Contact
P.O. Box J 159, Coffs Harbour Jetty, NSW 2450 Australia
(02) 66 536 457
papercon@annekennett.com

Qualifications
1979 – 1980
Certificate in Paper Conservation
Camberwell School of Arts and Crafts. Peckham Road. London SE5.

1980 – 1982
Diploma in conservation of Prints, Drawingsand Watercolours.
Camberwell School of Arts and Crafts. Peckham Road. London SE5.

2000
Accredited Conservator/Restorer
Member of the Institute of Paper Conservation
Institute of Paper Conservation. Leigh Lodge, Leigh, Worcester, WR6 5LB.

Employment History
1982 – 1984
Bates and Baskcombe. 191 St John’s Hill, Battersea, London SW11 1TH.
Junior Paper Conservator
Working mostly on prints, drawings and watercolours for private collectors and commercial clients

1984 – 1989
Self employed. Mill Lane Workshops, Wallingford, Oxfordshire.
Working from a studio complex shared with an antique furniture restorer, horologist and a gilder & framemaker. Development of the administration and management skills required to run a studio including estimating, working to deadlines, preparing conservation reports, accounting and budgeting. Gaining experience working for museums, colleges, private collectors and art dealers.

1989 – 2004
Self employed. Brightwell-cum-Sotwell, Wallingford, Oxfordshire.
Moving my business to a larger, purpose-built studio enabled me to continue to widen my client base and develop my conservation skills further. I employed an assistant who continued to work for me on a part time basis for three years until she obtained a full time position working with major print dealers in Abingdon, Oxfordshire. I gained the experience and confidence to take on larger and more unusual projects and in doing so established working relationships with experts in other fields of conservation. These include; Brian Newson, (Fellow of the Association of British Picture Restorers), Glen Bartley (Fellow of Designer Bookbinders) and Graham Childs, (member of the British Antique Furniture Restorers Association)

2004–
In January 2004 I relocated to Australia and have established a studio at Coffs Harbour, New South Wales where I continue to offer a wide range of services relating to the conservation and preservation of works of art on paper.

Clients include:
Ashmolean Museum, Oxford.
Pitt Rivers Museum, Oxford.
Museum of Modern Art, Oxford.
Christchurch Picture Gallery
River & Rowing Museum, Henley-on Thames
Reading Museum
Dorchester Museum
Pembroke College, Oxford
Baliol College, Oxford.
St Cross College, Oxford.
St John’s College, Oxford.
Jesus College, Oxford.
St Hughes College, Oxford
The Revival Company
Gunn Sreet Gallery, Reading
Pierepiont Fine Art, Oxford
Barry M Keene Gallery, Henley
Caroline J Spiers Gallery, Somerset.
Oxford Exhibition Services
Kathryn Park Conservation Framing, Oxford
Lord Duro, Stratfield Saye House
Lord Rothschild, Waddeson Manor
Sir Marrack Goulding, St Anthony’s College
Lord Carnavon, Highclere Castle
Membership of Professional Associations
Institute of Paper Conservation (Accredited Conservator-Restorer)
Australian Institute for the Conservation of Cultural Material (Inc.)

Professional Development
New Directions in Paper conservation (1986).
Institute of Paper Conservation conference.
Oxford.

Institute of Paper Conservation conference (1992).
Manchester.

Conservation conference. (1998)
Ashmolean Museum. Oxford

The use of vacuum points in paper conservation (2000).
Three day workshop. Victoria & Albert Museum, London.

Carol Oakshot studio visit (2001).
Practical demonstration and discussion of her specialisation in oriental screens and scrolls.

Sylvia Sumara studio visit (2001).
The conservation of globes.

The conservation of Japanese scrolls (2002).
Three day workshop. Victoria & Albert Museum, London.

I have consulted and collaborated with the oil painting restorer Brian Newson, a Fellow of the Association of British Picture Restorers, over many years. I have benefited from his expertise and generosity with time and knowledge, particularly regarding the testing and cleaning of varnishes. This has given me confidence to work on more unusual mixed-media items such as a Victorian screen made from paper scraps which had been varnished and a late 19th Century vellum tambourine decorated with a portrait painted in oils and varnished.

I have worked with Glen Bartley, a Fellow of British Bookbinders, on many occasions. In 1996 we assessed the Aldrich collection at Christchurch college and produced a conservation strategy for this collection which comprises of 84 albums containing Old Master drawings and prints. In 1998 we collaborated on a bound set of Great Western Railway plans. At present we are working on ‘An analysis of a General Map of the Middle British Colonies in America & of the Country of the Confederate Indians’ This book contains pull out maps, dates from 1755 and is inscribed by Benjamin Franklin.

Publications
‘An introduction to Paper Conservation.’ (June 1986).
Leisure Painter. P&PR Publishing Ltd. Tenterden, Kent, UK

‘Conservation mounting, framing and display.’ (July 1986).
Leisure Painter. P&PR Publishing Ltd. Tenterden, Kent, UK

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