Wooburn Craft School summer courses: French Upholstery, Woodworking, Carving and Jewelry Making
Machine Carving: Monday 2nd July till Saturday 7th July, 9am to 4pm
This course represented an opportunity for carvers with some experience to get familiar with versatile tools such as Arbortech, Sabour or Rotarex. Ideally the student should have some experience of using power tools and be confident when handling tools that rotate at high speed such as power drills and angle grinders.
The Tutor: Simon Clements original degree was in ceramics at Loughborough School of Art where he developed a style of sculptural wheel thrown pottery. After a period as a self employed potter and teacher Simon found himself working in the wood working industry as a mast and spar maker for classic wooden boats. He took a two year sabbatical from masts and spars to do a Post Graduate course in Historic Wood Carving and from there developed a career in sculptural wood carving.
He now works from his workshop at the Sylva Woodcentre in Oxfordshire and specialises in large-scale carvings in wood often as intrepretive sculpture for public works. His current project is a prestigious commission from the Woodland Trust to carve 11 interpretive columns in Oak to celebrate the 800th anniversary of the Woodland Charter; these 1.5 ton oak posts are being placed at specially chosen sites across the United Kingdom.
• Icon member: £275
• Non Icon-members: £300
French Upholstery: Monday 9th July till Friday 13th July, 9am to 4pm
A beginner’s course, teaching the basics of French upholstery, including the use of French materials (webbing, cord, etc.), tools, and methods (different approaches to measuring, stitching, etc.) ending with a basic buttoned footstool, or to produce a panel which includes all the basic stitching used in French upholstery. Other options might be to reupholster a French chair (e.g. a Louis XVI chair). We will have another course in October (23 - 27 October) so you can do both an introductory and an 'advanced’ session.
The Tutor: The instructor is Laurent Lainé, former head tutor at the leading school of furniture related skills - Ecole Boulle in Paris. He currently teaches design at Ecole Boulle and he works for many of the leading museums in France including Versailles and the Musée des Arts Décoratifs. Laurent will give a lecture each day on a related topic then guide each participant in completing their chosen upholstery project.
• Icon member: £325
• Non Icon-members: £375
• Students: £300
Plus a small material cost (less than £25)
Introduction to Woodworking: Monday 16th July till Friday 20th July, 9am to 4pm
This started with an overview of common furniture woods and their qualities as well as the basic hand tools and how to sharpen them. Students will be introduced to basic woodworking techniques while making a beautiful wooden box in their choice of timber, with a few options for all skill levels. Depending on the time required to complete the box, the student may be introduced to other related techniques such as turning wood and marquetry. Finally, they will try out different finishing techniques before choosing one for their box.
The Tutor: Phil Lyons has always been inclined towards wood work and hand skills. He graduated from Bucks New University over ten years ago and since that time he has started and successfully built a furniture restoration business. During that time he has made a concerted effort to study all the different ways that furniture is made. Some of his specialties are frame and chair construction, marquetry, gilding, among other areas. He has designed a series of courses, which together will teach students most aspects of furniture making. All of this will be in context of making several beautiful objects including a small box and a Windsor chair.
• Icon member: £250
• Non Icon-members: £275
Introduction to Jewellery Making: Monday 23rd July till Friday 27th July, 9am to 4pm
Although focused on pieces that can be worn, how these techniques are used in Fine and Decorative Arts was also covered. The course began by looking into the basic tools, workshop health and safety, and best practices for the use of equipment and workshop awareness. The first project taught how to anneal metal, which involves using a blowtorch, flux and safety pickle, hammering, forging, mark making and polishing. This was followed by learning how to solder, using a jeweller’s saw, how to turn silver wire into a simple ring, how to make a stone setting, for a ring, pendant or brooch. Then we will look at mixing metals and more advanced methods of joining them to make a key chain, badge or brooch. Other subjects covered will include:
• Chain making
• Melting and casting metals
• The use of rivets, wire and pins
The course produced a number of different items including more brooches, necklaces, etc.
The Tutor: Grant Forsyth has been studying jewellery making since 1988, first through adult education classes on an informal basis studying Jewellery and silversmithing followed by more formal education in Jewellery and metalwork design. After a Diploma in Jewellery and Metalwork design at Bournemouth and Poole College, he graduated with a BA (Hons) in product design at Bucks New University in 2017. Since that time Grant has run his own successful studio and has been first a part time instructor then an associate lecturer.
