Conservation Policy | Recclesia Stained Glass
Recclesia

Conservation Policy

The conservation studio abides by a rigorous, informed and highly dynamic conservation policy. Our staff are academically and professionally qualified in a range of specialisms and the standard of our craftmanship and conservation understanding is widely recognised.

The studio conservators have completed conservation work for English Heritage and Cadw, as well as for Conservation Accredited Architects and other conservation organisations such as the National Trust, museums and conservation contractors. Please ask for a list of referees.

Recently completed studio CPD includes: Chemistry for Conservators (International Academic Projects) NHIG Historic Ironwork Course (Historic Scotland, Edinburgh) Medieval Glass Painting, University of York

Approach

Modern conservation theory and practice has been developing over many years and central to our practice is the mantra of informed conservation. When historically significant elements of our nation's heritage are being placed in the hands of conservators or restorers, it is important to know that every step has been taken to ensure the most approriate treatment of building fabric of historic significance.

Our philosophy is one that puts information and understanding at the heart of everything that we do, meaning that our studio treatment is considered, informed and in the best interest of the material. Thorough investigative examinations supported by detailed reports, plans and proposals are a key part in making sure that the correct approach and treatments are carried out. All of our conservation work follows guidance and research published by the CVMA, the Institute of Conservation and the International Institute for Conservation of Historic and Artistic Work.

Environmental Considerations

Conservation is not all about the studio. Taking steps to ensure that more passive conservation options are considered can be equally, if not more important than the studio work itself. There is little point spending months conserving an object if it is placed back into the unsuitable environment which led to it requiring work in the first place. There are a lot of things to consider on this front and several different courses of action that can be taken to improve the environment in which your stained glass resides.

We appreciate that choosing the right conservators and restorers is a difficult and involved process. We therefore welcome visits to our studio where we can demonstrate our skills and capabilities in real life. In the meantime, below are some case studies of past projects which should provide an insight into our capabilities and the standard and complexity of our stained glass conservation and repair work.

Main Image: Shakespeare from Manchester Central Library, 2013