Collections Care and Conservation Policy

1.  Introduction

The collections care and conservation programme at the National Portrait Gallery plays a central role in helping the institution achieve its core aims and objectives.  Specifically:

  • To develop the collection, creating opportunities for acquisition and commission, while improving its care and conservation
  • To bring the buildings, technical and managerial infrastructure of the National Portrait Gallery to the highest standards, including processes, systems,  collections storage and staff accommodation
  • To develop staff as an essential resource through extension of staff diversity, training, development and learning programmes

The aim of this policy is to provide a clear summary of the Gallery’s conservation and collections care activities for Primary Collection works in the Gallery whilst on display, in storage and on loan to its regional partners or other borrowing institutions.

Conservation and preservation of items in the care of the Gallery will be conducted in an ethical manner to the highest possible standards using a risk management approach, as shown in Appendix 1.

The Gallery was accredited in 2008 under the Arts Council Accreditation Scheme and is due for renewal in 2014.

2. Scope

The policy covers the Primary Collection works of the Gallery’s and in principal the Library, Archive and Photographic Collections and forms part of the Gallery’s Collections Management framework which consists of:

Collections Development Policy

Collections Information and Access Policy

Collections Care and Conservation Policy

In compliance with the published Accreditation Guidance provided by Arts Council England, the delivery body for Accreditation in the United Kingdom

3. Definitions

Conservation is a profession devoted to the preservation of cultural heritage for the future. Conservation activities include examination, documentation and interventive treatment.  Preservation is the use of passive non-interventive activities including environmental monitoring, cleaning, surveying.

All of this work is supported by research and education.

The traditional definition of the role of a Conservator involves the examination, conservation and preservation of cultural heritage using methods that are proven effective in keeping that object/s in as close to its original condition as possible, for as long as possible.

Conservation and preservation ethical guidelines include:

  • Minimal intervention
  • Appropriate materials and methods that aim to be reversible to reduce possible problems with future treatments, investigation and use
  • Full documentation of all work undertaken
  • Comprehensive consultation with Curator or Project Leader throughout the agreed/proposed treatment

4.  Principles

Conservation priorities are established based on the following criteria:

  • An emergency situation
  • Mitigating/minimizing risk to the collection
  • Required for permanent display in the National Portrait Gallery or one of the regional partners
  • Required for an exhibition or loan
  • Required for a curatorial project

Conservation treatment is requested by the Curator, Exhibition Manager or Project Leader. Requests are emailed to the Senior Conservation Manager.

Conservation Examination and Treatment

An examination report is completed before any conservation work is undertaken, in which the Conservator puts forward treatment recommendations.  This report is then discussed with the relevant Curator before being signed off by both the Curator and Senior Conservation Manager before the proposed conservation treatment commences.  The Curator and Conservator may meet during the conservation process and once the treatment is completed the work is viewed by the Curator and the conservation report/treatment is signed off.

Documentation

Each Primary Collection work has its own individual Registered Packet (RP), within which there is a conservation file, and these are stored in the archives and are normally available to the public on request.  Photographs are taken before and after treatment and studio digital images are taken during treatment, as appropriate, and archived with digital programmes. Hard copy conservation reports are filed in the RP.

The Senior Conservation Manager maintains a conservation schedule, which monitors the progress of the treatment with start and completion dates.  This schedule can be viewed by Curatorial, Collections and Exhibitions staff.

All works once acquired by the Gallery are photographed and given a full condition report before going on display or into store.

When a new work is commissioned a member of the Conservation Team (Paintings, Sculpture or Frames) conducts an interview with the commissioned artist, ensuring that relevant information is obtained pertaining to the artistic process and materials used.

Exhibition and Loan

The Gallery maintains a policy of glazing all paintings for display (except for a small number of unusually large paintings) in order to provide protection against accidental damage and vandalism.  All works that are either brought into the Gallery or sent out on loan are condition checked on exit and entry.  Long term loans are condition checked every 3 years.

