Sarah Peek Conservation

11 Apr 2025

Our conservation studio prides itself on service excellence, dedicated to our clients and their objects. We thrive on solving conservation and restoration problems and are used to dealing with objects that have complex condition issues. We consider treatment options with an open mind, challenging our materials in pursuit of excellent visual and stability outcomes for the objects trusted to our care. Our ethical approach informs our treatment decisions. All our repairs are reversible and do not impact the integrity of the object. We operate from a purpose-built studio, with a monitored and managed alarm and a secure object store built to National Trust security specifications.

Our service for private individuals

Owners of family heirlooms and objects with a high personal value can feel confident that their objects will be treated with consideration and respect using contemporary conservation materials.
If needed, we research to restore sympathetically achieving a quality conservation result and delivering a long-lasting repair.

Our service for collectors

We look after a range of collections, from varied factories, potters and periods, achieving a unified conservation strategy based on the needs of all of the objects and the owner's requirements for the collection.

We like to understand how the objects are to be enjoyed, handled and stored, so that our conservation approach may be tailored.

Education and training

The studio offers short courses in conservation techniques currently focused on Colour Filling and Gilding.

Ceramics - Ranging from Earthenware to Porcelain

Ceramics encompass a diverse range of objects fabricated from both low-fired clay and high-fired hard-paste porcelain, collectively designated as the ceramic body. Low-fired ceramics are comparatively softer and more absorbent in nature, whereas high-fired porcelain is hard and nonabsorbent. The selection of materials and methodologies employed in ceramic restoration is based on an understanding of both the ceramic body and the surface decoration.

Enamels

Enamel serves as a decorative medium for ceramic surfaces, while also constituting a distinct material category. For example, consider a cloisonné vase, where enamel provides colour and decoration to a metal substrate. The enamel pigments are contained within metal wires that delineate the design. Furthermore, enamel is employed on Fabergé guilloché items, wherein translucent enamel reveals the intricate metalwork design beneath. The conservation of damage and loss to enamel decoration necessitates consideration of the substrate's condition, the enamel's opacity, and the methods for achieving a surface finish that is harmonious with the original

Semi-precious Stone

A diverse range of materials, including blue john, jade and alabaster, are utilised in the creation of exquisite artifacts and meaningful objects. The materials employed in ceramic conservation can often be adapted with appropriate manipulation for the restoration and conservation of semi-precious stones. This category of objects presents unique challenges, as it is sometimes necessary to replicate the natural structure of the stone to achieve a visually harmonious repair. In all conservation and restoration treatments, considerations of reversibility and retreatability are paramount. Alabaster serves as an excellent example of this issue, given its solubility in water.

Glass

What a wonderful material.

The effective restoration of glass artifacts is significantly facilitated by contemporary adhesives. Archaeological glass is typically repaired using acrylic resins to adhere fractured components, while high-precision epoxy resins are employed for the meticulous bonding of Venetian and historical glass. The acrylic and epoxy resins utilized in our studio exhibit excellent lightfastness, ensuring that repairs are both inconspicuous and long-lasting.

Consultancy and Training

Consultancy

We offer clients presale condition and conservation advice when considering new acquisitions for their collections. This can vary from assessing objects by looking at images online, viewing sales or advising on collections care. We also carry out on-site condition assessments prior to auction or exhibition.

Training

We have developed short courses in specific practical skills to share our knowledge with other professionals within conservation. Our courses are based on discussion, case studies with a focus on hands-on practice.

A few sections from a late 18th century Chinese porcelain covered storage jar.

The covered jar was packed and internationally airfreighted. The client had received the object from shipping severely fragmented. The owner, obviously upset at the condition, phoned the conservation studio for advice. We explained how to carefully wrap all the sections to prevent further damage before shipping to our studio for repair.

Late 18th century Chinese blue and white porcelain covered jar after restoration.

The covered storage jar made it safely back to its destination.

Jasmina retouching the rivet holes before bonding

The green ground ‘lotus scroll’ vase was previously repaired using rivets. The rivets were on the interior of the vase. Once the vase was cleaned the interior rivet holes were filled and retouched to match the turquoise glaze before the vase was assembled. Once assembled, access to the interior was tricky. Amazingly, the vase was assembled in the past using interior rivets.

Wedgwood Jasperware frame with failed previous restoration.

The frame arrived at the studio in a poor state having been subjected to several previous failed attempts at repair. Once a condition and treatment report, including restoration costs, was approved by the owner we photographed the frame. Removing old repairs and cleaning all the sections perfectly are fundamentally important in achieving a high quality repair.

The frame was repaired using the colour fill technique. Colour filling is a short course we teach.

All the sections and chips were bonded using a slightly cured super fine epoxy resin. All joints were colour-filled to prevent the ingress of dust from staining the joints in the future. Moulds were taken of perfect sections to reproduce the missing relief decoration accurately. The method of colour filling with epoxy lends itself very well to Jasperware and Parianware objects. Altering the bulking materials enables us to match the surface quality of these items as well as the colour.

Wedgwood Jasperware frame on completion

A very satisfying job was completed. The sprigg decoration and blue ground are carefully filled to match the original in colour, opacity and surface finish. All the restoration materials are kept tight to the area of damage resulting in a sensitive ethical repair.

Sarah and Jasmina enjoy thinking, brainstorming and discussing treatment options and strategies.

