Conservation of Cermics Glass and Enamels

Here is the listing of all the items in Sarah Peek's portfolio

Life size Minton majolica model of a peacock, 1876

Surface soiled with missing areas on the body. Crest missing.

Surface cleaned. Missing de-laminated areas of glaze were colour filled. Missing crest replaced by making a mould from a perfect peacock at the Minton museum, Stoke on Trent.
Mould cast in plaster, bonded to the object and then retouched to match the original.

Full length photo of restored peacock

19th Century Japanese Imari Square Dish

A Japanese Imari square dish, 19th century, painted in typical palette of iron-red, underglaze blue and gilding with a central floral mon within a border of stylised flowers and formal motifs.

Object fragmented into several sections with chipping along the break edges.

All sections cleaned with water and Snyperonic N (non-ionic detergent) and rinsed.
Once dry the sections where bonded using Fynebond (2 part epoxy resin).
All break edges and missing chips were colour filled using Fynebond bulked to a stiff paste with Cabosil (fumed silica) tinted with dry powder pigments.
The fills were then polished to a glaze-like surface using glass paper 240grit and micromesh polishing cloths.
Damaged enamel decoration was re-touched using Rustin's Plastic Coating (urea formaldehyde resin) and dry powder pigments.

Belleek Porcelain Shell Centrepiece

Large section of shell decoration missing

A silicone rubber mould of the outside shape was taken from a perfect shell. The mould had a skin cast taken using Fynebond epoxy resin, bulked with fumed silica and tinted to match the original ceramics using dry powder pigments. Once cured the cast was cut and shaped to fit in position along the break edge of the missing shell. After being bonded into position the edge between the original and the cast section was filled with more of the same colour fill material. The replaced section was sanded and shaped then polished using micromesh coated abrasive cloths.

The lustre surface quality was then built up using Fynebond and dry powder pigments both on the interior and exterior of the shell. The missing gilding was replaced using 22ct gold powder on oil size.

Chinese Mark and Period Xuande Porcelain Dish

Object severely fragmented.

All sections were cleaned and dried thoroughly. The sections were bonded using Fynebond epoxy resin. Break edges and missing chips were then colour filled using Fynebond bulked with fumed silica and tinted with dry powder pigments to tone with the original glaze. All fills were abraded using 240 glass paper followed by micromesh polishing cloths to create a glaze like sheen.

Circa 1800 Staffordshire Lustreware Cow Creamer

Staffordshire Lustre Ware Cow Creamer, circa 1800, standing on a rectangular mound base with pink lustre and manganese decoration, cover missing

Tail, horns and lower jaw missing. Some flaking to green enamel on the base.

Missing sections re-modelled with epoxy putty using photographs of perfect cow creamers as reference. Replaced sections re-touched to match the original surface using Rustin's plastic coating with dry powder and lustre pigments.

Damascus Plate

Object severely fragmented.

All break edges cleaned with a dry soft brush. All sections bonded with gelled epoxy resin, Fynebond. Break edges and missing chips consolidated with Paraloid B-72 5% in 50/50 IMS and Acetone. Break edges and missing chips were then colour filled using Fynebond bulked with fumed silica and tinted with dry powder pigments to tone with the original glaze. All fills polished to a glaze-like surface using 240 glass paper and micromesh polishing cloths.

Reverse of plate after conservation

Derby Ink Stand

Derby porcelain ink stand with polychrome floral and gilt decoration

Object severely fragmented on one side.
Original glazed surface scratched by previous restorer which resulted in large losses of glaze and painted/gilt decorations. Sections of one handle missing.

Once all previous restoration had been removed the sections were bonded together using gelled epoxy resin.
All break edges and missing chips filled with Few polyester putty.
Missing sections of one handle modelled into position using the opposite perfect handle for reference.
Once all fills were in place and abraded to a glaze-like surface the restoration was air-brushed to make an invisible repair.
The damaged floral decoration was re-touched by hand and the damaged gilding was replaced with 22 carat gold leaf.

Dragon Bowl

The Burghley House Collection

Bowl severely fragmented with no previous restoration.

All sherds cleaned and then bonded using Fynebond epoxy resin.
Break edges and missing fragments colour filled with Fynebond bulked with fumed silica and tinted to tone with the original surface using dry powder pigments.
Fills polished using glass paper 240 and microesh polishing cloths.

An additional after shot

Early 19th century Staffordshire Pottery Bull Baiting Figure Group

Staffordshire pearlware 'bull baiting' group, c1810

Main body of object intact. Several areas missing which included legs of the table base, the figure's left arm, legs of the tossed dog and the tips of the bull's horns.