Environmental Conditions

The Gallery aims to provide and monitor the environmental conditions in line with current recognized standards in its gallery and storage areas, currently

Relative Humidity                               50% +/- 5%

Temperature                                       21c +/-1c

Light Levels Organic material             50 lux max

                            Oil Paintings           200 lux max

Though trials have been undertaken and discussions are currently being undertaken  to enable the Gallery to widen its environmental parameters in line with the Bizot recommendations.

The Head of Collections Services reviews the environmental conditions on a regular basis with the Engineering Manager and advises as appropriate to the relevant parties

The Senior Conservation Manager oversees the preventative conservation programme of works in the gallery, the regular surveying of collections in the gallery, in storage, on long term loan and at the regional partnerships.  The works in the gallery are cleaned and inspected on a daily basis.  Elements of the Integrated Pest Management Policy have been implemented in areas that are known to be at risk. The Head of  Collections Services meets on a regular basis with the relevant Collection Services team members and the Facilities Manager to ensure that the programme of works is undertaken balancing this  against available budgets and time frames.

Emergency

In the event of an emergency, the Conservation Team will complete the relevant documentation, an incident or damage report form, and identify the appropriate salvage procedure to mitigate risk to the collection, put forward recommendations and undertake treatment as agreed with the relevant Curator.

Advice and Guidelines

The Conservation Team will seek advice and technical support from external Conservation Practitioners when the specialist nature of the project/work cannot be undertaken by the Gallery’s Conservation Team.

The Gallery’s Conservation Team offer advice and support to Gallery staff and to colleagues across the heritage sector including: Museums, Galleries and Freelance Conservators

Research

Research is fundamental to conservation/preservation work, whether through large projects working in partnership with other organisations, research based on the Gallery’s Collection or as a facilitator of research for scholars from outside the Gallery. Research informs everything from major conservation projects to day to day activities, such as acquisitions, loans, exhibitions and displays.

The Conservation Team will:

  • Contribute to, deliver and participate in workshops seminars and conferences both internally and externally, with the core objective of sharing research knowledge and understanding of the Gallery’s Collection
  • Continually assess its internal conservation approaches/methods, evaluating developments in the conservation/preservation fields and applying, where appropriate, to the Gallery model
  • Undertake and contribute to scholarly research into historic methods of 16c frame construction. Analysing layer structure - sampling early frames in the Gallery’s Collection
  • Identify materials and technical approaches of artists and liaising with external specialists/experts. Contributing to the existing body of knowledge on artist’s techniques and material science
  • Research the environmental impacts on the Gallery’s Collection on display - collate data on the display of works and identify the associated risks
  • Review the materials and techniques employed in the climate buffering back boarding system – continued material research

Responsibilities

Director of Exhibitions and Collections responsible for mapping and directing conservation in dialogue with the Chief Curator and in alignment with the Gallery’s corporate plan.

Chief Curator responsible for maintaining an overview of conservation for the Collection, in dialogue with the Director of Exhibitions and Collections

Head of Collections Services maintains the strategic overview of conservation in alignment with collection management and the Gallery’s objectives

Senior Conservation Manager responsible for programming and planning of the conservation projects undertaken by the painting, sculpture, paper  and frame conservation teams and external Conservation contractors - as appropriate

Period Curator responsible for advising on the work undertaken within their particular period 

Conservator responsible for undertaking the conservation work for the Gallery, reporting to the Senior Conservation Manager and working closely with the relevant Period Curator

Head of Archive and Library responsible for maintaining an overview of conservation for library and archive resources

Review      

This policy will be reviewed every three years           

Appendix 1

  • PAS 198: 2012 Specification for managing environmental conditions for cultural collections
  • Benchmarks in Collection Care for Museums, Archives and Libraries, 2007
  • ‘Bizot’ Group Agreement – Interim Environmental Guidelines
  • Codes of Ethics: ICOOM-CC/ICON
  • Institute of Conservation (ICON) Conservation Register

Penny Hughes Head of Collection Services

January 2014