• Icon member: £250
• Non Icon-members: £275
Introduction to Woodcarving: Tuesday 31st July till Friday 3rd August, 9am to 4pm
Beginning students learnt the craft of Wood Carving using traditional tools through a couple of challenging exercises, talks and demonstrations. Those new to Wood Carving developed an understanding of wood, how to use the basic tools, and how to conceptualize a final Wood Carving goal. More advanced students continued to improve their skills by carving more advanced pieces with careful guidance from the tutor. A special emphasis was placed on furniture or decorative arts design elements such as a shell, an acanthus leaf, a ball and claw foot, etc.
The Tutor: Ernest has studied with the leading woodcarvers in England and in France at l'Ecole Boulle. His passion is primarily focused on carving that is in the support of restoration of furniture but he is equally inspired by carving in support of artistic endeavours. While most of his work has been with pre-18th century pieces, he has worked in a number of different styles from Arts and Crafts, Art Nouveau, Baroque and Neo Classical, as well as modern pieces. Ernest is active in the furniture and wood section of ICON (the Institute of Conservation). For the past four years, Ernest has been teaching wood carving at both Bucks New University in High Wycombe and at Lyon’s Restoration guiding students to produce a variety of creative objects from a simple leaf, to totem poles and abstract objects.
• Icon member: £250
• Non Icon-members: £275
Approaching it Differently – Upholstery Conservation, joint events with Icon Textile Group
Monday 4th September till Tuesday 5th September and Monday 26th to Tuesday 27th March 2018 (back due to popular demand!)
Using Knole House as a backdrop, these 2-day courses were led by the National Trust’s senior upholstery conservator, Heather Porter.
Open to both Textile and Furniture conservators the aim was to foster an informative exchange of skills and experience at this area of interface between the two specialisms. In large institutions, upholstered objects may be passed between studios for the separate elements of the frame and covers to be treated. In smaller institutions or private practice, a single conservator may have to complete the entire treatment. In either case conservators can benefit from a course focused on providing a holistic overview of approaches to upholstery conservation.
As an introduction to upholstery conservation, these courses enabled students to gain greater knowledge of the history of upholstered furniture with relation to the frame and textiles, and discuss the upholstery materials, tools and techniques used to create them. The methods available to examine existing upholstery, and to understand the physical evidence of original and later phases of work using tack holes and fragments on the frame were also discussed.
Practical sessions introduced participants to the simple upholstery skills necessary to attach and remove textiles from the frame using standard fixed attachments. Pros and cons of these traditional fixings were discussed and provided a framework for discussion about how they can be replaced with less damaging alternative conservation techniques. Textile conservation and treatment of other original upholstery materials were shown alongside modern approaches used for the recreation and application of missing historically accurate upholstery.
Ticket prices were offered at a subsidised rate, include morning and afternoon refreshments, buffet lunch, and a shuttle taxi service to and from Sevenoaks station at specified times. There was also the opportunity to explore the showrooms at and Knole House see the new conservation facilities.
Cost: ICON Members: £120/ Non-ICON Members: £157.79
Traditional French finishes
Monday 23rd October 2017 to Friday 27th October 2017, 9am to 4pm
Taught by a leading Conservator - Restorer and teacher in France, Pierre-Alain Le Cousin, who instructed students on the fine art of finishing decorative objects. Particular attention was spent on French Polishing and the use of wax finishes.
As a leading expert in the field of restoration and conservation, Pierre-Alain was able to share with the students many techniques and insights that would be difficult to get elsewhere. In this course, he discussed the basics (the ‘mouse’, the different types of shellacs, the different types of waxes), he presented different recipes for using shellac for varnishing, and for filling, different wax recipes, the use of resin based shellac for filling. This was a very hands on course as Pierre-Alain, showed students how to apply the shellac and wax, how to apply black shellac and shellac for brasses.
About the Tutor:
Pierre-Alain currently teaches restoration at Ecolle Boulle in Paris. He has a very impressive CV showing his work spanning over 20 years and including many of the greatest museums in France; restoring and conserving very important decorative objects. A partial listing of his prior clients include Chateau de Fontainebleau, Chateau Grand Trianon, Mobilier National and Chateau de Chaumont.
