Rachel Howells ACR

09 May 2025

Rachel Howells works as a freelance painting conservator based in South Wales.

She works on a wide range of paintings, from medieval panels to contemporary works on canvas, conserving paintings for museums, galleries, heritage organisations such as the National Trust and CADW, as well as private individuals. She carries out surface treatments such as stabilisation of flaking paint surfaces, surface cleaning and varnish removals, as well as structural conservation; mending torn canvases and supporting weak canvases with strip lining or carrying out full lining treatments if necessary. Paintings conserved, if framed, are re-framed to conservation standards.

Conservation services included conservation surveys and advice on storage and display.

Since graduating, with a Diploma in the Conservation and Restoration of Easel Paintings from the Courtauld Institute of Art in 1984, Rachel worked as Assistant Painting Conservator for the Area Museum Service for Yorkshire and South Humberside. In 1986, after a five month self funded internship at the Tate Gallery, Rachel moved to South Wales. She set up the Painting Conservation Studio for the Glynn Vivian Art Gallery in Swansea where she became their first Painting Conservator. Rachel became a freelance painting conservator in 1990.

Margaret Linsday Williams project, Dyffryn House, National Trust

The Margaret Lindsay Williams project involved conserving four of the artist's paintings at Dyffryn House, South Wales—three in situ and one fully restored. Found in poor condition when the National Trust took over, the works were conserved and prepared for exhibition with information about the Welsh-born artist. The exhibition was scheduled for March 2020 but postponed due to Covid-19.

Conservation of William Talbot by Sir Godfrey Kneller

The project included stabilising flaking paint, removing dirt, discoloured varnish, and overpaint, greatly improving the portrait's appearance. Though structurally fair, the early 18th-century frame required major modifications to safely re-fit the painting, which was then mounted to conservation standards.

Bishop Marshall panel, Llandaff Cathedral, Cardiff

Technical analysis identified materials and techniques used in the panel, explaining its current appearance. Methods included microscopy, XRF, SEM, Raman, and dendrochronology. Fading of madder lake and indigo, and copper pigment discolouration were found. The oak panel originated near Cardiff. Conservation involved cleaning, varnish and overpaint removal, and reshaping old fills, with minimal structural work.

Conservation and restoration of accidental damage to a contemporary work dated1995.

The painting had suffered a large horizontal tear, ca. 80 mm long, in the centre of the painting through a predominantly white area with little detail to distract the viewer from the tear. The canvas in the surrounding area was very deformed. The tear went through the warp threads but fortunately there was not much loss to the paint and ground layers around the tear.

Client testimonials

The reports detail your excellent work, Rachel, along with the photographs and it is particularly good to see the successful conservation of Man carrying his Wife. A really expert job given the severe damage to this canvas. Many thanks on behalf of the Trust.

David Alston
Trustee, Evelyn Williams Trust; former Arts Director, Arts Council of Wales, Cardiff

Rachel Howells completed conservation work to the Bishop Marshall Panel to an excellent standard. The costs were itemised and explained in an easy-to-understand way, and Rachel was very patient and helpful while options for the panel were deliberated. Her input helped immensely with the understanding of the panel, and she demonstrated a deep knowledge and regard for the artwork that went far beyond the scope of the conservation commission.

Izaak Hudson
Llandaff Cathedral Architect

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