Alison Dwyer

13 Aug 2025

As an objects conservator I work with a wide range of objects and materials, as listed in the Specialisms section to the right.

In reality, items can be composed of multiple materials and present a range of issues, so if you do not see your object or specific need listed here, it is always worth getting in touch as I may be able to help, or point you in the right direction if not.

I work in a well-equipped lab space with an x-ray machine, freeze dryer, micro air abrasive, Oddy testing facilities, microscopy and photographic equipment. I can also provide in-situ conservation, up a scaffold or on an archaeology site, for items that cannot be moved. Working closely with clients to understand the context in which items will be used and enjoyed, is a vital part of the process, determining the most suitable treatment options for individual items.

Services include:

Hands-on (remedial) conservation to restore stability or prevent further loss to objects.
Preventive conservation to assess and reduce risk, minimising the need for remedial work.
Materials suitability testing (Oddy testing)
Condition assessments, surveys and reports, tailored to specific needs.
Exhibition and display support, including packing, moving and installation assistance.
Training in collections care, both online and in-person seminars and workshops

Preventive conservation

Where possible, I will always prioritise preventive conservation. Essentially, this is about preventing damage from happening in the first place rather than waiting for it to occur and then having to undertake more costly work to treat it. I can provide advice and support in the following areas:

Environmental monitoring & control (relative humidity, temperature, pollutants)
Light and ultraviolet (UV) monitoring & control
Integrated pest management (IPM)
Storage and packaging methods & materials
Handling

Materials Suitability (Oddy) Testing

I provide accelerated ageing testing, otherwise known as materials suitability or Oddy testing, to determine the suitability of materials (e.g., display case fabrics & seals, mount materials, printed labels) for use near museum objects.

As display and storage materials age over time, some will release emissions which can be damaging to museum objects, causing, e.g., metals to corrode, organic materials to become brittle and plastics and pigments to discolour.

Accelerated ageing tests are undertaken in accordance with the 3 in 1 variation outlined in the British Museum Occasional Paper 11, 1996 ‘Selection of Materials for the Storage or Display of Museum Objects’ (updated to include revisions outlined in IIC, Studies in Conservation, Volume 48 Number 4, 2003 and Volume 63 Number 1, 2018. Minor modifications have also been made in response to Diaz et al ‘Review and Interlaboratory Comparison of the Oddy test Methodology’).

Condition Assessments, Surveys & Reports

I always begin a conservation project with an assessment of an object and its environment. However, there are times when you many need a survey and report as a standalone piece of work, e.g., when:

undertaking a Collections Care Audit to identify areas for improvement in care and preservation
preparing condition documentation for a Loan Agreement, to travel with the object/s
surveying a whole collection for a Museum Move, requiring a concise and structured methodology for assessing a large amount of material
requiring a report for a Funding bid or Faculty application, to include specific information (e.g. Conservation Reports as specified by the Church Buildings Council)
preparing a Specification document for tendering purposes

I can provide a tailored approach to suit your needs, timescale and budget, so do get in touch to discuss options.

Exhibition & Display Support

I offer support for all elements of object handling and display for an exhibition, from appropriately packing objects for transport to physically installing objects within a room or case.

I can also provide assistance with condition surveying of exhibits pre and post exhibition, as well as ensuring suitable environmental parameters and monitoring procedures are in place for, e.g., temperature, relative humidity, light, pollutants, pests & security.

Training

I deliver collections care and conservation training, ranging from practical in-person workshops to online seminars. These can be tailored to provide you or your team with the knowledge and skills to suit your specific needs.

Below is a small selection of training topics available, but do get in touch to discuss your requirements:

Labelling for museum objects
Making bespoke storage boxes or book cradles
Mounting objects, including textiles & works on paper
Object handling & cleaning
Environmental monitoring & control, including integrated pest management (IPM)
Emergency planning & salvage
Creating microclimates for your collection
Hazards in collections

‘Opaltype’- before and after conservation

This 19th century photograph on opaline glass, tinted with watercolour paints, had been shattered into 28 pieces and repaired with a now yellowed, failing adhesive. CMAS was approached to take down the repair, improve on the alignment of the pieces and re-adhere with a conservation-grade adhesive, as well as restore a missing element on the gilded frame. Upgrading the ‘frame package’ to a conservation standard was also undertaken.

St Albans Museums Court Room Coat of Arms- before conservation

This project involved the conservation and replacement of broken and missing stone elements from a Royal Coat of Arms, restoring it to its original appearance. This required limited paint research to identify whether any early or original paint schemes existed, and the creation of a new unicorn horn.

St Albans Museums Court Room Coat of Arms- during conservation

Apart from the broken remains of a replica horn, the unicorn horn was missing. The remaining piece was used, in association with archival research, to establish the size and shape of a replacement, which was modelled, cast and reattached. Then, removal of the disfiguring dust, dirt, thick adhesive and paint accretions was undertaken, using a combination of mechanical means and steam cleaning. Threaded-stainless steel dowels were cut, and inserted into the fractured pieces to ensure strong joins.

St Albans Museums Court Room Coat of Arms-after conservation

The conserved Coat of Arms now takes pride of place in the Court Room of the Grade II* listed St Albans town hall, sympathetically refurbished to house St Albans Museum + Art Gallery.