Pierre-Alain also worked at the The Wallace Collection here in England and he has a number of private clients. He has been employed at the workshops of Simon Pierre Etienne and for Societe Steinitz where he restored pieces produced by David Roentgen, Andre Charles Boulle, Carlin Martin among others.
In addition to teaching Conservation-Restoration at Ecole Boulle, he has served on many important jurys in France, including being President du jury d’attribution du ‘concours des meilleurs ouvriers de France’ (Competition for the best Craftsperson in France).
Icon members: £375 / Non Icon-members: £325 / Students: £300. All tools and materials were provided.
Visit to the new conservation studio at Knole House, joint event with the Gilding and Decorative Surfaces Group
Monday 25th September 2017
This one day event, co-organised with the Gilding and Decorative Surfaces Group, involved a tour of the new conservation studios and public showrooms at Knole.
Gerry Alabone, Senior Conservator (Furniture & Frames) presented a talk on the treatment of a unique set of six English derivative ‘Sansovino’ style frames, made c.1639 for the copies of the Raphael cartoons. Attendees were also able to see progress with cleaning tests to bronze-paint on gilding using Erbium: YAG laser.
10.30 am - Attendees to arrive at Knole House - Coffee and tea will be provided in The Hayloft
11 am - 12 noon - Tour of studio spaces with Gerry Alabone and a presentation.
12 noon – 1 pm –Tour of Main House Showrooms
1 – 2 pm: Lunch (Served in the Hayloft)
2 pm onwards: Gate House visit
Courses in Marquetry, Mosaic, and Woodcarving at the Wooburn Craft School
In order to improve our member’s ability to access more affordable, quality CPD, the group worked in conjunction with the Wooburn Craft School to offer a discounted rate to icon members on many of its courses. These courses focused on the development of practical craft skills taught by highly experienced professionals. Three such courses, felt to be of particular interest to members, were advertised here.
Costs for all courses: Icon members: £300 / Non Icon-members: £325 / Students: £275. All tools and materials are provided. Materials will incur a small cost (less than £25). Tea, coffee and biscuits were provided.
Marquetry with Paul Tear, MBE
Monday 16th June – Friday 30th June, 9:00 am to 4:00 pm
Marquetry is frequently called the art of ‘painting with wood’. And indeed it is, as furniture makers and artists have been using this technique to produce beautiful pictures with wood for hundreds of years. Examples can be seen in many 18th, 19th and 20th century pieces of furniture.
The course concentrated on the saw cut marquetry techniques used in the 18th century by using two exercises; the Boulle technique, using brass and pigmented horn, and a floral design in wood veneers using the piece-by-piece method. There was also the opportunity for the participants to use a marquetry donkey and electric scroll saw.
Each day began with a short lecture followed by a series of group demonstrations given on the techniques and procedures for each project. Each participant carried out the two exercises, working at their own pace; the exercises developed in complexity as the week progressed.
At the end of the week each participant produced two marquetry panels attached to brown paper for ease of transport, which they then glued onto a substrate of their choice following the course. Of course, if time permitted, these can be glued to a substrate in the class.
The tutor, Paul Tear MBE, has been working with marquetry furniture for well over 35 years. First he was the head of conservation at The Wallace Collection, then course leader of the Furniture Conservation Course at Bucks New University in High Wycombe. During that time, one of his primary specialties has been in the restoration and creation of marquetry furniture and design.
Mosaic Tiles with Karen Wones
Monday 12th June – Friday 16th June, 9:00 am to 4:00 pm
A whole week doing mosaic – fabulous! If you have ever fancied having a go at mosaic but don’t know where to start... this is an ideal opportunity to get lost in a project!
Participants learned about basic mosaic design, mosaic tools, choosing and cutting materials, adhesives and grouting. The course started with a small, simple piece of work and progressed to a bigger project through the week. The pace of work depended on the materials and the amount of detail chosen. The tutor provided a large collection of images/books for inspiration and a great selection of glass materials for making mosaic.
Beginners were welcome – students don’t have to bean amazing artists to create beautiful pieces of mosaic art! Advanced students were also welcome; the tutor provided guidance and helped facilitate custom designed works of mosaic art.