For the accurate replacement of these sections a second bull-baiting group was borrowed to enable silicon rubber moulds to be taken, then cast in plaster. Once all sections were replaced, they were retouched to tone with the original glaze.

Hochst Porcelain White-Glazed Figure of a Drummer Boy

Object severely fragmented with large losses, particularly to the drum.

All sections were cleaned and dried thoroughly. Sections were bonded using Fynebond epoxy resin. Break edges were then colour filled using Fynebond bulked with fumed silica and tinted with dry powder pigments. All fills polished using 240 glass paper followed by micromesh polishing cloths.

A silicone rubber mould was made of the remaining original drum section. This mould was cast with a skin coat of colour fill material to act as a base for replacing the missing section of the drum. The final drum shape was built up using layers of colour fill alternating with sanding and shaping with a scalpel.

Additional shot of complete figure

Kangxi Chinese 'Famille-verte' Plate

A Chinese 'famille-verte' plate, Kangxi period (1662-1722), painted in the centre with a vase of flowers within a scallop border, the rim painted with a floral meander.

A large section of the rim missing. Surface soiled.

Surface and break edge cleaned using steam cleaner.
Mould taken was taken from a perfect area of rim using Ambersil Silcoset 105A (silicone rubber).
Mould held in position over the missing area using more silicone rubber that also sealed the mould.
The mould was then cast using Crystacal R (dental plaster).
Once shaped, the fill was consolidated using Paraloid B72 (acrylic resin) 4% in 50/50 acetone/IMS.
Fill bonded into position using Paroloid B-72 40% in acetone.
Fine filling to achieve the perfect shape was done using Fine Surface Polyfilla.
The fill was airbrushed using Rustins Plastic Coating (urea formaldehyde resin) and dry powder pigments.
The detail was then hand painted using the same materials.

An additional during photo

During restoration shot

Mo Jupp Sculpture

Terracotta Mo Jupp Sculpture

The top section of the object fragmented into several sections with chipping along all the break edges.

All sections cleaned using acetone on a cotton swab.
Broken sections bonded using Paraloid B-72 (acrylic resin) 40% in acetone. All missing chips consolidated with Paraloid B-72 5% in 50/50 acetone/IMS (Industrial methlated spirits).
Once cured the missing chips and break edges were filled using Few (polyester resin).
All damage was finally retouched using acrylic paints with Gasil23c (silicon dioxide) as a matting agent.

Modern Tin-Glazed Earthenware Fish Dish

Modern fish platter. Earthenware with tin glaze.

Fragmented into several sections.

Object cleaned and bonded together with acrylic resin. Break edges and chips consolidated, then colour filled to tone with the original glaze colour.
Fills polished.

Royal Doulton Stoneware Vase

Royal Doulton stoneware vase, 1902-36, of ovoid form with everted rim

Fragmented into several sections.

Object cleaned and bonded together with epoxy resin.
Break edges and chips colour filled to match glaze colour.
Fills polished to a glaze like finish.

Spode Botanical Dish

Spode Porcelain Botanical Oval Dish

Object broken into three sections, held togther with previous restoration.

Sections were taped together while the 15 rivets were removed mechanically. All sections cleaned. Once thoroughly dry, sections were bonded together using gelled Fynebond epoxy resin. All rivet holes and break edges were then colour filled using Fynebond bulked with fumed silica and tinted with dry powder pigments. All fills were polished using 240 glass paper followed by micromesh polishing cloths. Damaged enamel decoration retouched by hand using Rustin's Plastic Coating and dry powder pigments. Damaged gilt decoration was replaced using 22ct gold on oil size.

Reverse of dish before conservation showing rivets

Reverse of dish after conservation

Susie Cooper Judge Wall Mask

Susie Cooper wall mask modelled as a Judge, circa 1933

Object severely fragmented.

All sections cleaned using acetone on cotton swabs.
Broken sections were then bonded using Paraloid B-72 (acrylic resin) 40% in acetone.
All missing chips consolidated with Paraloid B-72 5% in 50/50 acetone/IMS (Industrial methylated spirits).
Once cured the missing chips and break edges were filled using Few (polyester resin).

All damage was then retouched on the front side only, to match the original surface. The retouching was done using Rustin's clear plastic coating (Urea formaldehyde resin) and dry powder pigments.
All damage was polished to a glaze-like surface using micromesh polishing cloths.

Tang Dynasty Terracotta Model of a Horse.

