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The Scottish Conservation Studio

Highly reputed, multi-discipline conservation business with very experienced partners, serving heritage owners across Scotland and beyond

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23 May 2025

The three business partners, Helen Creasy, Tuula Pardoe and Will Murray, work in three different disciplines: works of art on paper, textiles, and artefacts and archaeology. Each partner has 35 years + of experience. We have been running The Scottish Conservation Studio since 2005.

With advanced skills and in-depth knowledge, we work to the highest technical and ethical standards according to The Institute of Conservation Code of Conduct and Professional Standards. Conservation science and a thorough understanding of materials underpin our proposals and treatments.  Working closely with our clients, we tailor our service to your needs. We aim to limit treatments to what is necessary and safe, and use conservation-quality, chemically stable materials to help you preserve your heritage objects for posterity.  We advise you on the best care, storage and display of your objects. 

We respond to exhibition deadlines and work to budgets.  Our spacious, secure and flexible studio enables us to work on large and small objects and projects individually or as a team. The Studio is 10 miles west of Edinburgh, close to the Forth crossings. It has free parking and is fully accessible.

Working with The Scottish Conservation Studio

The Studio is in a fully equipped and accessible converted carriage house in the grounds of a stately home near Edinburgh. There is ample free parking outside our door.  We have excellent security arrangements.  The staff are all fully covered by professional indemnity insurance; we also have some consignment cover. We are insured to transport clients’ items in our own vehicles. We work on-site when required.

When approaching us with a potential project, we encourage clients to initially send photos by email.  If the work is straightforward, we may be able to give a rough proposal and estimate based on these photos. Upon seeing the work in the Studio, we can examine it, do tests, and discuss expectations and treatment options; we then provide a written proposal and a firm estimate. We work with a local professional photographer to be able to supply the best possible quality images when required.

We have busy work programs, but aim to be able to fit treatments into meet client needs.

Our clients range from national institutions with large collections to private clients with one item in need of care. They encompass museums and galleries of all sizes, historic houses, business archives, auction houses, churches, dealers etc.

We are happy to undertake full collection surveys, provide advice on all aspects of collection care, give pre-purchase opinions, and, of course, undertake practical work in the Studio on all the object types of our specialisms.

Artefacts Conservation

Will Murray is a conservator of archaeology, social history, militaria and numismatics. He works on a wide range of materials from all periods of history from the Neolithic to the 20th Century. He welcomes enquiries with regard to any types of objects in need of conservation, other than fine ceramics such as porcelain. He specialises in the conservation treatment of objects made of lead metal. Will also has a track record in collection management and preventive conservation advice, and in providing guidance for larger projects such as store moves and museum refurbishments, including condition surveys of whole collections

Paper and Photograph Conservation

Helen Creasy primarily treats works of art on paper (prints, drawings and watercolours) but also posters, plans, miniatures, wallpaper, photographs, documents, parchment, papyrus – and so on! She is equally comfortable working on valuable prints by well-known artists as she is treating more humble drawings or documents of sentimental value. She enjoys meeting clients and discussing the best treatment approaches with them. Her many years of experience allow her to work quickly and efficiently, and to estimate accurately.  Helen is happy to undertake site work, and training and coaching in the care of paper for people who work in museums.

Textile Conservation

Tuula Pardoe works on textiles, from samplers and washing Robert Burns’s socks, mounting the world’s oldest piece of tartan and Bonny Prince Charlie’s waistcoat for display, to stabilising the textile elements of the Scottish Crown Jewels.  She is equally at home as part of an exhibition design team, assessing the condition and care needs of a single textile, small or large, or working on a collection of hundreds of textiles.  She is a seasoned textile specialist with sound experience in estimating and treatment planning, interventive treatments, mounting, and training in the care of textiles.  She brings in projects on time and budget.

Etching – before treatment

Etching – before treatment

A badly discoloured and worm-eaten etching of a printmaker’s studio: it had been framed with an acidic backing, been exposed to a lot of light, and pests had eaten holes in the paper. The frame had been dropped, breaking the glass and damaging the frame mitres.

Etching - after treatment

Etching - after treatment

The print was washed to remove acidity, and then light-bleached to further remove the discolouration. The worm holes were filled with a toned paper pulp. The fills were then retouched with watercolour to reinstate the image. The print was pressed to flatten it, mounted, and reframed in the repaired and reglazed frame.