Karen recently moved to this area having successfully taught mosaic art in Gloucestershire and Worcestershire over the past 12 years. While teaching she worked in schools and produced commercial pieces. She also spent time working on ‘arts and health’ projects. The benefits for people’s well-being of ‘doing’ art/crafts have been studied and proven so she is thrilled to be part of this journey for students.
Wood Carving for Furniture Makers / Conservators
Monday 17th July – Friday 21st June, 9:00 am to 4:00 pm
In this course, students learnt the basics of woodcarving as it applies to furniture conservation. It began with a discussion about the tools used in woodcarving – chisels, mallets, clamping devises, other related tools and how to care for them, incluing how to sharpen chisels.
Every day started with a brief discussion about different topics such as the different types of carving, some historic wood carving examples as well as more practical issues such as buying chisels, different approaches to sharpening, and working with different types of wood.
During the week, students practiced carving through two different exercises. The first was to carve four concentric circles using four different chisels. This taught the student how to control the chisel, how to read the grain, and how to produce a smooth well-defined cut. The second exercise involved a decorative element. The student could select out of a set of options including a corbel, an acanthus leaf, a flower design, and a rococo design, with a choice of different types of wood such as oak, mahogany, walnut or lime.
The instructor is Ernest Riall, PhD. Ernest has studied under some of the most renowned wood carvers in England and France. He has studied his craft in both Bucks New University (as part of his BA (Hons) and PhD in furniture restoration) and at Ecole Boulle in Paris. He has been teaching Woodcarving for over five years both at Bucks New University and finally as a tutor and director of The Wooburn Craft School. Ernest carves private commissions as well as in support to his restoration work.
Location: The Wooburn Craft School, Town Lane, Wooburn Town, Bucks, HP10 OPJ.
While this is a small village, it has easy access to two major motorways (the M40 and the M4), it is very close to one train station (Bourne End) and a close (10 minute drive) from another (Beaconsfield). Transportation to and from the train stations can be arranged.
Icon furniture and wood group symposium 2017
Friday 12th May 2017, 9:30am - 5pm
Held at the Lineean Society, London, this event costed £30 per Icon member, £20 per student and £40 per non-Icon member.
The schedule for the day was as follows:
10:00am Welcome from the CEO of ICON, Alison Richmond
10:00 to 10:30
Francesca Cialoni and Federica Traversa
Istituto di Restauro delle Marche, Academy of Fine Arts Macerata, Italy
The restoration of a polychrome wooden balcony from the church of ‘San Vincenzo Martire’ in Macerata, Italy
The presentation will describe the conservation and restoration carried out on an 18th century painted and gilded wooden balcony, part of a group of seven other wooden balconies located inside the church of S. Vincenzo Martire in Macerata, Italy, and created between 1763 and 1832. In particular in this presentation will focus on the practical treatment of the balcony. The condition of the balcony will first be described. The practical treatment will then be discussed. This work included the reconstruction of missing gilded wooden carvings, the consolidation of degraded paint layers and wooden surfaces, and the reconstruction of the structure using a range of traditional and contemporary jointing and stabilization methods.
10:30 to 11:00
National Museums Scotland, Edinburgh
Houses in Motion: Reconstruction and Installation of the Hamilton Palace State Drawing Room at the National Museum Scotland
In 2014 National Museums Scotland (NMS) commenced a major 3-year capital project to develop 10 galleries to display the museum’s decorative art and technology collections. One of these new galleries highlights 13th-19th century European decorative art including objects previously in the ownership of the Dukes of Hamilton. As a focal point of this gallery it was proposed to reconstruct part of the State Drawing Room from Hamilton Palace, Lanarkshire. This paper aims to outline the key elements of this project and the challenges of reconstructing a period room interior as one element of a museum refurbishment project. A range of both logistical and treatment decisions will be discussed. As part of this project innovative methods of engaging with the public via social media and press releases were also used allowing the project to contribute significantly to the museum’s fundraising efforts. This media content was included in gallery digital interactives as part of the display and interpretation and will also be discussed as part of this talk.
