Our panel of specialists have selected a shortlist of six fantastic photographs from across the Icon community. From shimbari to steam cleaning, we're delighted to see such a broad range of specialisms and and situations captured by conservators at work.
The winner of the Members' Choice prize is up to you! Cast your votes using the link below:
The Members' Choice prize and overall Winner will be announced as part of Icon's Winter Reception at the Crafts Council Gallery in London on Thursday 6 November where shortlisted submissions will be on exhibition, mounted and framed by Icon’s Photography Prize sponsor Tru Vue.
The Shortlist
Nikifor Haralampiev
Retouching of the 1967 wall paintings by Nikolai Shelehov in the altar of the St. Demetrios Church in Sofia, Bulgaria, during the summer school of the conservation students from the National Academy of Art. The scene is the Nativity of Christ and the Angels coming to great the Saviour seem to be also interested in how the conservation is going. The image captures the feeling of a magical encounter which we as conservators can often experience during our work and the contact with the artworks.
Chair's comment: We liked this image because of its colours and the humour of the composition - the Angels really do seem to be interested in (and appreciative of) the conservator's retouching work, and the blue of the glove is subtly echoed in their headbands.
Paula Śwituszak-Żywica
Her-m Portrait
A portrait of a winged herm - guardian of time. Captured en face in this minimalist photograph - a rare perspective as she usually gazes towards the single hand of the first half of the 17th Century clock face she adorns. Time, however, has not been kind to her. This image was taken during the delicate removal of dust and war residue - silent witnesses to the long and turbulent life of the object.
Chair's comment: We do like a witty title! This image also makes the conservation work very easy to understand and appreciate by a non-specialist audience. This face stares straight at us from the C17th, and the cleaned half shows the delicate detail of her features gradually revealed, shifting the expression from sad and wistful to frank and cheeky. We also liked the thoughtful description in the long title.
Fernando Franceschelli
Restorer Vanesa Obando performs consolidation work on an image of the Virgin and Child during the restoration of the altarpiece in the Church of Santiago Apostol in Santiago, Misiones, Paraguay.
Chair's comment: We chose this image for its colours and textures and the encounter between object and conservator. It is quite a busy picture, but easy to read. We liked the fact that you can see through the lenses of the conservator's headband magnifier, leading the eye to the focus point of the image.
Rebecca Goddard
Capturing Rebecca mid-treatment, carefully warming the Chinese incised polychrome (kaun cai) lacquer surface with a heated spatula. Once warmed, an adhesive is injected under the flaking lacquer and clamped with flexible sticks using a technique known as Shimbari. This traditional Japanese clamping technique applies precise pressure between a rigid frame and the transparent sandwiches of Perspex and silicone rubber sheets placed on the area of the object being worked on. The object, a mid- 17th century six-panelled Coromandel lacquer screen, belongs in the collection of Ham House and is currently undergoing an extensive consolidation treatment at the Royal Oak Foundation Conservation Studio, National Trust.
Chair's comment: We liked the contrast of the lacquer surfaces and the very modern materials of the Shimbari sticks. For the same reason, we liked the contrast between the muted brown, red and black and the bright white and acid green of the sticks, complemented by the purple gloves of the conservator.
Jura Stanek
A carved stone cross is revealed through the gentle application of steam cleaning - a method that lifts decades of accumulated grime without damaging the stone’s surface. Captured mid-process, the image shows the moment where heat, moisture, and precision work together to uncover the original detail and texture of this historic element.
Chair's comment: We chose this image because of its sensual quality - we could almost feel and taste the water vapour! Both the photograph and the treatment look confident and dynamic and have a timeless feel. And yet it captures the precise, golden moment of different forces working together perfectly which every conservator knows.
Ian Clark
Re-installation of Iron:Man by Antony Gormley
Chair's comment: We chose this image because it is both beautiful and - without its title - totally intruiging. Although one can see the human form, it could be a number of objects, including a sarcophagus. The metal surface is beautifully lit, and the little turqouise label is just in the right place. We agreed that the strapping looks very professional. (It needs no longer description than the short title. Reinstallation. Iron man. Antony Gormley. Understood.)
The Judging Panel
Ylva Dahnsjo ACR FLS FIIC (Chair)
Emma Jhita, Icon CEO
James Murphy, Icon Trustee and Director of Marketing, Communications and Policy at IOSH
Andrew Haycock, International Museums and Conservation Liason for Tru Vue
Gordon Maiwald, co-founder of Maiwald & Mosse Ltd and winner of the 2023 Photography Prize
Our Sponsors
Icon are delighted to have the generous support of Tru Vue for the 2025 Photography Prize.
Tru Vue are longstanding advocates for the arts, preventive conservation, and professionalism. They work closely with the museum and conservation community to develop innovative, sustainable solutions that meet superior aesthetic and conservation standards, including acrylic and glass with UV protection, anti-reflective and anti-static properties. Dedicated to the wider development of the sector, Tru Vue also offer grants and educational materials designed to inspire and support the preservation of cultural heritage.