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Pterodactyls and bootprints

One of the pleasures of being a conservator is that unlike art historians, we are not necessarily restricted to the output of a particular period or country. This means that over the last few years I’ve worked with 16th century Persian manuscripts, First World War documents, and during my recent post at Tate, with a huge variety of 20th and 21st century art (including works produced within the last month!).

Possibly my favourite project whilst at Tate was the conservation of a collection of Graham Sutherland sketchbooks, which are part of the Archives holdings. The Archives at Tate are really something special: not just documents such as letters and diaries, but countless sketchbooks, drawings, studies, photographs, ephemera: often works that would be displayable as “art” in their own right. The Archives are currently involved in a project to digitise some of the collection and make it more accessible to the public, which is a wonderful thing as the images of the work will be of great benefit to researchers and the interested public. Sutherland’s sketchbooks were lovely to work with as they tell you a lot about his working processes: he would have a sketchbook per project (including one full of pterodactyls, probably associated with the painting The Origins of the Land, in Tate’s collection) and clearly worked in a very rough-and-ready way. Paint splashes everywhere, dog-eared corners, squashed spiral-bound rings, and sometimes bootprints. I imagine him in his studio with all his sketchbooks open on the floor, treading on the paper as he tries to transfer his vision to the canvas. I wrote a blog post for Tate’s own website about the project, which you can find here. Due to copyright, I haven’t reproduced any images here so do please follow the link to see!

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