Charcoal portrait - before treatment

Charcoal portrait - before treatment

This valuable charcoal portrait had a disfiguring, prominent water stain along the lower edge. Treatment options were discussed with the client. We decided against full interventive treatment, which would have necessitated removing the work from the original backing.

Charcoal portrait – after treatment

Charcoal portrait – after treatment

A match for the paper of the artwork was found in our extensive collection of old papers: the texture, weight and laid lines were identical. The patch paper was toned with watercolours to match the artwork. A patch was cut and shaped to cover the stain, and adhered with a reversible non-aqueous adhesive.

Site work

Site work

Working on site in a small team, extensive retouching was carried out to wallpaper and decorative wall schemes at a property belonging to the National Trust for Scotland.

19th-century regimental Colour, treatment in progress

19th-century regimental Colour, treatment in progress

The studio works on flags and banners of a myriad of descriptions. This Colour hung in a leaky display case in a church for decades, mounted on its pole. It had lost large areas of silk due to the uncontrolled environment. It was faded, fragile, shredded in places, stained with varnish, dirty, dusty and with failed stitched repairs. It had been in an unstable condition for a long time, and had been sewn on a layer of thick white cotton netting to make it possible to hang it up.

19th-century regimental Colour after cleaning, stabilising and mounting for display

19th-century regimental Colour after cleaning, stabilising and mounting for display

This Colour was wet-cleaned, aligned, and stabilised, and its varnish stains were reduced. New silk fabric was dyed to tone with its areas of loss. To complete the Colour, the silks were sewn on the fabric-covered support board behind the Colour. The Colour was sewn on its support under a layer of fine dyed net to protect it. It was mounted in a glazed, conservation-grade display case.

18th-century garments mounted for an exhibition

18th-century garments mounted for an exhibition

A fantastic collection of 18th-century men’s garments, including waistcoats, jackets and a banyan, mounted for display in an independent historic house. Working with the curator on the exhibition plans, the garments' condition was assessed for display suitability. Those in need were treated to stabilise them. The client brief included a request to mount the garments by adjusting their existing mannequin stock to keep down the costs of the exhibition preparation.

Commemorative embroidered textile - before conservation

Commemorative embroidered textile - before conservation

After storage in damp conditions, a thick layer of mould covered the bottom half of this weak commemorative embroidered textile. It had also faded due to prolonged exposure to light and been poorly adhered to a damaging card backing

Commemorative embroidered textile - after conservation

Commemorative embroidered textile - after conservation

The textile and photograph were separated from the backing and surface-cleaned to remove the mould. The textile was then cleaned by washing, and both were mounted on a fabric-covered support board. Finally, the textile was framed in a new frame with an acid-free window mount under protective glass.

Early Bronze Age ceramic vessel from Kilmartin – after conservation

Early Bronze Age ceramic vessel from Kilmartin – after conservation

This important Early Bronze Age ceramic vessel was excavated by AOC Archaeology from the kist cemetery at the Upper Largie Quarry. A number of the kists held EBA ceramic vessels, and one held the skeletal remains of a woman, all of which are now on display at Kilmartin Museum. The conservation of this vessel was a major task, carried out with the assistance of ceramic conservator Douglas Stewart, as there were many small fragments, and previous attempts at reconstruction had not been successful.

Mummy and Coffin of Tak-her-heb – during conservation

Mummy and Coffin of Tak-her-heb – during conservation

In advance of the opening of the new Perth Museum, the mummy and coffin of the Egyptian priestess Takherheb were conserved after being in store for many years. The mummy’s wrappings had suffered damage in ancient times and it could not be handled without causing damage. A team of conservators and curators, working in a special studio in the public galleries, managed to remove the mummy from the coffin, after which the mummy and coffin were conserved and stabilised for permanent display.

19thC Ivory Cockade Fan – after conservation

19thC Ivory Cockade Fan – after conservation

Discovered in the attic of Blair Castle, this finely-carved ivory cockade fan had lost the silk ribbon that ran around the edge and allowed it to be opened and closed. The Studio’s assistant artefact conservator, Molly Brass, undertook the delicate painstaking work to install a new silk ribbon that allowed the fan to be brought to life once again for a temporary display of a variety of fans at Blair Castle.

