An Insight into Hythe Conservation
An insight into the work and completed treatments undertaken by Hythe Conservation. Please scroll down the page or visit our Instagram page to see further work.
Sarah Peek Conservation: Colour Filling Ceramics with Epoxy Resins
A Four Day in Person Course
Tuesday 17 – Friday 20 October 2023
As a self-employed ceramics conservator, I had been eager to find relatable CPD courses to attend in order to improve my technique and skills, most notably in the practice and challenging process of colour filling. A training course on ‘Colour Filling Ceramics with Epoxy Resins’ run by Sarah Peek Conservation became available. This was an opportunity not to be missed, with the booking secured through ICON. I applied to the Anna Plowden Trust and The Clothworkers’ Foundation Continuing Professional Development (CPD) Grant Scheme. My application was successful and I was delighted to receive a CPD grant to assist with the cost of attending the four-day workshop, held on Tuesday 17th – Friday 20th October 2023, at Sarah’s Conservation Studio in Brighton.
Five participants from varying backgrounds meant a small group size was extremely beneficial to gain invaluable tutoring and advice from two accredited ceramic conservators, Sarah Peek and Jasmina Vučković, who run the well-established commercial studio at the highest standard. The course was split into theory and practical sessions.
An ‘Introduction to Colour Filling’ presentation was a helpful recap on different ceramic body types and surface textures suitable for this particular method. To achieve best results, it was important to highlight the necessity for clean, dry and aligned bonds. The current selection of epoxy resins was discussed alongside the variety of bulking materials which can be adjusted to suit ceramic body types.
It was interesting to hear Sarah confirm how client expectations are changing and that discreet fills are acceptable; the language ‘invisible repairs’ is becoming obsolete. In contrast, an ‘honest repair’ is favoured as the colour fill can be positioned to sit within the lines of the crack and the bonded join line not covering original material. A well-judged and successful colour fill removes any requirement for large scale retouching such as Airbrushing, a method which has been used to retouch and cover solid background areas. Airbrushing makes condition reporting impossible when describing the extent of material which has covered original ceramic. There is difficulty in controlling the spray from the airbrush nozzle. Colour filling is more accurate and precise and can be distinguished as a new material when recording an object’s condition or explaining the extent of treatment undertaken to a client.
The presentation concluded on the necessary topic of Health & Safety, a subject not to be dismissed. Each material and process requires an understanding of the associated hazards and to identify appropriate handling and personal protection measures by undertaking a risk assessment for processes, such as mixing the epoxy resin, adding bulking materials and dry powder pigments and abrading and polishing processes.
For our practical sessions, a variety of high fired ceramics sourced from charity shops had been prepared, which had been broken into fragments, cleaned and bonded in order for us to fill the areas of loss. Objects with green stickers were labelled to undertake filling of the glaze layer and yellow stickers on objects identified areas to core fill. I took this opportunity to bring an item I had been working on in my studio which I had organised in time to core fill during the course.
There were demonstrations on how to mix epoxy resin, adding bulking material to achieve a ‘motherload’ and to create a pallet selection of ground pigment colours. There was an opportunity to highlight to our tutors any areas of confusion, likes or dislikes about the processes so far. Achieving the correct opacity was challenging with varying depths of loss, especially with the treacle glazed object I had selected. We considered changes to make when applying fills to different glazes and enamelled surfaces. We cut back core fills which had cured to apply the glaze layer.
A presentation on ‘Further Applications of Colour Fills’ described uses for different types of ceramics, enamel and related materials and the challenges faced with monochrome, dark and textured surfaces. A practical session followed to meet this challenge; a Wedgwood Jasperware object was chosen and the colour fill methods were adapted to replicate this particular unglazed matte ‘biscuit’ finish of the pale blue pottery. The final day of the course focused on ‘Polishing and Finishing Techniques’ with theory, demonstrations and a practical session, highlighting the patience required for this crucial stage.
