With over 30 years of experience, Amelia Rampton is an Accredited Paper Conservator dedicated to caring for works on paper and archival collections. She helps ensure that artworks, documents, and treasured items are preserved for future generations through expert treatments, condition checks, collection surveys, and practical advice on storage and preventive care.
Amelia works with a wide range of clients — from national museums and galleries to archives, auction houses, and private collectors. Past projects include work for the Clothworkers’ Company, The Brown Collection, the Emery Walker Trust, the Foundling Museum, the George Padmore Institute, the Huguenot Heritage Centre, Middle Temple Archive, the Milein Cosman Archive, Pallant House, the River and Rowing Museum, Sir John Soane’s Museum, Tate, Turner’s House, Westminster Palace, UBS Art Collection, and the William Morris Society.
She collaborates with a small team of fellow paper conservators and specialist framers, offering a full range of services to support both the preservation and presentation of collections.
Mounting and framing
We use conservation mounting techniques to help protect and preserve your artwork for the long term. This means we only use high-quality, acid-free materials that won’t damage or discolour your piece over time.
If you have an original frame, we can refit it to conservation standards so that it continues to look authentic while keeping your artwork safe. We also provide guidance on the best type of frames, sealing methods, and protective materials to use. This ensures your artwork is properly supported, protected from dust and moisture, and able to last for generations.
Biography
Amelia Rampton
Experienced in both practical conservation and professional leadership, including roles with ICON’s Book & Paper Group and as Trustee Secretary of the Clare Hampson Fund. Selected in 2018 for the international course on Japanese paper conservation organised by ICCROM and the Tokyo National Research Institute for Cultural Properties in Japan. Visiting Lecturer at City & Guilds of London Art School, committed to training the next generation of conservators.
Professional Education
- 2007–2010 – MSc Sustainable Heritage, University College London
- 1988–1989 – Advanced Apprenticeship, Certificate in the Care of Books and Manuscripts, West Dean College, Chichester
- 1980–1984 – Higher National Diploma in the Conservation of Paper (specialising in Prints and Drawings), Camberwell College of Art, London
- 1978–1979 – Curso Monográfico para Técnicos Restauradores de Documentos Gráficos, Centro Nacional de Restauración de Libros y Documentos, Madrid, Spain
Employment
- 1995–present – Director, Amelia Rampton Conservation, London
- Established and manage a private practice serving public institutions, galleries, dealers, societies, and private collectors.
- Amelia Rampton Conservation is listed in the ICON Conservation Register.
- 2012–2020 – Freelance Conservator (Professional Register), Tate, London
- Conducted condition reporting and monitoring during installation and de-installation of major exhibitions.
- 2005–2007 – Part-time Paper Conservator, Western Art on Paper Conservation Department, The British Museum, London
- Conservation and preservation of works on paper for permanent and temporary exhibitions, loans, and storage.
- 1996–2000 – Freelance Conservator, Oxford Conservation Consortium
- Specialist conservation of architectural drawings, including works from Christopher Wren’s office.
- 1990–1994 – Owner and Conservator, Private Studio, York, North Yorkshire
- Conservation of works on paper for public institutions, auction houses, galleries, and private collectors.
- 1987–1988 – Contract Conservator, Victoria & Albert Museum, London
- Prepared posters and prints for a new hanging storage system.
- Re-mounted items from the Watercolour Collection.
- 1984–1987 – Paper Conservator, Centro de Conservación, Biblioteca Nacional, Caracas, Venezuela
Major Conservation Projects
- 2024 – Survey of artworks and works on paper by Walter Crane, Kensington Library, Royal Borough of Kensington and Chelsea.
- 2023 – Conservation of selected works on paper for Women in Revolt exhibition, Tate Britain.
- 2018 – Survey of the Royal Watercolour Society’s Diploma Collection (c.1,000 items).
- 2014 & 2019 – Conservation and mounting of the Milein Cosman archive of prints and drawings for exhibition.
- 2012–2015 – Conservation and preparation of artworks and architectural designs for exhibitions at Sir John Soane’s Museum, including Stadia and Giving our Past a Future (2012), Alan Sorrell (2013), Peace Breaks Out (2014), Building a Dialogue: The Architect and the Client, and Drawn from the Antique (2015).
- 2012 & 2020 – Conservation and mounting of prints, drawings, and watercolours for The William Morris Society, including survey and treatment of works for William Morris & the Kelmscott Press.
- 2000–2010 – Consultant, George Padmore Institute: conservation and preservation of their 20th-century archive.
Professional Affiliations
- Accredited Conservator-Restorer (ACR)
- ICON Conservation Register (Institute of Conservation)
- Former Committee Member, ICON Book & Paper Group (1995–1998; 2016–2018)
- Trustee Secretary, Clare Hampson Fund (2012–2015)
- British Association of Paper Historians member
- William Morris Society member
Client Testimonials
Amelia has been conducting paper conservation and condition checking for the William Morris Society for over 10 years, always working to the very highest standards. There was a very good example of the skill and care she provides in the conservation and documentation that she undertook with May Morris’ watercolour Honeysuckle, prior to its touring the UK in 2019. Honeysuckle’s paper was very distorted, with excessive previous repair work. Amelia started with a detailed proposal for conservation that included microfading testing to establish its light sensitivity, and the work that she then carried out involved loosening the old repairs, realignment and humidification, as well as providing the specifications for a high-quality mount and frame. This was all carefully documented in a detailed report, and we were delighted that she also provided a brief description of what she had done which we published in our 2019 Spring newsletter. Amelia is a top-class conservator and it has been a great pleasure to work with her.
Helen Elletson
Curator, William Morris Society