THE TEAM

Since opening the studio Julia has built a team of dedicated and skilled conservators. The studio is highly sensitive to the need to preserve artistic authenticity and works within the conservation philosophy of minimal intervention. The team is also committed to communicating their knowledge and experience but are always conscious of the need for discretion.

 

JULIA NAGLE  A Fellow of the International Institute for Conservation of Historic and Artistic works, Julia is an experienced conservator who has worked at Tate, English Heritage and UCL, in addition to ten years at the Hamilton Kerr Institute at Cambridge University. She opened her own studio in 2009, one of the few in London recognised for its specialist expertise in modern and contemporary conservation. Julia is an ICON accredited conservator and an assessor for Professional Accreditation of Conservation Professionals across all disciplines. In 2016 she presented a  paper  on conserving a contemporary lacquered screen   at the IIC Congress in Los Angeles,   ‘Saving the Now: Crossing Boundaries to Conserve Contemporary Works’   .  Julia also appeared on   Al Jazeera     and the BBC following the defacement of Mark Rothko's  Untitled, Black on Maroon.  Learn more about the Tate's Rothko conservation project   here   .

JULIA NAGLE

A Fellow of the International Institute for Conservation of Historic and Artistic works, Julia is an experienced conservator who has worked at Tate, English Heritage and UCL, in addition to ten years at the Hamilton Kerr Institute at Cambridge University. She opened her own studio in 2009, one of the few in London recognised for its specialist expertise in modern and contemporary conservation. Julia is an ICON accredited conservator and an assessor for Professional Accreditation of Conservation Professionals across all disciplines. In 2016 she presented a paper on conserving a contemporary lacquered screen at the IIC Congress in Los Angeles, ‘Saving the Now: Crossing Boundaries to Conserve Contemporary Works’. Julia also appeared on Al Jazeera and the BBC following the defacement of Mark Rothko's Untitled, Black on Maroon. Learn more about the Tate's Rothko conservation project here.

CLAUDIO CAPOZZI  Claudio has worked in the City for 26 years focussing on the development and growth of financial services data and software companies. This culminated in running significant European divisions of a number of large US based FINTECH companies. He has been involved in the development of Julia Nagle Conservation Ltd since its inception in 2008. Claudio focuses on the business admin and management and has been a director since April 2016. He has a BSc (Hons) in Chemistry from Liverpool University and various post graduate qualifications in Marketing, Finance and Market Research.

CLAUDIO CAPOZZI

Claudio has worked in the City for 26 years focussing on the development and growth of financial services data and software companies. This culminated in running significant European divisions of a number of large US based FINTECH companies. He has been involved in the development of Julia Nagle Conservation Ltd since its inception in 2008. Claudio focuses on the business admin and management and has been a director since April 2016. He has a BSc (Hons) in Chemistry from Liverpool University and various post graduate qualifications in Marketing, Finance and Market Research.

OLYMPIA DIAMOND  Olympia Diamond completed the Postgraduate Diploma in the Conservation of Easel Paintings at The Courtauld Institute of Art in 2014. During this time she was a Research Associate Scholar for the Courtauld Gallery and began investigating the treatment of water stains on acrylic paintings, leading to a publication and presentation at the AIC Conference in Chicago in 2017. Since qualifying Olympia has worked for the Guildhall Art Gallery and English Heritage. Before joining JNC Olympia was Assistant Paintings Conservator at the National Museums Liverpool, where she lead the conservation treatment and technical investigation of the Bartolomé Esteban Murillo (1617–1682) altarpiece,        Virgin and Child in Glory   , c. 1673 and its related oil sketch.

OLYMPIA DIAMOND

Olympia Diamond completed the Postgraduate Diploma in the Conservation of Easel Paintings at The Courtauld Institute of Art in 2014. During this time she was a Research Associate Scholar for the Courtauld Gallery and began investigating the treatment of water stains on acrylic paintings, leading to a publication and presentation at the AIC Conference in Chicago in 2017. Since qualifying Olympia has worked for the Guildhall Art Gallery and English Heritage. Before joining JNC Olympia was Assistant Paintings Conservator at the National Museums Liverpool, where she lead the conservation treatment and technical investigation of the Bartolomé Esteban Murillo (1617–1682) altarpiece, Virgin and Child in Glory, c. 1673 and its related oil sketch.