11:00 to 11:30 Break for refreshments
11:30 to 12:00
University of Antwerp/Rijksmuseum, Amsterdam
Nigritella Nigra: the conservation of a contemporary chest of drawers
The treatment of a chest of drawers, ‘Nigritella Nigra’ (1993), by the Italian architect, writer, designer and painter Alessandro Mendini will be discussed. His work often combines materials contrasting in colour and texture and Nigritella Nigra is a good example of this. The object (97 cm x 50 cm, H 110 cm) is composed of five encased drawers on a base. Particular attention will be paid to the treatment of the topmost drawer case, painted by the artist Lucio Giudici, which was affected by numerous lacunas and a peeling finish, which make it difficult to read the drawings. The talk will address the decision-making processes involved in this treatment, including the choice and motivation for a specific consolidant and the application technique. The decision whether or not to retouch the lacunas (and the eventual technique and materials used) will also be discussed.
12:00 to 12:30
City and Guilds of London Art School, London
Deconstructing the history of a 17th-Century footstool
The early 17th-century polychrome wooden footstool that will be examined in this talk belongs to a wider set of furniture that comprises of an x-frame chair, a back stool, and two stools, which are all currently at Knole, a National Trust property in Kent. The method of construction of the footstool is a clear indication that it was most likely originally a different piece of furniture that was reassembled in an unusual way to construct this footstool. Comparing the individual components of the footstool to the other pieces of furniture of the same set provided the clues to what the original piece of furniture may have been. Revealing this entangled web, by identifying the materials and deconstructing the history of the footstool, was important in deciding the most appropriate treatment approach, which will also be discussed.
12:30 to 1:00
Wallace Collection, London
Riesener Revealed: Documentation and Observation…The Journey So Far
This talk describes work undertaken as part of the ‘Riesener Project’. The aim of the project is to document the construction, techniques, and materials employed in pieces attributed to Jean Henri Riesener. The goal is to better understand Riesener’s workshop practices, to confirm our existing knowledge regarding past alterations, and to discover previously unsuspected alterations. The use of modern technology to digitally re-create impressions of the furniture in former times, and to visualise any changes in appearance will also be discussed. We have already established that some constructional details are repeated throughout all the pieces examined so far, and further research will help to provide a base for comparative technological and art-historical/archival study.
1:00 to 2:00 Lunch
2:00 to 2:30
Historian, furniture restorer, and former chairman of Heal’s
Sir Ambrose Heal – between Arts & Crafts and Utility
Sir Ambrose Heal (1872-1959) – furniture designer, manufacturer, and retailer - was the man who established the reputation for good design for which the Heal’s furnishing business in London is still known. He was a very significant figure in design and retail developments in early 20th century Britain, making distinctive, well-made furniture available at reasonable prices to a broad middle-class public. He was in effect the link between the largely unrealised 19th century ideals of William Morris and the Arts & Crafts Movement and the basic Utility furniture introduced by Sir Gordon Russell during World War Two. His grandson, Oliver Heal, who published a major reference work on the subject in 2014, will give this illustrated talk about his life and work.
2:30 to 3:00
Natural History Museum, London
Conserving One of Natures Giants: Treatment of a Sequoia Transection
A transection of a Giant Sequoia (Sequoiadendron giganteum), 4.5 metres in diameter, has been on display in the central hall of the Natural History Museum, London (NHM) since 1893. This talk covers its recent conservation as part of a gallery redevelopment. The primary aims of this treatment were to clean and condition check the specimen, revive the facing surface and stabilise the bark. The previous condition of the giant sequoia will be discussed along with details of the range of previous treatments evident and how they have deteriorated over time. The present treatment process will then be detailed including efforts to clean and consolidate the surface, as well as the use of gelled systems to remove previous coatings. Combining techniques from furniture, paintings and natural history conservation has not only revived this specimen for continued display, but has ensured its preservation for years to come.
3:00 to 3:30
Plowden & Smith Ltd., London
The conservation of nine Japanese botanical panel paintings
This talk describes the conservation of a group of nine panels that arrived at the studios of Plowden & Smith Ltd., containing Japanese botanical paintings. It is believed that these panels are late 19th century and are currently owned by a private client. Each piece features wood from a particular tree, with a radial plane panel framed by the associated bark and depicting several flowers, leaves and fruit of the corresponding tree, along with paper labels giving the tree species in Latin and Japanese. During the symposium, several aspects of the Japanese panels will be discussed. Firstly the construction of the panels, the painting techniques and label characteristics will be described. Following this, the considerations, methods and results of the conservation treatment of the labels, wooden surfaces and painted areas will be discussed.
