The Brompton Oratory and Victoria and Albert Museum, London

This conference reviewed some of the changes that have taken place since the Traditional Paint Forum was founded in October 1994 and discussed what the Forum should seek to achieve in the next decade. Many of the papers also looked at different approaches to using information from traditional paints to help informed conservation.

Programme
Friday 7th October:
-Academic studies of painted finishes – are they being used effectively?: Dr Ian Bristow, President, Traditional Paint Forum.
-An historical introduction to the V&A: Christopher Marsden, Senior Archivist, V&A Museum.
-Colour at the V&A: Gwyn Miles, Director of Projects, V&A Museum.
-Applying the lessons of Newhailes: Ian Gow, Curator, National Trust for Scotland.
-The Red House – A novel collaborative approach: Christine Sitwell, Conservation Adviser, National Trust.

After lunch, delegates had a private tour of the V&A Museum visiting some of the areas highlighted in the previous papers.

Saturday 8th October:
– Traditional Paint Forum AGM.
– Danson House – Solving the mystery and recreating the glory: Helen Hughes, Senior Architectural Paint Researcher, English Heritage.
– Rediscovering Phoebe Anna Traquair’s murals at Mansfield Church, Edinburgh: Ailsa Murray, Wall Painting Conservator, Historic Scotland.
– The restoration of the Royal Pavilion at the railway station in The Hague: Roos Keppler, SRAL, Maastricht.
– Smaller projects – Can I afford APR and what will it contribute?: Alan Gardner, Alan Gardner Associates.
– Smarter Strippers – Advances in paint removal techniques and materials: Clara Willett, Building Conservation & Research Team, English Heritage.
– The new Institute of Conservation – What will it do for you: Alastair McCapra, Chief Executive ICON.
– Report on the Copenhagen Conference – The search for a European Code of Practice: Colin Mitchell-Rose, Chairman, Traditional Paint Forum.

After lunch, there was a wide ranging discussion by delegates on the future direction of the Forum. In particular, concern was raised that the lack of understanding about what traditional paint was and could contribute, together with reluctance to use it for financial or safety reasons might lead to those few remaining manufacturers deciding that continuing to supply these paints was not worth while. The discussion concluded with the strong message that the founding purpose of the Forum “Towards the better understanding and appreciation of traditional paint” was even more important today.