I am a self-employed conservator with forty years of experience in museum and galleries, archaeological and private practice. From 1984 to 1992 I practiced as a self-employed conservator in Australia and the UK. I joined the Conservation Department at the Victoria and Albert Museum for ten years as a full-time senior sculpture conservator, from 1992 to 2002. I returned to private practice in 2002. From 2010 to 2020 I taught a yearly practical workshop, The Filling and Retouching of Three-dimensional Objects, for students of the conservation course at City and Guilds of London Art School.
My main specialism can be summed up as polychrome surfaces on three-dimensional objects, in architectural settings and archaeological sites. My favourite skill is uncovering of overpainted polychrome schemes. Where relevant, I support my conservation treatment by microscopic identification of pigments and cross sections.
Some of my projects are carried out with my husband, Greg Howarth ACR, who is an easel paintings, wall paintings and polychrome specialist. His profile is also listed on this Conservation Register. Occasionally I join teams of conservators on large-scale projects as an assistant to the lead conservator.
My clients include institutions, such as the Tate Gallery, Historic Royal Palaces, The Church of England, Egypt Exploration Society or The Royal Academy of Music, as well as private clients. As a sculpture conservation consultant for the Tate since 2003 I support permanent staff in installation and de-installation of exhibitions, condition assessment of sculptures and carrying out conservation treatment.
My archaeological conservation experience comes from working on sites in Sakkara and Luxor in Egypt, and Usli and Kurru in North Sudan. Most of these projects are part of ongoing missions run by the Czech Institute of Egyptology based in Prague, Czech Republic, others are participation in Egyptian or American expeditions.
Treatment of polychrome sculpture
This is a specialism dating back to my Victoria and Albert Museum 10-year employment as a senior sculpture conservator. I treat polychrome schemes on wood, stone, plaster and terracotta surfaces, as well as other materials, such as ivory.
Treatment of wall paintings
I have treated wall paintings dating from the Old Kingdom in Egypt to contemporary. Original techniques I have conserved range from under bound secco and fresco techniques, to oil paintings on plaster and contemporary paintings in acrylic and mixed media.
Microscopy
I support my treatments of polychrome schemes on various substrates by microscopic identification of pigments and cross sections, using transmitted and polarised light, as well as UV light.
Archaeological conservation
I have worked as a member of archaeological teams in Egypt and Sudan from 2004. My main duties include treatments on site during live excavations, as well treatment of objects in museum and site storage. The treated objects vary from wall paintings in tombs, to stone reliefs and sculptures, as well as a range of other archaeological materials, such as wood, ceramic, linen, bone or metal. Additionally, I improve packing and storage of treated objects, and advise on environmental conditions and monitoring.
Burmese Buddha
Madonna and Child
Processional Cross
Detail of uncovered wall painting in the Wolseley Room, Banqueting House
Uncovering of polychrome scheme on wooden coffer ceiling in the Hall of Banqueting House, dating to 17th century
1860s limestone and polychrome reredos in St Augustine Church, Kilburn, London
One of two late 18th century limestone urns
Nottingham alabaster with fragments of polychrome
Nefertiti bust
Egyptian coffin, Ptolemaic
Statuette of Fanny Elssler
Model made from “Modurit”
Abstract sculpture by Olga Jevric
Pema Lingpa sculpture
Biography
Alexandra Kosinova ACR
I am a self-employed conservator with forty years of experience in museum and galleries, archaeological and private practice. From 1984 to 1992 I practiced as a self-employed conservator in Australia and the UK. I joined the Conservation Department at the Victoria and Albert Museum for ten years as a full-time senior sculpture conservator, from 1992 to 2002. I returned to private practice in 2002. From 2010 to 2020 I taught a yearly practical workshop, The Filling and Retouching of Three-dimensional Objects, for students of the conservation course at City and Guilds of London Art School.
Client Testimonials
Alexandra has worked as a freelance contractor at Tate for many years and I have worked with her for the last four. Alexandra's wide range of experience of historic and contemporary materials and art brings a wealth of knowledge and skills to the work required at Tate.
Alexandra works both independently and with the Tate sculpture team, art handlers and curators, she is experienced in discussions, negotiations and can assess the situation and offer up options and solutions. She works alongside teams to install, document and update records for major exhibition installs at Tate Modern and Tate Britain. She has also carried out treatments on artworks and created treatment options and final condition reports.
Alexandra is reliable and consistent with her time management and skill set she offers and I will continue to use her skill set at Tate to support the extensive exhibition programme.
Deborah Cane ACR, FIIC, MA, Dip Cons
Conservation Manager - Sculpture and Installation Art, Tate