Specialist ceramics, glass and enamels conservation and restoration
From a discreet and insured London-based workshop, I care for your ceramics (porcelain, faience/Delftware, Parianware, terracotta), modern and historic glass and enamel objects, producing unnoticeable and/or museum repairs, as well as treatment and condition reports. Having a good understanding of the object's needs and how to reconcile these with the client's wishes, my approach is effective and the outcomes successful.
Work is carried out following good health & safety and ethical practices outlined in the Code of Conduct of UK's Institute of Conservation and its Conservation Standards and Ethics Guidelines.
We work with highly respected art dealers and collectors alike, national and international museums and galleries and often collaborate with fellow conservators from other specialisms (furniture, paper and paintings, or clocks).
Current and past clients include:
National Maritime Museum
The Courtauld
The Wallace Collection
Museum of Salzburg
The National Trust
Portuguese National Monuments
Condition survey of collections
Exhibition install/de-install condition reports
Conservation treatments on site or in the workshop in London
In depth conservation reports
Free quotes/estimates
Quick turnaround of work meeting sales deadlines
Excellent restoration skills producing unnoticeable repairs
Workshop is discreet, private, alarmed and secure
Free quotes/estimates
Expert knowledge of conservation materials and their behaviour in a non-museum setting
Excellent restoration skills producing unnoticeable repairs
Workshop is discreet, private, alarmed and secure
Advice on how to care for your collection or objects
Conservation cleaning services
Fully insured
Collaboration with other conservators to form a team
Expert knowledge of historic tiles in a building site (indoors/outdoors)
Assessment surveys and Condition/Treatment reports
In depth conservation and restoration treatments
Condition: Broken into more than ten sections and with losses to lustred glaze surface. Treatment included reversing previous repairs, cleaning, attaching broken sections, filling losses, and retouching colour and lustre effect for permanent museum display.
Condition: handle is missing and client commissioned its reconstruction. Treatment detail: hand-modelling the missing handle in a soft material for later moulding and casting in epoxy resin. Historic contemporary references are always used to guide our reconstructions.
The finished cream jug with a reconstructed handle, cast in tinted epoxy resin to match original porcelain glaze.
Condition: previously repaired with several losses to incense holder and back of head, very dirty. Treatment: reversing previous repairs and cleaning, attaching all broken shards and colour filling missing decorative elements, matching original porcelain translucency, colour and sheen, tightly to the areas of loss.
Mid-treatment detail showing a white fill around central aperture, in the early stages of hand retouching missing decoration, as closely as possible to the original and surrounding enamel motifs.
Here shown after conservation, but without its frame. All tiles were removed from its previous plaster backing and re-set in a light and sturdy board. Tiles were broken, out of place and with losses, which all contributed to a former derelict look. Now on permanent display at The Queen’s House, in Greenwich.
I have been a conservator since 2006, specialising in ceramic, glass and enamel objects for the private and public sectors for more than a decade now.
Having worked with highly commended conservators, I have a good understanding of the object's needs and how to reconcile these with the client's wishes.
I hold an MA in Conservation Studies from the internationally-renowned West Dean College (West Sussex), where I have been awarded the BADA Geoffrey Moss Prize (2012), and more recently the Nigel Williams Prize (2023) for the conservation of a late Renaissance Tiled Stove in Salzburg, Austria.
I worked with Tiago Oliveira over several years. I found Tiago a pleasure to work with, courteous, responsive, knowledgeable and conscientious, precise in his survey appraisals and record keeping, meticulous in his conservation work, and fair in his charges. I recommend him highly.
Suzanne Higgott
The Wallace Collection / Curator responsible for glass, Limoges painted enamels and earthenware (retired 2024)