Assisting a conservation volunteer during the ‘Pickling Project’

This project involved the conservation of St Albans Museums’ fluid specimen collection, previously in a critical condition. I combined improved care of, and access to, the collection, with the training of volunteers and increased awareness of conservation within the museum service, culminating in an exhibition with associated events and activities. The volunteer team was recognised by the Museums + Heritage Awards 2020, being ‘Highly Commended’ in the Volunteer Team of the Year category.

A ‘Pickling Project’ specimen- before and after conservation

Beyond preventive and remedial conservation of the specimens, as seen in this image, I also curated the exhibition, commissioned a film to document the process and planned events and activities to run alongside the exhibition, including a private view to celebrate the success of the project and the fantastic work undertaken by the volunteers (see more at https://www.stalbansmuseums.org.uk/whats-on/pickling-project).

Exhibition Installation ……..

……. and caught in a compromising position!

Sir Richard Lee’s funerary hauberk before conservation

This project involved the conservation of 16th century funerary armour for permanent display in St Albans Museum + Art Gallery. The armour consists of an iron hauberk (mail shirt) and helmet. The main focus of the conservation treatment was to halt the severe, and ongoing, loss of weakened, corroded rings of the hauberk, and to remove a disfiguring waxy surface-coating (non-original) from the helmet.

Undertaking UV investigation and elemental analysis (p-XRF) of Sir Richard Lee’s funerary helmet during conservation

Investigation included X-radiography, to assist in determining manufacturing techniques and condition, and to detect any patterning or decoration. X-ray fluorescence analysis (XRF) was undertaken to investigate if remains of any other materials were present. Sadly, no evidence of further decoration or materials came to light. Removal of a more modern, opaque coating evened the appearance of the surface and revealed the metal surface and texture of the helmet.

Sir Richard Lee’s funerary armour on display after conservation

Richard Lee (1513-1575) was a soldier, engineer and adviser to King Henry VIII, with strong links to St Albans. Following conservation, his funerary armour is now on permanent display in St Albans Museum + Art Gallery.

Assessing accelerated aged, or ‘Oddy tested’, coupons

CMAS undertakes standardised accelerated ageing tests using the ‘3 in 1’ method established at the British Museum. We assist museums, archives, designers, display case manufacturers, and exhibition makers determine the risk that display or storage materials pose to collections by testing for the off gassing of harmful pollutants. Tests can be carried out on a wide range of materials including construction and decorative materials, paints, coatings, printed matter, mounts, textiles and panels.

Silver communion set in case- before and after conservation

This communion set was part of 30 church silver items and associated material, from Mariakirken, Bergen, Norway, that required cleaning, tarnish removal and other treatments. The images show the communion set in very poor condition due to damp and mould, with previously adhered parts now separated, deformation of card elements and degradation and staining of the velvet textile. The silver cup and candlestick holders were severely tarnished, and the silver bottle lids were corroded and pitted.

Delivering a ‘Supporting textiles for storage and display’ workshop

CMAS runs a series of practical, hands-on workshops each year, focusing on low-cost approaches to collections care for museum professionals, volunteers and interested individuals.

A Chinese porcelain vase, before and after conservation

This project involved the repair of two Qing Dynasty Chinese ceramic vessels (famille noire palette) that had broken into multiple pieces as a result of a high-profile ‘smash-and-grab’ theft within the West Norway Museum of Decorative Art, Bergen. Small fragments of the glaze and body had been lost in localised areas, particularly along the fracture edges. ‘Springing’ of the vase had occurred in areas, where the break has resulted in release of tension and subsequent misalignment of the pieces.

Recording the condition of a mercury amalgam gilded mirror, before conservation

This elaborate mirror hangs in one of the reception rooms at the Roman Baths and Pump Room. It was assessed and conserved in situ to prevent any disruption to the aged mercury amalgam. Lifting and flaking gilding was consolidated and re-laid, and losses filled and toned with acrylic paints or distressed gold leaf. The purpose of the treatment was to stabilise the gilding and preparatory layers and retain as much of the original material as possible.

Biography

Alison Dwyer

Alison began her career in collections management and care, firstly with the National Trust and then in museums, caring for diverse collections including fine & decorative arts, social history, world cultures and archaeology. Whilst providing collections care workshops in Azerbaijan she recognised the desperate need for conservation skills and decided to embark on conservation training. She has since worked as a conservator, managing and caring for collections for a number of organisations in this country and abroad, including Westminster Abbey, Palace of Westminster and the Victoria & Albert Museum. She is currently Senior Conservator for the Conservation and Museums Advisory Service (CMAS).

Client Testimonials

I’ve never had so many emails come in with positive feedback about a session - we normally get two, maybe three, but at last count we had eight for you! People really found it useful and practical

Jennifer Allison

Museums & Heritage Consultant, Army Museums Ogilby Trust

We are truly over the moon with what you have done for our mum and dad. He is overwhelmed and cannot thank you enough

Delphine Middleton

Private client

Her care and attention to preventative conservation, as well as her skill at remedial work regularly demonstrated her wealth of experience and knowledge. She is incredibly organised and very reliable and has a particular attention to detail which ensured nothing was overlooked. I would be happy to employ her again, knowing that our collection was in very capable hands.

Catherine Newley

Audience Development Manager, St Albans Museums

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