmiralNelson,whenhewasonboardHMSVictory,arrivedinaverysadstate.Theleatherchairandstoolhadextensiveareasofdamage.Onesidehadsufferedfromatreatmentwheretheoriginalleatherhadbeenremoved.New,inappropriateleatherhadbeenattachedtothesideofthechairwithtackswhichwerevisible,aswerethecutedgesofthenewleather.Theoriginalleatherpieceshadthenbeenstuckdownontothenewleatherwithanadhesivewhichwasnowhardandbrittleandwhichhadfurtherdamagedtheoriginalleather.

Thecutedgesofthenewleathershowedthatachrometannedleatherhadbeenused,ratherthanavegetabletannedleatherastheoriginal.However,theremovalofthisrestorationmayhavecausedconsiderabledamagetotheoriginalleather.Itwasthereforedecidedtoleavethissideasitwasandconservetheothersidewhichwasbadlydamagedwithseveralloosepiecesofleatherandlargeareasofloss.

YvetteFletcher,HeadofConservationandanAccreditedConservatorattheLeatherConservationCentrecarriedoutthework.ThechallengeforYvettewastoreattachthenumerousbrokenpiecesofleatherintheircorrectposition.Thisinvolveddetaileddocumentationandextensiveteststofindthecorrectmaterialsandmethods.Thematerialshadtogivepropersupporttotheoriginalleather,infillareasoflossandmakethedamagedareastoneinvisuallywiththerestofthechair.Inthiscase,differenttreatmentswereneededfordifferentpartsofthechair.

“Thereweremanypiecesofleatherthathadbrokenawayandhadslippeddownthesideofthechair,”saidYvette.“Thesepieceswereattachedtothenewarchivalquality,vegetable

tannedleather,whichIhaddyed.Ithencreatedafinishonthenewleatherthatmatchedtheoriginal.Conservationgrade,reversibleadhesivewasusedtoadherethepatches.ButfirstIhadtobesuretheywereintherightplaceandcorrectlyaligned–abitlikedoingajigsawpuzzlewhenallthepiecesareblack.“

Thetreatmenthasvisuallymadethedaybedlookwholebuthasfollowedtheethicsofconservation.Moreimportantly,ithaspreventedfurtherlossanddamagetotheoriginalleather.

Conservationisoftendescribedasaraceagainsttime.Theaimistoslowdowntheprocessofdeteriorationsothatobjectscanbeenjoyedandunderstoodlongintothefuture.Atitssimplest,thiscanmeanensuringobjectsarekeptinthecorrectenvironment–temperature,humidityandlightlevels–butoftenitcanmeanextensivescientificexaminationandtreatment.

Conservatorsaimtokeepasmuchoftheoriginalaspossible.Nothingisremoved,unlessitiscausingdamage,andnewmaterialsareonlyaddedto:

•Supportfragileareasoftheoriginal•Tofillinareasthatarelost(butwouldnot

bemisinterpretedaspartoftheoriginal)•Toaidinterpretation–forexampleacoffee

mugwithnohandlemaybeseenasavaseConservationisascience-basedprofession

requiringanunderstandingofthematerialsthatareused,howthesematerialsdeteriorateandthehistorictechnologyoftheobject’smanufacture.Theuseofchemicalsandtheirinteractionwiththematerialsalsohastobeunderstood.Butalongsidethisscienceistheabilitytodothehands-onwork,sothatthetreatmentmakestheobjectlookwhole.

Everyprojecthastobeseenasauniqueproblem.Eveniftwoobjectslookthesame,theymayneedverydifferenttreatments.

Thewords‘restore’and‘restoration’areoftenusedincorrectlyinthemediabecausethemediaandthe‘antiqueexperts’(i.e.dealers)donotappreciatethemajordifferencesbetweenconservationandrestorationnortheextensiveacademictrainingconservationrequires.

Itisveryrarethatanobjectcanbemadetolookbrandnew–oftenerroneouslyconveyedinthedreadedphrase‘restoredtoitsformerglory’–becausetheworkinvolvedwouldmeantoomuchinterventiontotheoriginal

material,andpossibledamageorremovalofportionsoftheobject.Also,toomanyguesseswouldhavetobemadeastooriginalcolour,shape,design–i.e.someonewouldbechanginghistory.

TheLeatherConservationCentrecarriesouttreatmentsonawiderangeofleatherobjectsincludingbooks,fashionaccessories,cars,carriagesandarchitecturalfeatures.Theirinternationalclientbaseincludesmuseums,historichouses,corporationsandprivatecommissions.Itisamajorcentrenotonlyforconservationbutalsoeducationandresearch.

TheyarelocatedatUniversityCampus,BoughtonGreenRoad,NorthamptonNN27AN.Theirwebsiteiswww.leatherconservation.org.q

Admiral Nelson’s Chair before...

during – realigning the leather fragments...

and after conservation.



