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 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’. Although of course the specific work could not be identified, the paper highlighted the techniques used and some of the challenges encountered. 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

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’. Although of course the specific work could not be identified, the paper highlighted the techniques used and some of the challenges encountered. 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

 

NATALIE LAZARUS Natalie is our studio manager. She has extensive experience managing the fabrication of artworks and has worked closely with international museums, galleries and artists. Her technical background and knowledge allows her to oversee various practical tasks in the studio including the production of backboards, photography, and artwork documentation. Natalie is also an associate lecturer in the short courses department at Central St Martins School of Art & Design, London.

NATALIE LAZARUS

Natalie is our studio manager. She has extensive experience managing the fabrication of artworks and has worked closely with international museums, galleries and artists. Her technical background and knowledge allows her to oversee various practical tasks in the studio including the production of backboards, photography, and artwork documentation. Natalie is also an associate lecturer in the short courses department at Central St Martins School of Art & Design, London.

ANNA COOK 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 COOK

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.

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.

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.

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.

SALLY HIGGS Sally trained as an easel paintings conservator at the Courtauld Institute of Art, London. In addition to conservation work in London, she has worked on projects at the Rijksdienst voor het Cultureel Erfgoed (RCE), Amsterdam and the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya Museum in Mumbai. Sally is also a conservation tutor in the Public Programme department at the Courtauld Gallery, where she leads workshops and gallery tours for school students about materials, technical analysis and painting conservation. Her research has focused on the interaction of materials in paintings, with a forthcoming publication on conservation issues relating to metal soaps.

SALLY HIGGS

Sally trained as an easel paintings conservator at the Courtauld Institute of Art, London. In addition to conservation work in London, she has worked on projects at the Rijksdienst voor het Cultureel Erfgoed (RCE), Amsterdam and the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya Museum in Mumbai. Sally is also a conservation tutor in the Public Programme department at the Courtauld Gallery, where she leads workshops and gallery tours for school students about materials, technical analysis and painting conservation. Her research has focused on the interaction of materials in paintings, with a forthcoming publication on conservation issues relating to metal soaps.

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.

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.

CAROL LYONS Carol completed postgraduate training in the conservation of fine art at Northumbria University. She has professional experience at a number of public and private institutions across the UK, including as senior collections conservator for fine art at English Heritage. Carol is also a feature editor for The British Association of Paintings Conservator-Restorers’ (BAPCR) journal The Picture Restorer.

CAROL LYONS

Carol completed postgraduate training in the conservation of fine art at Northumbria University. She has professional experience at a number of public and private institutions across the UK, including as senior collections conservator for fine art at English Heritage. Carol is also a feature editor for The British Association of Paintings Conservator-Restorers’ (BAPCR) journal The Picture Restorer.