Unglazed terracotta model of a horse, standing four square

The legs of the horse were fragmented into several sections. Previously held together with wooden dowels.

The wooden dowels were removed using pliers.
The break edges and holes from the dowels were cleaned using acetone on cotton swabs.
The legs were bonded into position using H.M.G. (Cellulose Nitrate) adhesive and stainless steel dowels were inserted into the pre-drilled holes.
Once cured the break edges were filled using Paraloid B-72 (acrylic resin) 30% bulked with micro balloons (phenolic resin) to a stiff paste.
The fills were then shaped using a scalpel and 240-glass paper.
All fills were retouched using acrylic paints with Gasil 23c (micronised fumed silica) as a matting agent.

Timurid Tile

Tile broken into three sections, held in place with previous restoration.

Previous restoration reversed using Acetone on cotton swabs. Break edges cleaned mechanically with scalpel, dental tools and swabs of Acetone. The three sections were bonded with gelled Fynebond epoxy resin. Break edges colour filled with Fynebond resin bulked with fumed silica and tinted with dry powder pigments to tone with the original glaze. All fills abraded using 240 glass paper followed by micromesh polishing cloths to create a glaze like sheen. The detail and character of the surface was retouched by hand using Rustin's Plastic Coating and dry powder pigments.

The reverse of the tile was also colour filled along the break edges using Fynebond bulked with fumed silica and synthetic onyx powder tinted with dry powder pigments. Detail was then re-touched by hand using acrylic paints and Gascil 23c as a matting agent.

Circa 1900 Rock Crystal Tureen

Cut and engraved rock crystal tureen, circa 1900, characterised as a bird. Gilt metal mounts studded with semi-precious stones and enamel decoration.

Base and cover fragmented in to several sections with previous adhevise holding some sections together.

Object cleaned of previous restoration. All sections then taped together and epoxy resin fed into all the breaks.
Chips and missing sections were filled using two-part wax moulds.
Detail of the feathers was then carved into the resin.
All fills and joints were then polished to a glass-like finish.
Metal mounts were overhauled to their original working order by a fine metal conservator.

Additional before shot

Chinese Blue and White Porcelain Charger

A modern Chinese hard-paste porcelain charger, decorated with underglaze cobalt and gilt rim.

Fragmented into four large sections with a section missing from the rim.

Sherds cleaned and bonded with Fynebond epoxy resin. Break edges and missing section colour filled with Fynebond bulked with fumed silica and tinted to tone with the original glaze. All fills polished to match the original glazed surface with micro mesh polishing cloths. Damaged gilding replaced with 22ct gold leaf.

Chinese Kangxi Vases Project

Three very large Chinese blue and white ovoid vases and covers, Kangxi (1662-1722), painted with river landscapes, pheonix, birds and dragons

A set of 3 large blue and white porcelain baluster vases and covers painted with panels of river landscapes, birds, phoenix and dragons. early 18th Century 1. One of the three Vases before conservation. Three Kangxi Vases two with large missing sections at the rim. All with soiled surfaces and several unresolved stained cracks. Numerous chips along cracks and thoughout objects. 2. Detail of damage to vase surface. Localised areas of loss to the glazed surface occuring on all three vases. 3. During cleaning at the Petworth Studio Cleaning included the use of water and synperonic n(non-ionic detergent), biotex detergent (enzyme washing powder), steam cleaning and hydrogen peroxide (on cotton swabs).All cleaning products were thoroughly rinsed in order to ensure no long-term affect to the ceramic. 4. Three vases clean and comensment gap filling Bonding and consolidation of cracks was done using fyne bond (conservation quality two part epoxy resin). Core fills were cast using Araldite 20/20 epoxy resin tinted and bulked using fumed silica and dry powder pigments. 5. Corefill inplace of large missing section. Silicone rubber mold also shown. -Gap fills of missing sections-The large missing section (core fill) was cast in a wax mould onto stainless steel pins (which will have been drilled and fixed into the break edge) and wire which were required for structual support. The finishing layers were built up using tinted Fynebond and two-part silicone rubber moulds to reproduce the surface quality(with respect to the exact detail of throw rings and correct contour etc).All colour fills were polished to a glaze like surface using coated abrasives. 6. Interior completed large missing section. 7. Exterior completed large missing section. All missing cobalt decoration was retouched by hand using Rustins plastic coating (Urea formaldehyde resin) and dry powder pigments. 8. Smaller missing section before conservation treatment. Surface soiled, 8cm ‘v’ shaped section of the rim missing. Unresolved stained crack running from missing section. 9. Corefill in place for 'v' shaped missing section. Silicone rubber mould made to commence surface 'glaze'. 10. Interior completed 'v' section. 11. Exterior completed 'v' section. 12. Three vases complete with their cover.