4:00 to 4:10 Closing remarks from Alex Owen
Icon Furniture & Wood Group Museum Tours to coincide with the 13th International Symposium on Wood and Furniture, Amsterdam
Thursday 17th November 2016, 10am - 2pm
As a run-up to the Stichting Ebenist event, the symposium attendees were invited to partake in a day of additional learning experience. A guided visit around the Arts Conservation Studios of the Rijks Museum was followed by an optional visit to the museum galleries. After lunch, the day commenced with a visit to the conservation stores of the Amsterdam Historisch Museum. This event costed £25 per person.
Review: "Seeing Stars: Behind the Scenes at The Museums" by Rachel Dealey
The Night Watch may be considered one of Rembrandt’s greatest works, but look up to the ceiling in the rooms to either side of it in the Rijksmuseum and you will see a glorious 21st Century galaxy of 47,130 hand painted stars by Turner prizewinner Richard Wright, commissioned to celebrate the building’s astonishing renovation.
This was a day of counterpoints and contrasts.
Huddled outside a building behind one of the world’s greatest museums on a cold, wet and blustery November day in Amsterdam, our small group of conservators gathered and the tour began.
The traditional exterior of the ‘Ateliergebouw’, home to the Rijksmuseum Conservation Centre, gave way to an ultra-modern interior, where the decor and furnishings are pristine and white.
In the light, bright furniture conservation studio, Senior Conservator Iskander Breebaart, our host for the morning, introduced us to their current projects:
An imposing carved early-17th Century cabinet attributed to Herman Doomer, partially stripped and re-polished; intricate filigree carved wood, with newly-fashioned pieces inserted seamlessly; scale ship models with new stringers and rigging; and a gold-and-black fragment of aventurine awaiting analysis.
Iskander Breebaart talking us through the current projects being worked on in the Rijkmuseum's furniture conservation studio
In the window a graduated stack of apparently gift-wrapped boxes - actually an artwork by a living artist - prompted a lively discussion about the ethics of conservation, restoration and enhancements to contemporary pieces.
At the end of the morning tour, Iskander led us to the Rijksmuseum itself where we spent an all-too-short hour in the 17th Century galleries, just enough time to walk around and absorb the soul-soothing beauty of the place.
At the medieval heart of Amsterdam’s UNESCO listed 17th century canal ring, the double-fronted townhouse of museum Willet-Holthuysen, was full of surprises. Thanks to conservators Jaap Boonstra and Paul Born of the Amsterdam Historisch Museum, we were able to explore every inch of this character-full building, up into the eaves and out onto the rooftop.
Jap Boonstra descirbes work to uncover original wall paintings in the conservatory of the Museum Willet-Holthuysen
From the intriguing gentleman’s parlour, to the mezzanine pantry with its chic dinner service and silverware, this museum was a real gem. We were privileged to have access to these areas accompanied by expert guidance.
If you are ever fortunate enough to visit, be sure to look up into the octagonal conservatory - you may not see stars here, but recent research has uncovered an original ceiling painting with grapes, leaves, butterflies and flowers, in delicious pale yellows, greens and blues. Perfect.
French Upholstery with Laurent Laine
July 2016, 9am - 5pm
The Wooburn Craft School, Wooburn Town, Buckinghamshire
The furniture and wood group have successfully run another of its French upholstery courses with Laurent Laine, from Ecole Boulle in Paris. Two enthusiastic students, Kathryn Nisbet and Hannah Thompson received almost undivided attention from Laurent, resulting in a very intensive and fulfilling course.
The French Upholstery Class and the objects produced. Laurent Laine, Hannah Thompson and Kathryn Nisbet.
As both students were new to French Upholstery, the starting project was a buttoned square footstool (for more advanced students, the project takes the form of a Louis XVI style chair).
Each of the students finished their buttoned footstool as well as one extra project. While Kathryn chose an oval back, Hannah chose to make a cushion to hold her upholstery tools.
The French approach to webbing with no gaps
Hannah tying down the springs, with David James who stopped by for a visit.
Whilst the techniques for English and French upholstery are very similar, one of the key differences is the stitching - both Kathryn and Hannah were excited to learn about these differences, for example the very tightly stitched base on which the horsehair is placed, in preparation for the French style of buttoning.
A finished stitched base on to which the hair for buttoning would be added.