The hand skills demonstrated by Sarah and Jasmina were extremely useful to observe in order to replicate in our own practical experiences after the course. The small group size encouraged a friendly and supportive atmosphere and a willingness to share knowledge and understanding from the variety of professionals who were in attendance. I certainly gained an improved understanding of the colour fill technique. I now have vital information to hand when I am undertaking this method. This improved skill will be most advantageous for my future career progression.
How to use the PEL steam cleaner [VIDEO]
As a guest at Preservation Equipment, we produced a video on how to use the PEL Steam Cleaner. Click here to watch.
‘In this video, Harriet from Hythe Conservation undertakes some cleaning on a Chinese porcelain trinket box. On the lid interior there was ingrained and superficial dirt which had accumulated on the surface. This needed to be cleaned before undertaking any repairs, such as bonding the broken corner fragment and colour filling areas of loss. Whilst the steam cleaner is an effective method of cleaning ceramics, it is important to ensure that the object is stable and suitable for the process. Do not steam clean vulnerable low-fired ceramics, fragile areas and surfaces such as gilding and overglaze enamels. These areas of decoration can be easily removed from the surface of the object if the steam cleaner has been inappropriately used.’ https://www.preservationequipment.com/Blog/Blog-Posts/How-to-use-the-PEL-steam-cleaner
What to do (or not!) if you break a valuable ceramic’
As a guest at Preservation Equipment, I had the pleasure to write this blog post. Please take time to read this helpful guide if and when an accident occurs. It’s easy to panic when accidents happen, but breaking a precious pottery vase, a porcelain figurine or a ceramic pot needn’t be a disaster if you follow these steps.
Click the link below:
What to do (or not!) if you break a valuable ceramic
Preservation Equipment Ltd sell products and supplies for the conservation and preservation of artefacts, artwork and archives for conservators, librarians, curators, archivists, photographers and more.
A Pair of Italian Majolica Leaf shaped Dishes (18th Century)
These two dishes are Italian Majolica, comprised of an earthenware clay body and covered in an opaque glaze. The glaze is decorated with cherubs and foliage. There are cockerel maker’s marks to the underside.
One dish had been previously repaired showing the discoloured and brittle excess adhesive between the bonded fragments.
Treatment:
The previous restoration adhesive was softened with a solvent. Eventually, one-by-one the fragments dismantled. The adhesive was mechanically removed with a scalpel. Each shard was steam cleaned to help soften the adhesive to be removed and to removed ingrained dirt from the break edges. The shards were left to dry for at least 48 hours prior to bonding. The shards were bonded with a conservation grade adhesive and held together with strips of masking tape. After curing (the hardening of the adhesive), the tape was removed and areas of loss along the break edges were consolidated. This was then filled to create a smooth surface for colour matching. Retouching was achieved with acrylics and a restoration glaze to replicate the ‘gloss’ appearance.
Sean Henry, Standing Man (1988)
Sean Henry is a British Sculptor, born in 1965. Henry graduated in ceramics from Bristol Polytechnic in 1987; his first exhibition in London in 1988 was at the Anatol Orient Gallery. He is well known for his sculptural figures created in ceramic or bronze, which are individually painted using oil and other paints onto the surface.
This particular ceramic, a large-scale figure of a man, is one of his early pieces dated 1988, has both a painted and glazed ceramic surface. Standing over 2 metres (7 feet) tall, this was certainly not a work-bench studio project, even when separated into its four sections! Assessment of the condition and all treatments recommended to repair the damaged sculpture was undertaken on-site.
Assessment of Condition:
The top section included the head, chest and arms which have both glazed and unglazed surfaces. There were four broken figures to the right hand, all of which had a good tightly fitted join when temporarily placed together, with minor areas of loss. There was lifting and fragile glaze and green algae, dirt and cobwebs over the ceramic surface. The second section of the calves, also glazed and unglazed, had a large ceramic loss to the internal rim and chipped areas to the glaze.