1. Cover 1 before conservation Surface soiled. Localised areas of losses to the glazed surface. Finial missing. Cover conserved and restored using same methodology as the vases. 2. Cover 2 before conservation Surface soiled. Unresolved crack running from the rim braced with three corroded rivets. 4cm slither section missing two thirds along the crack. 10cm section missing from inside rim. Finial missing. Cover conserved and restored using same methodology as the vases. 3. Cover 3 before conservation Surface soiled. Unresolved crack running from the rim. 6cm section missing from inside rim. Finial missing. Cover conserved and restored using same methodology as the vases. 4. Famille Rose cover with fo dog selected for mould making. All undercuts and openings protected with soft modeling wax to prevent silicone rubber locking into position. (silicone rubber was tested to ensure there would be no staining or damege to the original). 5 Showing 5-part mould making process. For ease of use the dog was devided into 5 sections along natural contours. The sections were sub-divided using white modeling wax 6.delete 7.Showing 5-part mould making process Skin coating of silicone rubber to take the initial detail. Note moluld key system in wax walls. 8.Showing 5-part mould making process A second layer of silicaone rubber bulked with fumed silica added to give strength and support. 9. Completed 5-part mould with additional plaster support to enable the head (which had to be hollow) to be cast seperate to the body. 10.Trial Plaster cast of 5-part mould. 11. All molds and trial material samples. 12. Completed left facing Fo Dog attached to cover 13. Reverse completed left facing Fo Dog attached to cover. 14. Completed right facing Fo Dog attached to cover. 15. Reverse completed right facing Fo Dog attached to cover. 16. Three completed covers illustrating the desired surface quality and colour. 17. Three completed covers insitu.

Minton Majolica Heron Project

A large Minton majolica fountain and stand, circa 1876

A Large Mintons majolica fountain and stand circa 1876 Caption 1 Heron Fountain before conservation treatment. The Heron was located in a garden. It had been previously restored using a combination of materials including cement, silicone sealant, unknown adhesive and paint. The object had suffered serious enviromental damage. The object in total was fragmented into over 300 pieces with many missing sections. Caption 2 Stand after cleaning. Clean methods included the use of water and synperonic N, steam cleaner, mechanical removal of foreign material, solvol autosol, Biotex, and Nitric acid on localized areas of cement. All cleaning material were thoroughly rinsed and dried before proceeding. Caption 3 Stand after assembly Large sections on this project were bonded using Akemi(polyester resin) and stainless steel dowels for the required support. Smalller sections including chips and glaze flakes were bonded using Fynebond epoxy resin in a gelled consistancey. Caption 4 Base section after assembly. Note the amount of missing sections in this area. Caption 5 Underside of base and stand. Consolidation was carried out using Paraloid B-72 5% in 50/50 Acetone and Industrail methylated spirits. The fills on the underside of the base were completed using superfine casting plaster. Once dry all plaster fills were consolidated. Caption 6 Plaster base support The Stand and base were temporarly assembled in order to cast a plaster support to help distribute the weight evenly, avoiding stress to the object. During the casting process the majolica was supported from underneath and protected with polythene. Caption 7 Assembly of Heron Several types of clamps and supports were employed in the bonding process. Caption 8 Main section assembled. During the assembling process core fills were added to give support in missing areas. This was carried out using gelled Araldite 20/20(epoxy resin) or plaster depending on the nature of the missing area. Caption 9 Replacing missing sections Detail of replaced leaf made from Aradite 20/20 upon a consolidated plaster support. Caption 10 Detail of replaced beak Hand modeled in tinted and bulked Aradite 20/20. Caption 11 Fully assembled with missing sections complete. Shell bonded into position with Akemi polyester resin. The shell was given additional support with the use of a large stainless steel dowel held in position with brass plates. This ran the entire length of the hollow object. Caption 12 Rear view fully assembled Retouching of the replaced section was carried out using layers of Araldite 20/20 tinted using finely ground dry powder pigments. Caption 13 Completed stand with plaster mount Note the refence point on the plaster mount to ensure correct assemblage. Caption 14 Object complete Caption 15 Object complete Caption 16 Detail of complete stand and base Caption 17 Detail completed Heron Caption 18 Object complete

The Tang Horse Project

A total rebuild of a terracotta horse; Tang Dynasty.


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