Placing the hair and tying the button cords.
Although the turn out was less than anticipated, it turned out to be a great week; intensive, fun, smooth running and in a fantastic location.
“I thought that the course was good value for money – an intensive short course is a great way to learn, as you can immerse yourself without distraction, and get good continuous hours in the workshop. I would love to do another course here, and would happily recommend it to anyone either beginner or expert. The course has inspired me to continue pursuing a career in upholstery, particularly working with antiques and upholstery conservation.”
- Hannah Thompson, July 2016.
“I have spent my week here learning French upholstery from a Master Upholsterer/craftsman (Laurent Laine), who in my opinion is the 'guru' of the upholstery world. Laurent is an excellent teacher, you learn at your own pace he will demonstrate every process for you and repeat it time and time again if necessary. I have learnt many new skills from Laurent and am looking forward to practicing them in all my future work. If you have never done any upholstery before or if you are an accomplished upholsterer and have never practiced French upholstery technics, then this is the course for you. I loved every second of this course :) 5 stars “
- Kathryn Nisbet July, 2016.
Notes about the Students:
Hannah Thompson runs her upholstery business in the West Sussex area near Petsworth. She has a level 2 diploma in Upholstery from Chichester College and a BSc Hons in Conservation and Restoration from London Metropolitan University. Hannah_thompson@live.com
Kathryn Nisbet operates in the South Oxfordshire area, she has both a level 2 and a Level 3 diploma from The Association of Master Upholsterers in Hertfordshire where she past with distinction. www.ridgewayupholstery.co.uk, email@example.com
Workshop on the use of synthetic resins in the conservation of furniture and objects
Saturday 19th September 2015
9:30am - 5pm
Buckinghamshire New University
This one-day workshop focused on the use of synthetic resins as coatings for use in the conservation of furniture and other related objects. Participants learned how to mix and apply a range of coatings and will work on preparing their own sample boards for future reference.
Icon Member: £115
Student Member: £105
Non members: £135
Tristram Bainbridge is a furniture conservator & lecturer working at the Victoria & Albert Museum and in private practice. He is Associate Tutor in furniture conservation at West Dean College.
The use of synthetic resins as varnishes including Paraloid B-72, Regalrez 1126 and Laropal A81. Discussion of criteria for selecting appropriate resins.
Practical methods of application: choosing appropriate solvents, additives and stabilisers to create different varnish properties. Participants made sample boards using the materials discussed.
A presentation of case studies, historical use, comparison with shellac and other natural resins. Participants experimented with Gamblin Conservation Colours and received a small sample set.
French Upholstery Class
Monday 20 July - Friday 24 July 2015
Buckinghamshire New University
The former head of the upholstery programme at Ecolle Boule in Paris taught a week-long course in French upholstery techniques. Laurent Lainé, former head tutor at the leading school of furniture related skills - Ecole Boulle in Paris - currently teaches design at Ecolle Boulle and he works for many of the leading museums in France including Versailles and the Musée des Arts Décoratifs. Laurent gave a one-hour lecture each day on a related topic then guided each participant in completing their chosen upholstery project.
Icon Member: £350
Student Member: £300
Non member: £385
Furniture and Wooden Objects Group Annual Symposium, 2015
Friday 15 May 2015
12:00pm – 5:30pm
Freemasons’ Hall London, 60 Great Queen Street, WC2B 5AZ
Icon Member: £20
Student Member: £10
Non members: £25
- Zoe Allen and Phil James (Victoria and Albert Museum) “Non-intrusive upholstery techniques for a Maire Antoinette chair”
- Hugh Harrison (Hugh Harrison Conservation) “The recent conservation of the sixteenth century choir stalls at the Hospital of St Cross, Winchester”
- Chloe Head and Dr Christina Young (Courtauld Institute of Art) “A model and methodology for the assessment of filing materials for insect damaged wood”
- Jonathan Santa Maria Bouquet (Musical Instrument Museums Edinburgh, University of Edinburgh) “Self-destructive elements in the construction of guitars in the nineteenth century)
- Amy Henderson (Plowden and Smith) “From Tender to Treatment: Conservation of a seventeenth century carved oak figure from Norfolk Museums’ Collection”
- Alex Owen (Private Practice) “Preliminary investigations into the impact of alcohol on the strength of high molecular weight collagen glues”