EMILY CONSTANTINIDI  Emily has over ten years’ experience in Arts Administration, with a focus on the physical nature and requirements of artworks. She managed the Technical Team and led the approach to artwork care at a large contemporary commercial gallery, before working as a registrar for a leading British artist. As Exhibitions Registrar at the Artist’s Studio Emily facilitated complex international projects, working with a variety of project partners ranging from museum professionals to engineering and manufacturing specialists. As Collection Registrar she led development of storage solutions and conditions, inventory processes, and devised bespoke packing and documentation for all artworks leaving the studio to aid in their future care. Emily holds a Masters in Pharmacy and a BA in Illustration and has recently qualified as an Aromatherapist. Emily combines running her own aromatherapy practice with administration for JNC Ltd.

EMILY CONSTANTINIDI

Emily has over ten years’ experience in Arts Administration, with a focus on the physical nature and requirements of artworks. She managed the Technical Team and led the approach to artwork care at a large contemporary commercial gallery, before working as a registrar for a leading British artist. As Exhibitions Registrar at the Artist’s Studio Emily facilitated complex international projects, working with a variety of project partners ranging from museum professionals to engineering and manufacturing specialists. As Collection Registrar she led development of storage solutions and conditions, inventory processes, and devised bespoke packing and documentation for all artworks leaving the studio to aid in their future care. Emily holds a Masters in Pharmacy and a BA in Illustration and has recently qualified as an Aromatherapist. Emily combines running her own aromatherapy practice with administration for JNC Ltd.

ANNE MORGAN  Anne has an MA with First Class Honours in Visual Arts Practices from the Dun Laoghaire Institute of Art Design and Technology, Co.Dublin, and a BA in History and the History of Art and Architecture from Trinity College, Dublin. She has since worked as Gallery Manager and Registrar in a number of Contemporary Art Galleries both in Dublin and in London, and as logistics co-ordinator for an Art Advisory service in Sweden. Currently she is undertaking the distance learning Preventive Conservation MA at Northumbria University, focussing her research on preventive conservation measures for Contemporary art works, particularly when they are released for sale. At the Studio, as well as being in charge of environmental monitoring, preventive conservation procedures and IPM, Anne and Emily work in combination to support the Studio from an administration perspective.

ANNE MORGAN

Anne has an MA with First Class Honours in Visual Arts Practices from the Dun Laoghaire Institute of Art Design and Technology, Co.Dublin, and a BA in History and the History of Art and Architecture from Trinity College, Dublin. She has since worked as Gallery Manager and Registrar in a number of Contemporary Art Galleries both in Dublin and in London, and as logistics co-ordinator for an Art Advisory service in Sweden. Currently she is undertaking the distance learning Preventive Conservation MA at Northumbria University, focussing her research on preventive conservation measures for Contemporary art works, particularly when they are released for sale. At the Studio, as well as being in charge of environmental monitoring, preventive conservation procedures and IPM, Anne and Emily work in combination to support the Studio from an administration perspective.

ANNA COOPER  Anna studied conservation at the Courtauld Institute of Art followed by two years at the Hamilton Kerr Institute, University of Cambridge. She has professional experience at numerous public and private institutions across the UK. Anna has worked collaboratively with Tate and RCE (Netherlands) to investigate twentieth-century water sensitive oil paints, culminating in a  publication  and a presentation at the international symposium ‘Issues in Contemporary Oil Paint’. She has also  published  on rolling a large, contemporary mixed media painting for exhibition.

ANNA COOPER

Anna studied conservation at the Courtauld Institute of Art followed by two years at the Hamilton Kerr Institute, University of Cambridge. She has professional experience at numerous public and private institutions across the UK. Anna has worked collaboratively with Tate and RCE (Netherlands) to investigate twentieth-century water sensitive oil paints, culminating in a publication and a presentation at the international symposium ‘Issues in Contemporary Oil Paint’. She has also published on rolling a large, contemporary mixed media painting for exhibition.