The glazed, cream coloured left foot and leg was intact with only minor glaze loss to the front toe capped boot. The glaze appeared to be quite friable. The unglazed, blue coloured right boot and leg were damaged. The leg had become detached from the boot and had broken areas with visible cracks and running cracks. An internal corroded dowel was discovered inside the leg, surrounded by plaster. There was also a large broken shard at the ankle and losses to the ceramic surface.
Preliminary cleaning tests on the painted unglazed surfaces identified that the artist’s paint used on the ceramic were fugitive pigments. A slightly dampened cotton bud in de-ionised water, in a discreet area, caused the pigment to transfer to the cotton bud. This altered the cleaning methods to certain areas of the unglazed ceramic.
Please see below, photographs of the sculpture prior to treatment:
Treatment:
The surface was initially cleaned to remove the dirt, algae and moss. Areas of robust ceramic were steam cleaned. The steam cleaner was filled with de-ioinsed water which then at high pressure, provided heated steam to be released from the controlled nozzle, directed at the surface. It was thoroughly cleaned and paper towel was used to mop up excess water. Ingrained mould still appeared on the surface. Methods of removal were discussed to combat the algae and prevent re-growth. Various solutions were tested on inconspicuous areas and recorded. An effective solution was found and successfully applied in a controlled manner.
The internal corroded dowel which was surrounded by plaster was removed. Due to surrounding areas of running cracks; a partially broken fragment became detached, this helped to gain access to remove the stained and expanded plaster and dowel.
Areas of loose and flaking glaze were consolidated to strengthen and reinforce. A 10% solution of a conservation grade acrylic resin diluted in solvent was gently painted onto the surface. To fill the large loss to the internal rim; dental wax sheets were softened using a hair dryer to replicate the shape on an intact edge. Once hardened the wax was applied to the missing area and secured in place, which was filled using a rapid setting acrylic composite. The hardened fill was consolidated prior to colour matching.
All areas the blue coloured right leg and foot were consolidated prior to bonding. A conservation grade adhesive was chosen to bond the areas together. To strength the leg, a lightweight, corrosion resistant, dowel was inserted into the leg and surround with plaster to reinforce the bonds. The four fingers were bonded. All areas of loss were filled with pigmented dental plaster. Gouache colours pigmented the plaster to match the unglazed painted ceramic surface. Acrylic paints with Restoration gloss colour matched areas to the glazed surfaces.
To help the stability of the piece, epoxy putty was formed to create an extension of the shoe sole underneath both toe caps. These are separate mounts and are not permanently attached to the ceramic. They were colour matched to the boots. Plinth measurements were taken to create a powder coated steel plinth with two central pegs welded to the base to insert into the holes within the boots.
Please see below, photographs of the completed treatment:
Riveting Work
Riveting, now obsolete, was a method of repairing shards with metal staples drilled into the object. This was prominent during the Victorian period. The consequences of the riveting process proved unsightly and destructive. Surface decoration became chipped when the holes were drilled and corroded metal would lead to staining.
The decision was made to remove the staples, to prevent further damage.
Ceramic Lamp Repair
The lamp holder had become broken from the ceramic lamp base. The threaded tube attached to the lamp holder was originally bent. To prevent further damage to the lamp holder and to avoid re-wiring, it was decided to counteract this by filling underneath the metal plate to straighten the lamp holder. This adhered the lamp holder to the ceramic lamp. A spirit-level was used to make sure the lamp holder and shade was straight. The fill material was retouched.
Conservation of Painted Surfaces
Victorian Decalogue boards, of the 10 Commandments, painted on wood with gold leaf details. Conservation cleaning removed ingrained dirt and wax, built up over many years. The work was undertaken with Julia Park-Newman from Conservation Services.
A Porcelain Lladro Figurine (1939)
This Lladro porcelain figurine had a broken head and arm, and a missing finger. Cleaned prior to bonding the broken areas A new finger was created and modelled to match the original. This was retouched to blend with the glaze layer.