Jasmina and Sarah have the benefit of working together. They both discuss treatment options in detail especially when the condition or object presents unusual challenges. We also spend a lot of time discussing food and new recipes, an interest and hobby we both share.

Mid 17th century Swiss gold and enamel pocket watch before

Once the previous repairs had been carefully removed the actual condition was revealed. The green and overlaid white enamel had substantial losses. The fragile remains of enamel were consolidated and the missing areas were carefully filled matching the colour and transparency of the original enamel.

Mid 17th century Swiss gold and enamel ladies' pocket watch after restoration.

The restored areas are very discreet. The fine black lines were added by hand once all losses were filled, shaped and polished.

Interior image of the main studio

Our studio was purpose built for ceramic and glass conservation work in 2004. We sought advice from The National Trust and Crime Prevention officers regarding security. Our benches are at standing height for flexibility of working. The cleaning area is a separate room to help keep the main studio as clean and dust-free as possible. We have full spectrum lighting throughout the space. The studio is in Central Brighton, within easy walking distance or a short taxi ride from the station and set wit

A pair of wucai ‘fish’ jars and covers, Marks and period of Jiajing

An important and rare pair of wucai (five-coloured) jars made in 1522 came to the studio for repair before going to auction at Sotheby's, London. The jars and one cover had only minor condition issues but the second cover had over 75% of the knop missing. The previous restoration campaign was failing and unsightly. Once old repairs were removed a small original, slightly abraded section remained.

The replacement area was spun in wax and then tinted with epoxy resin

The replacement area was required to suit the exact profile of the remaining original section. If the contours did not match exactly this would be noticed when viewing the knop in the raking light. The intact knop was not a close enough match in shape to use for mould-making purposes. The replacement area was made by spinning the shape on the wheel in tinted epoxy resin using the original remaining section as a shape reference.

Detail of replacement knop and overall image of Wucai jar before the auction, November 2024.

Although the knops were similar the enamel decoration was not an exact match. Sotheby’s experts worked with us to provide references and along with the remaining original section as our main point of reference we were able to complete the pattern. The pair of jars were estimated to sell £600,000 to £1m and sold for £9.7m including buyers premium. The pair of Fish Jars were also awarded a prize as outstanding objects during 2024 Asian Art London by Antiques Trade Gazette

Short course participants gather around to watch a demonstration about making epoxy resin colour fill.

Our short courses, for a maximum of 6 participants, with a teacher to student ratio of 1 to 3, are enjoyable days spent discussing specific skills that are required in the conservation and restoration of ceramics and related objects. One of our courses focuses on the manipulation of epoxy resin to fill losses. Conservators of ceramics and also stained glass have completed this course.

Additional Security

Our two lovely labradors, reliably come to find us at dinner time.

Accredited members

Sarah Peek ACR

Sarah started working as a ceramics and glass conservator in 1995 after graduating from West Dean College, West Sussex with a postgraduate diploma. West Dean provided Sarah with a basic understanding of her specialism, conservation materials and ethics. For two years after graduation, she was employed in a multi disciplinary conservation studio before starting, Sarah Peek Conversation. Sarah has enjoyed working on a huge variety of Ceramic and related materials, whilst being dedicated to keeping her skills up to date. Sarah regularly attends further development opportunities to expand knowledge and stay connected with the wider conservation profession. Sarah is the current chairperson of Icon's Accreditation Moderation Committee and a visiting lecturer at West Dean College.

Jasmina Vuckovic ACR

Jasmina started her career as a ceramic artist in her home country, Serbia before moving to the UK to pursue a career in conservation. She gained an MA in Conservation Studies in 2010 from the West Dean College and joined Sarah Peek Conservation the same year.

Jasmina has been a part-time Subject Tutor at West Dean College since 2018. In 2023 she gained PGCertHE from the University of Sussex.

Jasmina is a member of ICOM and an accredited member Icon where she acts as a Mentor and Assessor for its Accreditation scheme.

Client testimonials

When I was head of ceramics at Bonhams, customers often asked me to arrange really good restoration and conservation, usually in a hurry. I came to rely on Sarah to meet our tight catalogue deadlines without compromising on quality. I trusted her to carry out careful research to ensure accuracy, and thanks to her dedication, many rare but damaged pieces looked fantastic when previewed in our galleries.

Now that I have retired from Bonhams, I’ve been asking Sarah for help to conserve special pieces from my own collection. She has a sympathy and understanding for ceramics that mirrors my own deep passion for the material. This has enabled her to breathe new life into some of my sad-looking casualties.

John Sandon
Ceramic Consultant and expert on BBC Antiques Road Show

Sarah Peek Conservation have been our ceramics restorers of choice for a number of years now; the quality of restoration work is second to none and her advice, approach and philosophy exemplify the best in modern restoration techniques and approaches. Her professionalism and experience is very reassuring for us and our clients whether dealing with a single item or a collection.

Rodney Woolley
Director, General Valuer, Senior Specialist, Sotheby’s, London

Colour Filling with Epoxy Resins is an excellent course that provides a comprehensive introduction to both the theoretical and practical aspects of colour filling in ceramics conservation. The course structure allows for in-depth learning, with a well-balanced mix of demonstrations, case studies, and hands-on practice.

The small group size ensures plenty of individual guidance, making it both an engaging and highly informative experience. Sarah and Jasmina are incredibly knowledgeable and enthusiastic about sharing their expertise, creating a supportive and inspiring learning environment.

Kim Davies
Private Practice Conservator

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