Ros Hodges Ceramics Conservation

16 Apr 2025

Ros Hodges ACR is a ceramic and glass conservator with over 30 years of experience. Trained at West Dean College, she has a strong foundation in practical conservation, working on a wide range of projects from large-scale architectural ceramics to delicate enamel jewellery.

Ros specialises in offering an ethical approach to conservation using reversible materials and accurate documentation to pinpoint the extent of the conservation. Clients will be briefed on the treatment options available to them to give the best outcomes for their objects enabling their stability for years to come.

With extensive experience in condition reporting, exhibition support, and insurance claims, she provides expert advice on collections care, from preventative measures to post disaster assessment, recovery advice and treatment.

Ros has a proven track record of successful collaborations with prestigious institutions, including The National Trust, Westminster Abbey and the North Carolina Museum of Art. For much of her career she has been actively involved with Icon, serving on the Ceramics and Glass Committee, organising events and enabling other conservators to continue their own career progression whilst maintaining a strong commitment to her own professional development. An important aspect of Ros’s practice is the ability when necessary to work with colleagues and to provide skills knowledge and mentoring to emerging professionals.

While much of her practical work takes place in the workshop, she is often involved in collaborative projects with colleagues that involve working onsite. Recent challenging onsite projects have been managed to tight deadlines, within budget.

Bristol Blue Vase – impact damage assessment

A large blue glass vase suffering from Impact damage, notice the packets of small shards showing how carefully the owner has collected all visible pieces for the conservator to use in the reconstruction. This is the ideal way to present an object that has suffered catastrophic damage to a conservation professional.

Shard

This single shard shows the amount of stress held within the glass, there are break lines running through the inside of the material which do not extend to the outer surface and are therefore only possible to seal on the ends – no adhesive can be entered into these lines. They will therefore remain visible even after conservation

Rim detail – missing fragments

Despite the catastrophic nature of the impact the level of attention to detail of the picking up of the pieces meant that there was only one areas of substantial loss and a number of tiny slithers that could not be places. It is always preferable to rebuild broken ceramics with original material. As mall fill will be made with epoxy resin to support this loss.

Vase assembled, taped and ready to receive the adhesive

Due to the size and delicacy of this vessel conservation grade epoxy resin was introduced to the taped joints whilst freshly mixed. The resin has a similar refractive index to glass and therefore the joints become less visible although on glass they will always be detectable. The very thin liquid is absorbed into the joints by capillary action and excess cleaned away immediately to keep the job as clean as possible. Cleaning up with this many joints once the adhesive had set would be challengin

Missing shard filled with tinted epoxy resin

The small missing areas were filled with semi gelled epoxy resin slightly tinted with an epoxy dye to approximate the colour of the glass. The larger fill was made using pink dental wax as a backing which was later removed, and the smaller shallow chips were made by laying the filling material into them and then placing a smooth film over the top to seal them until they had cured. The film gives a glass like finish once removed.

Blue Vase on completion

The vase is back in one piece after many hours of work. Its history is written on its surface and has now become part of its provenance. The amount of work and care taken in its reconstruction will indicate in times to come that it was valued and considered important enough to save

Accredited members

Ros Hodges ACR

Ros has been a practising Ceramics Conservator for over 30 years. Her conservation practice is based in East Sussex where she works on ceramics, glass and related materials for a wide range of clients. These include private individuals, collectors, dealers, local Museums, The National Trust, Dean and Chapter, Westminster Abbey and Community Buildings. Recent projects include large on-site architectural tile schemes, complete dismantling and rebuilding of a previously repaired large English porcelain figure and extensive work on glass conservation. Ros runs educational workshops on the Care of Ceramic Collections and the Conservation of Glass.

Client testimonials

Ros Hodges is a joy to work with. Excellent communication, attention to detail, and a consummate professional. She clearly brings a wealth of knowledge and experience to any project. I look forward to working with Ros again and will happily refer others to her.

Perry Hurt
Director, North Carolina Museum of Art

I have absolutely no hesitation in commending and recommending Ros Hodges for her outstanding restoration work. For over ten years, as both dealer and collector, I have had the benefit of Ros's exemplary skills in the restoration and conservation of mainly C18th ceramics. To be able to colour match original decoration, shades of pastes and glazes successfully, requires a level of experience and skill that is rarely found but Ros's fine work never fails to reach that level.

Peter Weller

Collector and Dealer

In 2024/5 Ros Hodges led on an extensive project at Grade II listed Stanley Halls to assess, procure and restore the Edwardian wall tiles across two of our large Hall spaces. We cannot recommend Ros highly enough: her professionalism, craftsmanship and attention to detail are peerless. The results are outstanding

Louisa Bartlett-Pestell

Artistic Director and CEO of Stanley Arts

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