A Victorian treasure finally preservedn ThisVictorianmasterpiecemeasuring3mby4.5misoneofthe

largestoilpaintingsinManchesterand,despitethebesteffortsofgenerationsofrestorers,ithaslanguishedunseenforoveronehundredandfiftyyears–untilnowwhereitcanbeseenatManchesterArtGallery.

‘TheSirens’wasexhibitedattheRoyalAcademyofArtin1837.Itwasboughtunseenfor£250byDanielGrant,aMancuniancottonmerchant.Soonafter,GrantgavethepaintingtohisbrotherWilliam,whoin1839presentedittoManchesterArtGallery.SadlythepaintingbegantodecaysoonafteritwascompletedduetoEtty’sexperimentalpaintingtechniquesandhehadtoberecalledtorepaintlostpiecesthathadfallenaway.In1857itwasexhibitedintheArtTreasuresoftheUnitedKingdomatOldTraffordinManchesterandsoonafterwasputintolongtermstorage,asitsconditionwastoopoorforittobedisplayedanylonger.Sincethenseveralattemptshavebeenmadetoconsolidatethepaintingtopreventfurtherdeterioration.Inthe1980’sthepaintingwasbroughtoutofstorageandclearedofdiscolouredvarnishesandoldrestorations.DuetoGallerycommitmentstheprojectwasputonholdandthepaintingwasreturnedtostorage.Whenconservationstaffexamineditin2003,theyrealisedthatifnothingwasdone,Etty’smasterpiecewouldsoonbebeyondrepair.Finallyin2005,withfundingfromtheEsmeeFairburnFoundationandAxaArtInsurance,thecampaigntorescue‘TheSirensandUlysses’waslaunched.

JuliaDalzellACRFBAPCRwasemployedbyManchesterCityGalleriestoleadthisambitiousconservationproject,toconserveandstabilisethepaintingreadyforitsrestorationphasethatwastotakeplaceintheGallery,alsocoincidingwiththeArtTreasuresExhibitionin2007.

“Itwasaprojectnotforthefainthearted!”saidJulia.“Thepaintingwaslyingfacedownonthetablehavinga1930’sglueliningremovedwhenIarrived.13.5squaremetres,thatinitselftookoverayeartocomplete!Itthenhadtobeturnedoverbeforeitcouldbere-lined,butpaintandgroundlayershadbecomedetachedfromthecanvassupport.Amelinexenvelopewascreatedarounditandwiththeairvacuumedoutofthe‘parcel’itwasturnedover.TimingoftheprojectwascrucialandhadtobemeticulouslyplannedtofitinwiththebusyscheduleoftheGallery”. q


The conservation-restorationof furniture – how it all started

By MICHAEL BARRINGTONCEO BAFRA

nTheBritishAntiqueFurnitureRestorers’AssociationwasbornatWestDeanCollege,WestSussexin1979whenstudentsona12

monthfurniturerestorationcourseresolvedtoaddressthedamagebeingdonetoantiquefurniturebyrestorersinafastgrowingantiquesmarket.FortunatelythisambitionattractedthesupportoftheBritishAntiqueDealersAssociation(BADA)whowerealreadysponsorsofWestDean’scourse.Theteachingonthatyear’scoursewasexcellentandcarriedoutbyasmallteamofexperienced‘restorers’.Twofundamentalprinciplesinfluencedthewaythecoursesweredesigned–talentandexperience.

Atthispointitisworthrememberingthatfurnitureandotherrestorationskillsoriginatedamongst‘collectors’intheearly18thCentury.Therestorationtradehadaverypoorstartandwaspredominantlycarriedoutbycabinetmakersorwoodworkerswithlittleornoknowledgeoftheoriginandsurfacefinishesoftheobjectstheyworkedon.Thedamagingfashionfor‘changeofuse’developedatthesame

timetogetherwithchangesindecorationsuchasfixingshortcurtainsalongthebasesoffurnituretohidethelegs–inthesamewayaswomenworelongskirts!Anotherlater‘fashion’wastheebonisingofshowsurfacestomarkpublicmourningofthedeathsofPrinceAlbertandlaterQueenVictoria.AmoremodernformoffurnituredesecrationisalteringcabinetfurnituretohousetheTVset.

Talent and ExperienceUnpopulartoday,butneverthelesstacitlyrecognisedintheeducation

world,istheideathat‘talentisinbornandcannotbetaught–itcanonlybedevelopedorimproved’.Forconservationandrestorationinanyfield,butparticularlythe‘moveableheritage’ofwhichfurnitureformsahugepart,anaturalaffinityinhandskillsisvitalandwithoutitapotentialstudentwillfail.Peopleknowveryearlyintheirliveswhethertheyhavenaturalhandskillsandtendtodeveloprelatedhobbiesoractivitiessuchasmodelmaking,carpentry,potteryandneedlework.Oftentheseskillsareaccompaniedbyartistictalentofvaryingdegree.Althoughhandskilldevelopmentdoesnotfeatureasstronglytodayasitdid30yearsago,determinedstudentscanusuallygethelpanddeveloptheirnaturalskillsfromanearlyage.

