In July, Apsley House (English Heritage) will display three paintings by Titian and
his studio from the Wellington Collection which have been recently conserved. This
exhibition presents a rare opportunity for the public to see the paintings together.
The talk will focus on the history, technical examination and attribution of two
paintings, "Titian's Mistress" and "Young Woman holding Rose Garlands" (conserved
at English Heritage's Conservation Studio and the Hamilton Kerr Institute respectively)
which were previously thought to be by followers of Titian but whose authorship by
the master and his studio were confirmed during treatment.
The findings prompted the conservation and technical examination of a related painting
from the Courtauld Gallery, which has also been loaned to the exhibition, and results
from this will also be presented.
AGM and General Meeting Thursday 9th July 2015
At the Art Workers’ Guild, 6 Queen Square, London, WC1N 3AT Doors 6.15pm, AGM 6.30pm,
talk at 7.15pm
We look forward to welcoming you at the Art Workers Guild for our AGM
followed by an evening talk by Alice Tate-Harte (English Heritage), Rupert Featherstone
(Hamilton Kerr Institute) and Sarah Bayliss (Courtauld Institute of Art) who will
Titian at Apsley House; Discoveries following the conservation and technical
examination of paintings in the exhibition
Alice Tate-Harte is a paintings conservator for English Heritage and cares for collections
in 25 historic houses and sites across England, including Eltham Palace, Kenwood
House and Audley End. Previously she worked in private practice and was an intern
at the Mauritshuis, in the Hague.
Rupert Featherstone is the Director of the Hamilton
Kerr Institute. He trained as a paintings conservator at the Hamilton Kerr Institute
and worked for many years as conservator at the Royal Collection Trust, ultimately
as Senior Conservator.
Sarah Bayliss is currently in her final year studying painting
conservation at the Courtauld Institute of Art and graduated with a First class Masters
in Chemistry from the University of East Anglia in 2007. This autumn she will be
starting a post-graduate internship at the Hamilton Kerr Institute.
Entry is free of charge to members of the BAPCR (but please email BAPCRsecretary@gmail.com to
let Gemma know that you will be attending), and £10 for non-members. Wine and soft
drinks will be available to purchase before and after the talk.
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The normal admission to our evening meetings is:-
Free to members of the BAPCR £10 for non-members
You can pay for your tickets by:
- Cheque (pounds sterling) – payable to the BAPCR and posted to: BAPCR, 4 Caburn
Crescent, Lewes, East Sussex, BN7 1NR
- PayPal - You will need an existing Paypal account or you can set up a new Paypal
Account via www.paypal.com. When making payment, follow the instructions online.
Click on “Send money” tab. Enter BAPCRsecretary@gmail.com when prompted (PLEASE
ADD £1 TO YOUR FEE TO COVER THE PAYPAL CHARGES THAT WE INCUR)
Please email Gemma Collins, BAPCR Secretary at BAPCRsecretary@gmail.com with you
name and email address details when you pay for your tickets.
It will be possible
to join the BAPCR at the door: Associate membership £55 Student membership £20 (free
for first year)
The British Association of Paintings Conservator-Restorers works hard to promote
and foster the practice of paintings conservation in the UK and around the world.
We are the professional organization for conservator-restorers of paintings, and
have members internationally.
Membership is restricted to practising restorers, conservation scientists, students
on recognized training courses and trainees in private studios. More experienced
restorer members can have applied for Fellowship, our professional qualification.
Fellows would be expected to have an advanced level of competence, as well as suitable
premises, sound business practice and general immersion in the field. A representative
cross-section of their work was also inspected by examiners appointed by the Council
of the BAPCR.
The BAPCR administers a scheme for public enquirers, to direct them to existing Fellows
in their area (see ‘Find a Restorer’). They can then be confident that their artworks
are in the hands of an accredited practitioner. Members receive our twice-yearly
journal, the Picture Restorer, now in its twenty-second year of publication, and
attend regular meetings with a guest speaker at the Art Workers Guild in Central