Ceramics Conservator

Ceramics conservators examine, clean, stabilise, reassemble, fill, and retouch ceramic and glass objects — including archaeological earthenware, historic tin-glazed delftware, fine porcelain, studio ceramics, and a wide range of glass from Roman vessel glass to 20th-century art glass. Work involves surface cleaning using aqueous and chemical methods to remove soil, old adhesives, and inappropriate previous restorations; reassembly of broken objects using reversible conservation adhesives; gap filling with custom-mixed fills matched in colour and surface texture; and in-painting fills to make losses inconspicuous while remaining detectable under ultraviolet light.

Archaeological ceramics conservation includes desalination treatment for excavated objects and reconstruction of fragmentary vessels from sherds. Conservation of glass requires awareness of glass disease (hydration of the silica network), stabilisation of flaking iridescent surfaces, and assessment of humidity thresholds for storage.

The postgraduate MA in Conservation (Objects and Ceramics) is available at West Dean College of Arts and Conservation, which runs one of the most respected ceramics conservation programmes in the UK. Icon ACR is the professional registration standard. Museum collection care roles, commercial studios serving auction houses and dealers, and private conservation practices are all common employment contexts.

Museum and private collections of ceramics and glass require ongoing treatment as adhesives from previous restorations fail, old fills discolour, and environmental damage accumulates over time. Pre-sale conservation for auction houses generates consistent commercial demand. The technical knowledge required to assess ceramic materials, select appropriate adhesives, and achieve visually convincing retouching is built through years of supervised practice and cannot be shortcut. West Dean College's reputation attracts students from across the world, and UK-trained ceramics conservators have strong international mobility. The combination of museum, auction house, and private collector markets provides multiple income channels for independent practitioners.

Morning: disassemble an incorrectly restored 18th-century Meissen figure — soften the old adhesive in a humidity chamber, gently separate sherds, remove old fill material, and clean the breaks. Afternoon: reassemble the figure using a fresh reversible adhesive, align the breaks carefully under magnification, and support the join with reversible holding fixtures while the adhesive cures. End of day: in-paint a previously filled and primed loss on a Japanese Kakiemon dish, mixing conservation paints to match the surrounding white ground and painted decoration.