JAE YOUN CHUNG  Jae completed her training as an easel paintings conservator at the Courtauld Institute of Art in 2016. She has since interned at Westminster Abbey and at the Hamilton Kerr Institute, University of Cambridge, where she conducted technical studies into Old Masters’ painting techniques, focussing on Canaletto and Jan van der Heyden. In 2017 she published research, with Tate and The Cultural Heritage Agency of the Netherlands, on Cleaning Modern Oil Paints (CMOP). More information can be found on the Tate website:   Cleaning Modern Oil Paints   .  Alongside her work as a conservator, Jae is an Assistant Coordinator for the ICOM-CC (International Council of Museums – Committee for Conservation) Paintings Working Group and is working internationally to help plan the ICOM-CC triennial conference, Beijing, China in 2020.

JAE YOUN CHUNG

Jae completed her training as an easel paintings conservator at the Courtauld Institute of Art in 2016. She has since interned at Westminster Abbey and at the Hamilton Kerr Institute, University of Cambridge, where she conducted technical studies into Old Masters’ painting techniques, focussing on Canaletto and Jan van der Heyden. In 2017 she published research, with Tate and The Cultural Heritage Agency of the Netherlands, on Cleaning Modern Oil Paints (CMOP). More information can be found on the Tate website: Cleaning Modern Oil Paints. Alongside her work as a conservator, Jae is an Assistant Coordinator for the ICOM-CC (International Council of Museums – Committee for Conservation) Paintings Working Group and is working internationally to help plan the ICOM-CC triennial conference, Beijing, China in 2020.

CARIEN VAN AUBEL  Carien completed her postgraduate training in conservation at the University of Amsterdam, specialising in modern and contemporary art. Her research has focused on the identification of plastics used in artworks, and she has worked as a conservation researcher at the Victoria and Albert (V&A) Museum, developing a method for identifying plastics in museum collections without the use of analytical techniques. In addition to her work at Julia Nagle Conservation, Carien is also currently a conservation researcher on ‘Project Plastic’, a collaboration between the Cultural Heritage Agency of the Netherlands (RCE) and the Netherlands Institute for  Conservation , Art and Science (NICAS), aiming to identify plastics in ten major contemporary art collections;    SBMK Plastics Project

CARIEN VAN AUBEL

Carien completed her postgraduate training in conservation at the University of Amsterdam, specialising in modern and contemporary art. Her research has focused on the identification of plastics used in artworks, and she has worked as a conservation researcher at the Victoria and Albert (V&A) Museum, developing a method for identifying plastics in museum collections without the use of analytical techniques. In addition to her work at Julia Nagle Conservation, Carien is also currently a conservation researcher on ‘Project Plastic’, a collaboration between the Cultural Heritage Agency of the Netherlands (RCE) and the Netherlands Institute for Conservation, Art and Science (NICAS), aiming to identify plastics in ten major contemporary art collections; SBMK Plastics Project

NAO IKEDA  Nao studied and trained as a canvas and panel paintings conservator in Italy at the Università Internazionale dell’Arte in Florence. She is also expert in frame and sculpture conservation. Nao has lived and worked in Italy and other parts of Europe, including Hungary and France, but is currently based in London, where she has worked at institutions including the Saatchi Art Gallery. Nao participated in a group project restoring the ‘Rosano Cross’, which was published as a book,  ‘La Croce Dipinta dell’abbazia di Rosano - Visibile e invisibile. Studio e restauro per la comprensione' , in 2007.

NAO IKEDA

Nao studied and trained as a canvas and panel paintings conservator in Italy at the Università Internazionale dell’Arte in Florence. She is also expert in frame and sculpture conservation. Nao has lived and worked in Italy and other parts of Europe, including Hungary and France, but is currently based in London, where she has worked at institutions including the Saatchi Art Gallery. Nao participated in a group project restoring the ‘Rosano Cross’, which was published as a book, ‘La Croce Dipinta dell’abbazia di Rosano - Visibile e invisibile. Studio e restauro per la comprensione', in 2007.