War Memorial at The Glasgow Academy – after conservation

War Memorial at The Glasgow Academy – after conservation

This impressive memorial to the fallen staff and students of The Glasgow Academy, a fee-paying school in Glasgow, is on a busy route from one classroom to another. Over the years, the lettering had become less clear, and areas of the panelling nearer the floor were heavily marked by the students’ footwear. The lower panelling was stripped and repolished with shellac, and each gilt letter was individually cleaned, transforming the appearance of the memorial both close up and from a distance

Holburn Ice Cream Boy Automaton – during conservation

Holburn Ice Cream Boy Automaton – during conservation

The Holburn Ice Cream Boy, an automaton that raises its arm to lick at an ice cream cone, and then turns its head in appreciation, stood in an ice cream parlour in Holburn, Aberdeen, for many years. After the parlour closed, he was donated to Aberdeen City Museums, but he no longer functioned due to failure of components, and he had suffered some poor-quality repairs. The automaton was cleaned and repaired for display at Aberdeen Art Gallery.

Accredited members

Will Murray ACR

Will first encountered the world of archaeological conservation at Southampton City Museums where he worked with the team of dedicated archaeologists to conserve the Saxon heritage of the city. He obtained the Postgraduate Diploma in Archaeological Conservation from Durham University in 1988. After stints at Durham University and National Museums of Scotland, he was appointed to the post of Artefacts Conservator at Scottish Museums Council, providing conservation treatment and advice to a range of museums across Scotland. Will gained Accreditation in 2000. Since 2005 he has been a partner in the Scottish Conservation Studio at Hopetoun House, South Queensferry.

Helen Creasy ACR

Helen qualified with distinction as a paper conservator in 1986. After a short contract at the V&A, she worked for two years at the Intermuseum lab in Ohio. On her return to the UK she was employed by the Scottish Museums Council, where she worked, for 16 years,  with large and small collections across Scotland, undertaking surveys and treatments, and establishing her reputation for wise advice, an expert pair of hands, and an excellent trainer.  She gained accreditation in 2000, and established the Scottish Conservation Studio with her two colleagues in 2005. Helen regularly supervises conservation students, works with professional committees and grant giving trusts, and maintains a close relationship with professional colleagues.

Tuula Pardoe ACR

After graduating in textile conservation in 1991, Tuula’s 13 years in supporting Scotland’s 300+ member museums of the Scottish Museums Council consolidated her experience in museum quality conservation and care of textiles.  She gained Accreditation in 2000, and 2005 set up the Scottish Conservation Studio partnership with her two colleagues.  She provides a range of textile conservation services to the Studio’s clients.  In 2007, Tuula’s project to conserve a rare early 17th-century man’s doublet won the prestigious Institute of Conservation Award for Conservation.  Tuula represented textile conservation at the Institute of Conservation Accreditation Committee from 2011 to 2016.

 

Client testimonials

We have used Helen for cleaning and restoring many of our modern prints for well over 10 years, and we highly value her professional service. She is not afraid to take on challenging treatments, but equally happy to do less complicated work. She is straightforward and honest in her assessments and a pleasure to discuss work with. She can also meet a tight deadline when needed. We highly recommend her! 

Lindy McNair
Director, ‘Modern Prints’

 

I have worked with Tuula on several textile projects over the years and always find her to be patient and methodical, delivering conservation treatments that suit the needs of the object and the client. Most recently, for the exhibition Stitched: Scotland’s Embroidered Art, Tuula prepared a number of large, embroidered textiles for display. It is a testament to her skill that her interventions were invisible to visitors, and the textiles looked incredible

 Emma Inglis

Curator, The National Trust for Scotland

 

Will has worked on numerous projects for Kilmartin Museum over the last 15 years. Highlights include conservation of a rare Bronze-age weapons hoard including surviving wooden hafts, and most challenging, the reconstruction from hundreds of sherds of one of Britain’s earliest Beaker pots, now on display. Will is pragmatic and professional, working to an extremely high standard, and always carefully discussing the parameters and priorities in advance.  I could not recommend his work more highly.

Dr Sharon Webb MBE FSA Scot

Curator of Archaeology, Kilmartin Museum 

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