Withregardto‘experience’,TheWestDeancourseusedtorequire


entrantstotakeapracticalassessmentbeforebeingacceptedandsomeofthetasksgiven,allwoodwork,wereverychallenging.Candidatesknewwhattheywerefacingand,iftheyhadnoexperienceinwoodwork,theymadesurethatbythetimeoftheassessmenttheyhadenoughtomeetthechallenge.Thisprocessensuredthatonlytalentedandwellmotivatedpeoplejoinedanddidnotwastetheirownandtheirtutors’timelearningandteachingbasichandskills.Thatprocesswentonforseveralyearsbutwasabandonedastheexperienceandqualitiesofprospectivestudentschanged.BritainsharedthatsystemwithcertainlyGermanyandmaybeothercountries,someofwhomcontinueditsuseforlonger.

NootherteachingestablishmentsinBritain,exceptperhapsfortheoldLondonCollegeofFurniture,usedthisrigorousselectionprocessanditsoonbecameclearthatourcollegesneededallthestudentstheycould–tofundcoursesandpayforthebestteacher-craftsmen–andsocouldnotaffordto‘test’courseapplicants.Theresultwas,andstillis,thatmanygraduatesleavewithouttheessentialnaturalhandskills.

Inthelate1990stherewereatleastadozencollegesinBritainrunningfurniturerestorationcoursesbasedoncentrallysetstandards.TwelveofthembecameaffiliatedwithBAFRAprovidinganimportantpartnershipforteachingstandardsandprogrammes.TheNVQsystemwasnot,andisstillnot,regardedbyBAFRAasanadequateskillsandexperiencemarker.SadlytherearenowonlyfourcollegesrunningthesecoursesleftinEnglandandtwoinScotland,althoughsomeprivateenterprisesdorunpopularcourses.Anaturalresulthasbeenthatpeopleseekingtojointheprofessionaretakingupquasi-apprenticeshipswithBAFRAFullMembers.BAFRAhasdevelopedahighqualitytrainingschemeforitsAssociateMemberslookingtowardsaccreditation.

FromtheveryearlydaysBAFRAhasdevelopedarigorousassessmentsystemforitsFull(Accredited)Members.Oftenoursystem

isreferredtoasbeing‘toooldfashioned’butweareconstantlytoldbythepublic,andindeedthemuseumcommunity,nottolessenourstandardsbuttostrivetoimprovethem.Wehaveseveralothermembershipcategoriescoveringoverseas,retired,student,graduateandcollegeteachingmembersandalsoalongstandingandverysupportivegroupofBAFRAFriendsstartedbyJohnBly,ourone-timePatronandahighlyrespectedmemberoftheantiquefurnituredealers’trade.

What can our Members do?OnecharacteristicofBAFRAmembershipisthewidevarietyof

‘additionalskills’practisedbyFullMembersandlistedinourannualdirectory.Theadditionalskillslistislonganddiversecoveringskillssuchaskeyboardinstruments,textileconservation,marble,metalwork,upholstery,painting,graining,carving,gilding,religiousartefacts,marquetry,orientallacquer,japanning,barometers,clockworkofmanytypesandmarinemodels.BAFRAalsohasseveralgroupsofAccreditedSpecialistMemberswholimittheirworktoareassuchasmechanicalmusicandcarpetconservation.Newspecialismsrelatedtofurnituremaybeaddedasandwhentheyariseandtheassessmentdetailforeachisconfirmedandrefinedwiththehelpofthefirstspecialistineacharea.

Intheearly1980sBAFRAwasinvitedtobecomethefurnitureandwoodworkspecialistsectionoftheUnitedKingdomInstituteforConservation(UKIC)–nowcalledTheInstituteforConservationandaregisteredcharity.ForpurelyfinancialreasonsarisingfromchangesinCharityLawandtheneedtomaintaincontroloverourownfinanceswedidnotremainwithICON.BAFRAwasnottheonlyspecialistsectionwhichtookthisstep.

ICON’sProfessionalAccreditationforConservator-Restorers(PACR)wasinpartdesignedbytwoBAFRAmembersandourAssessmentCriteriaarestillacceptedasequivalenttoPACR.ICONownsandrunsTheConservationRegister–alargegroupofAccreditedConservator-Restorersinarangeofskills–andmostBAFRAAccreditedMembersfeatureontheRegister.

ThereisalargeamountofinformationontheBAFRAwebsitewww.bafra.org.ukincludingpapersonvariousaspectsofconservation-restoration,aninterestingpublicforumandnotesonBAFRAevents.CallstoBAFRAHeadOffice01305854822andemailheadoffice@bafra.org.ukarealwayswelcomed.q

Many projects entrusted to Full and Specialist members are very unusual. To list a few: An 18th Century Hurdy Gurdy (left), an Arts and Crafts Church Communion Table by W R Lethaby, a Hindu God’s Horse, The Master’s and Wardens’ Throne & Chairs from the United Grand Lodge of England (below), a disc musical box and The Grand Staircase in The Royal Institute of Great Britain

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