NATASHA WALKER  Natasha is a highly skilled practical conservator, equally adept at complex restorations of traditional paintings and innovative treatments of modern and contemporary artwork. Natasha has worked at several major public institutions in the UK and the Netherlands, starting her career at the Van Gogh Museum, Amsterdam before moving to Tate, where she worked for ten years. Natasha has presented work at the National Portrait Gallery in London and written Tate research papers on  Constable  (Spring 2006), a  Tudor portrait  (Autumn 2013) and Chris Ofili (Autumn 2017). Natasha is also committed to the international exchange of conservation knowledge and has received grants to lecture at INTACH training schools in Delhi and Bangalore, and teach conservation skills at the National Gallery of Zimbabwe. Natasha received ICON accreditation in 2008 and now works freelance for Tate, private practice and clients internationally.

NATASHA WALKER

Natasha is a highly skilled practical conservator, equally adept at complex restorations of traditional paintings and innovative treatments of modern and contemporary artwork. Natasha has worked at several major public institutions in the UK and the Netherlands, starting her career at the Van Gogh Museum, Amsterdam before moving to Tate, where she worked for ten years. Natasha has presented work at the National Portrait Gallery in London and written Tate research papers on Constable (Spring 2006), a Tudor portrait (Autumn 2013) and Chris Ofili (Autumn 2017). Natasha is also committed to the international exchange of conservation knowledge and has received grants to lecture at INTACH training schools in Delhi and Bangalore, and teach conservation skills at the National Gallery of Zimbabwe. Natasha received ICON accreditation in 2008 and now works freelance for Tate, private practice and clients internationally.

DONATELLA BANTI  Donatella is both a conservator and a scientist. After gaining an MSc in Chemistry at the University of Pisa, Donatella came to London from her native Italy to complete her PhD in Synthetic Organic Chemistry at King’s College London. Having been a lecturer and researcher for 12 years at Universities in the UK, Donatella decided to re train as an Easel Paintings Conservator and graduated from the Courtauld Institute of Art in 2017. Her specialist interest lies in applying scientific methods and research to innovations in practical art conservation, an approach that is especially valuable in the treatment of modern and contemporary Art. Donatella has published research on the   water sensitivity of modern oil paints   and presented her findings at the CMOP (Conference on Modern Oil Paints) in Amsterdam in May 2018, and again at Tate in June of the same year.

DONATELLA BANTI

Donatella is both a conservator and a scientist. After gaining an MSc in Chemistry at the University of Pisa, Donatella came to London from her native Italy to complete her PhD in Synthetic Organic Chemistry at King’s College London. Having been a lecturer and researcher for 12 years at Universities in the UK, Donatella decided to re train as an Easel Paintings Conservator and graduated from the Courtauld Institute of Art in 2017. Her specialist interest lies in applying scientific methods and research to innovations in practical art conservation, an approach that is especially valuable in the treatment of modern and contemporary Art. Donatella has published research on the water sensitivity of modern oil paints and presented her findings at the CMOP (Conference on Modern Oil Paints) in Amsterdam in May 2018, and again at Tate in June of the same year.

GABRIELLA MACARO  Gabriella has experience in several major collections, including the Metropolitan Museum of Art in New York, English Heritage, and the Victoria and Albert Museum, as well as with private conservators in the UK and Italy. Alongside her work at Julia Nagle Conservation Gabriella carries out technical analysis of paintings in the scientific department of the National Gallery London and at UCL. Gabriella carried out a major technical study of Cézanne’s painting ‘Card Players’ in 2010, which led to a co-written  publication  in the catalogue for the Courtauld Gallery Card Players Exhibition.

GABRIELLA MACARO

Gabriella has experience in several major collections, including the Metropolitan Museum of Art in New York, English Heritage, and the Victoria and Albert Museum, as well as with private conservators in the UK and Italy. Alongside her work at Julia Nagle Conservation Gabriella carries out technical analysis of paintings in the scientific department of the National Gallery London and at UCL. Gabriella carried out a major technical study of Cézanne’s painting ‘Card Players’ in 2010, which led to a co-written publication in the catalogue for the Courtauld Gallery Card Players Exhibition.