Hall Conservation Ltd. is committed to both technical research into conservation treatments and historical research of objects. We believe that an intellectual familiarity with the historic context of the objects we deal with informs our treatment options.
Our work on Charles II, a 17th century lead sculpture, revealed through paint analysis on the remnants of a series different paint finishes that it had originally been painted in imitation of the green patina of ancient bronzes the the 17 and 18 century dilettante would have seen on the Grand Tour. The sculpture was made soon after, and from the same moulds as the bronze Windsor Castle version and leads us to believe that this too would have been patinated to imitate an ancient bronze. Our research suggests that the current trend for finishing bronze is with a chemically induced brown patina was not necessarily the artists or patrons original intention.
Non-destructive tests were undertaken to establish the reasons behind the failure in Eros’ leg, x-rays and dye penetration tests revealed micro-fractures in the figure’s leg. This work was undertaken during the early 1990s when this analysis was uncommon on the use of sculptures.
We have assisted with the research into the use of lasers in conservation in collaboration with the Lasers Development Department (LDD) at the National Conservation Centre Liverpool, and while working with the manufacturers, Lynton Lasers.
During the works on the Bronze buddha we discovered that laser welding was the most appropriate technique. Please click on the link for more information.
Hall Conservation Ltd is working to expand the metallographic record of architectural ironwork, which to date is a limited resource. Recently samples were taken from the South Oculus at Canterbury Cathedral. The analysis shows that the iron used for this structure was of very high quality with very few slag inclusions. In addition it was found that an area of damage to the frame was due to an impact, which confirmed the theory of the oculus sustaining shrapnel damage during WWII.
Andrew Naylor also works with the New Arcadian Press, is a volunteer member of the Ironbridge Gorge archeological transect. Brian and Andrew are members of the Historical Metallurgical Society and Andrew is part of the team involved in the cataloging of ‘The National Slag Collection’.
The New Arcadian Press generates a continuous programme of research into cultural landscape and emphasises the garden as a work of art. The annual publication, the New Arcadian Journal, investigates the cultural politics of historical landscapes by scrutinising architecture, gardens, monuments, sculpture and inscriptions.The New Arcadian Journal also champions the study of political gardening and promotes the restoration of place and meaning. The New Arcadian Journal has shed new light on historical landscapes and has also been the catalyst to contemporary re-interpretation and conservation.
The Ironbridge Gorge archeological transect is an archeological exploration and survey of a section of the Gorge, including Bedlam Furnaces and other industrial archeological remains now buried under waste heaps and subsequent developments.
The Historical Metallurgical Society is the custodian of the ‘National Slag Collection’. The collection, housed at the Ironbridge Institute, is a mixed collection of slags, detritus, photographs and notes taken from metalworking sites dating from pre-history to recent.
Hall Conservation Ltd is committed to understanding the technical skills involved with producing the heritage objects. We have undertaken a programme of research into the making and production of the Tijou Screen. To date we have producing leaves based on castings from earlier versions, the Satyr mask and are currently in the process of producing a crown to replace a missing one based on historic images.