Programme

The care of books involves the care of the papermaker (or parchment maker), the printer (scribe or writer), the binder, the publisher or book seller, book owners (past and present), past readers or users and those who will encounter them and interact with them in the future; the researcher, the bibliophile, the librarian or archivist and the conservator. As ‘on-the-ground’ conservation practitioners how do we negotiate this and ensure we care for all when we care for the book?  How do we ensure that the stories of all are preserved? How do we ensure that the human element survives, imperfect and untidy as it might be, that connection through time with the past and those who left their own legacy in that book?  How do we honour all of what it encompasses when we now have responsibility for the care of it and how it will be preserved for the future?   An exploration of the book conservators’ legacy and what it means to care for books in libraries and archives, drawing on learning, practice and influences over the last 40 years.  

A seemingly straight-forward request to look at the contents of Canna House and suggest a methodology for the care of collections during a building project undertaken by the National Trust for Scotland, led to a 5-year project to breathe life back into an unremarkable Victorian villa with an extraordinary legacy. The house and island were owned by the scholars, folklorists and collectors John Campbell and Margret Fay Shaw.  They amassed an historically important collection of recordings, archives and photographs.   The project’s aim was to reinvigorate the house and its contents in a way that protected the collections whilst preserving the unique charm of this Scots Gaelic treasury and quirky family home. Siobhan Stevenson of Legacy Conservation, managed the collections aspects of the project, engaging locals and incorporating student placements to deliver wide-ranging benefits. Siobhan will explore the project’s challenges: from working on a remote Hebridean Island to the issues around project scope, collections significance and the role of conservation.  The project leaves a lasting legacy through the experiences of those involved, as well as the house and its contents as a culturally important asset at the heart of a small, island community.

Conservation and restoration of the architectural ceramics in the entrance foyer and grand stairways of the Morecambe Winter Gardens. A part of the ongoing efforts in collaboration with the MWG Preservation Trust and its many volunteers to bring this once jewel in the crown but abandoned theatre back to its former glory. A story of perseverance and dedication.  Built in 1897 as the Victoria Pavillion, an addition to the other buildings, now demolished, the theatre held a huge audience of 2,500 attracting the greatest stars of the day to perform there until its closure in 1977. A grade 2 listing in the same year prevented the loss of what is undoubtedly one of finest of Victorian theatrical buildings. There was a no expense spared approach to the lavish ceramic decoration in the entrance foyer walls, stairways and mosaic flooring leading into the theatre and the balconies. Designed to impress it was to “make a mill girl feel like a Duchess”.  The theatre and all it represents, is very much a part of the legacy of Morecambe and its former position as destination resort choice. Whilst the ceramic elements represent the pinnacle of the design and production of the period. 

This year the Church of England was awarded nearly £5m over five years for its Conservation Grants Programme. One stream of funding will be directed towards conservation training and skills development in areas of need. Our daily work with cathedrals, dioceses and parishes and conversations with leaders in the heritage sector has identified national skill and knowledge gaps.  The NLHF grant is enabling us to invest in the next generation of conservators.  This paper will explore in more detail the background to the current skills deficit, the bigger picture across the Church of England and ways in which we are addressing this. We will provide an overview of our 5-year project strategy, with different initiatives we are taking forward, and examples of the ways we are collaborating, including fieldwork training, apprenticeships, traineeships and surveys across a range of conservation disciplines.

What can or should be the legacy of an independent conservation studio or conservation practitioner, and how might this differ from that of an institution-based department or role?  What aspects of independent practice can, theoretically or practically, be passed on to the next generation given that much is contained in a studio’s project files or the head (and heart and hands) of the individual conservator? What value might these aspects have to the development of the commercial conservation sector and the wider profession, and what is the best way to ensure a valuable legacy is preserved and remains accessible? These and other questions on the concept of legacy as it applies to private practice will be explored by the author as she contemplates the contribution made by her own business in its 30+ year history, and a not-so-distant future where (perhaps) it no longer exists.

What legacy do we seek to leave to future generations when our careers come to an end?  Wouldn’t it be great to think that future generations of conservators could build on work already done, able to access our observations and knowledge, understand the decisions we have made – and stand on our shoulders. In fifty years’ time would researchers of the 18th century Saloon at Audley End be interested in accessing the report and paint samples I took in 1985? Or my research into a series of private Robert Adam interiors in central London in 2010. Of course they would. Working with English Heritage for 25 years, and subsequently, as private consultant I am required to keep meticulous records of my research process, keep copies of my reports and physical samples. Because I have recorded historic decorative finishes permission is given to remove these finishes, remove elements or even demolish buildings. But there is no provision for the long term storage of my archive, which includes important information on Grade I and Grade II*. This paper looks at this problem, which is common to all conservator, and traces the authors attempts to safeguard 40 years of her research records.

My name is Hannah Harte and as a Conservator-turned-director, I want to open a conversation about the underrepresentation of conservation professionals in senior leadership roles.  Collections are often said to be at the heart of heritage organisations, yet how often do we see Conservators progressing beyond Head of Department roles into Director-level positions? This session will take the form of a two-way conversation or Q&A with an Icon representative (e.g. Patrick Whife or Emma Jhita) and explore leadership, professional identity, and the evolving role of conservation professionals in today’s sector.  Are we held back by external perceptions or internal habits?  What do we gain – or risk losing – when Conservators step into broader leadership roles? We’ll discuss practical realities, from balancing conservation CPD with becoming head of finance, commercial lead, fundraiser, curator, change manager – and leader?  And we’ll ask: how do we continue to represent our profession when tools like ACR are built for practitioners? In small charities especially, where leaders wear many hats, this is a dynamic space to reflect on the challenges, legacy, and opportunities that arise when conservation is not just part of the organisation, but leads it.