I have had the pleasure of dealing with Anne since 2002. She has had a variety of jobs with us, involving a wide range of materials. Our first project was a badly damaged spelter statue, the next a bronze, and most recently a large UV damaged fibreglass piece. All pieces were returned in perfect condition, and each I thought would be irreparable. She is both a professional and personable person and I cannot recommend her highly enough.
Over 2007 - 2009 Sydney Artefacts Conservation undertook a condition survey and conservation treatment of the 15 public sculptures in a variety of media on UNSW's Kensington campus; and in 2010 completed the treatment of "Falconer", a major relief sculpture by Tom Bass. The experienced service and project management Anne Cummins and her team provided were conducted with the highest professionalism, reliability and skill.
I am pleased to provide a testimonial for the work of Anne Cummins, in regard to the cleaning maintenance and repair of several miniature portraits which she recently completed for me. The work required extreme delicacy, skill and knowledge, all of which were applied to achieve an exceptional result.
Anne Cummins provided a condition report on my work before it was shipped to the Australian Pavillion at the 54th Venice Biennale (2011) in Italy.
Anne was extremely diligent and careful in her assessment of the condition of my sculptures. She was able to identify a number of almost imperceptible flaws in the fabrication of some of the pieces.
Her input was critical in identifying structural problems which may have resulted in the sculpture failing. These flaws were immediately corrected by the fabricator.
Her knowledge of materials and their make up, plus an intimate understanding of fabrication processes gives her the ability to scrutinise the state of an art object in a rigorous and thorough way. Her task is very specialised in that she can detect existing or potential physical problems in an art work which may not be visible to the untrained eye.
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We came to the decision we do not acquire ornaments for their value so much as their beauty and individuality. Thea began the painstaking slow and intensive task of restoring the vase (a job many other people found too detailed to attempt). Thea repaired it so well, close examination (and I do mean really careful examination) reveals the repaired crack when looking inside the vase however from the outside the vase is as smooth and elegant as when it was made. The paint is expertly colour matched and the repainted joins undetectable. Collectors attribute much praise to the artisan skills of the original potters, we attribute much praise to Thea's artisan skills, and it is difficult to believe this vase was shattered into many pieces, let alone cracked before it was repaired so beautifully. Thea has renewed the youthful and timeless beauty to this exquisite vase, Sydney Artefacts Conservation is a business with integrity and deserves the praise we attribute to this skilful repair.
In late 2010 Anne Cummins was engaged by Penrith Regional Gallery & The Lewers Bequest to conserve Six Day War I, 1967 by Margel Hinder. Anne Cummins and her team from Sydney Artefacts Conservation displayed a thorough understanding of the high standards required by a Regional Gallery when conserving artworks held in a public collection. Six Day War I has been on exhibition in the Gallery garden since the artist placed it there in 1981. Due to deterioration, caused by exposure to the natural elements, it had to be removed from public display while conservation treatment could take place.
The excellent work done by Sydney Artefacts Conservation in conserving this steel sculpture has meant that it has been returned to the Gallery garden in its original location as the artist intended. Throughout the process, Anne Cummins and the staff at Sydney Artefacts Conservation proved to be prompt and professional in their dealings with the Gallery and were readily available for clarification and advice.
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In May 2008 Anne Cummins of Sydney Artefact Conservation was engaged by Bundanon Trust to carry out a conservation survey of all the ceramics and objects in the Bundanon Collection. Over two days Anne assessed approximately 460 objects including ceramics, bronze and marble sculptures and other 3D mixed media works. For each object she rated the work as to its conservation status and needs and provided detailed information accordingly. Anneís approach was professional, methodical and her handling of the objects was exemplary leaving me to feel very reassured as to the safety of the works in her care.
As a result of the recommendations provided in the conservation survey report I then asked Anne to return to our property to carry out the required treatment for our outdoor sculptures as these were the objects that required urgent attention. The conservation treatments on the Bundanon Trust Sculpture collection were conducted by Anne and her colleague Thea Eikemo in July and August, 2008. The sculptures were removed from the gardens, cleaned, treated, coated with a clear protective wax and returned to the garden.