Conservation Through the Ages: A New Lens on the Attingham Summer School Experience

by Sarah Beach   

Through the generous support of the Decorative Arts Trust, I was able to attend the 72nd Attingham Summer School. Over 16 days, the Summer School led 40 cultural heritage professionals to more than 20 different sites throughout England, where we engaged in the intense study of the historic architecture, decorative arts, and landscapes. We received incredible access to private collections, custom curator-led tours, and evening lectures from experts in the field that further contextualized our visits.

As an emerging furniture conservator and scholar, I approached the program with several professional goals. First, I aimed to broaden my visual dictionary of furniture forms, styles, and construction techniques beyond the American examples with which I was most familiar. Second, I sought to better understand the complex stewardship of British estates and their collections. Finally, I hoped to compare collections care practices in England to those employed in the United States. Each of these goals was surpassed through the robust and thoughtfully designed itinerary, and I found myself inspired in ways I could not have anticipated.

In my conservation practice, I often reflect on the lifetime of the objects that come across my bench. The survival of complex objects through centuries of wear caused by financial reversals, conflict, social upheaval, neglect, natural disaster, or changing tastes. The Attingham Summer School magnified this awareness, particularly in how the sheer age of much English and European furniture compares to American material culture. This dramatic difference in timespan was reflected visually. The physical evidence of the passage of time often seemed to be embraced proudly as a testament of endurance rather than a fault to be disguised or corrected. For example, incredible tables commissioned for Great Halls or the joined cabinets acquired for display and storage were given the permission to show their age. It was a refreshing shift in perspective I hope to carry with me as I drive treatment decisions in my work across the Atlantic.

What struck me at every country estate was not just the age of the objects, but the continuity of their care. In many cases, the thoughtful stewardship of these objects had been practiced from one generation of owner to the next, passing down a level of care that predates the formal field of conservation. Repairs, though sometimes rudimentary or poorly aged, seem largely well-intentioned and contribute to the long and storied life of the object. The Summer School was an excellent reminder to approach earlier interventions not with judgment but with appreciation for the aspirations and values they represent.

Although I had previously studied the subject, the immersion within the architectural and cultural language of the English country house provided newfound clarity on how I understood later American interpretations of this vocabulary. Having recently worked at the Biltmore Estate in Asheville, NC, the Attingham program allowed me to fully appreciate the performative aspects of such architecture. I did not realize how the visitor’s experience as a guest of the English country estate was such a manufactured performance of wealth and power. Every aspect was structured to leave a lasting impression: from the long, winding approach leading to the dramatic reveal of the grand façade, to the meticulously designed sightlines from room to room, to the careful placement of exquisite and rare furnishings throughout the interiors. George Vanderbilt’s Biltmore mimics these elements, which reveals a great deal about how he wished to be viewed by visitors and perhaps how he viewed himself.

Just as enriching as the content of the course was the interaction I had with my fellow attendees. The Summer School cohort was made up of professionals from a wide scope of backgrounds, including curation, project management, development, archaeology, and fine arts, all of whom provided varied perspectives that contributed to our scholarly discussions and site visits. These interactions were intellectually stimulating and laid the foundation for lasting professional relationships. I now feel part of an international network of cultural heritage professionals from which I can draw upon for collaboration, guidance, and inspiration throughout my career. 

Despite being a collection of vastly different scope, I am eager to apply the insights I gained through the Attingham Summer School to my new role with the North Carolina Museum of History. I am sincerely thankful to the Decorative Arts Trust for making such an exceptional and formative experience possible. I look forward to carrying the Attingham Summer School’s lessons with me as I continue my work preserving the material past. 

Sarah Beach recently concluded her time as a Graduate Fellow in Furniture Conservation at the Biltmore Estate and is now an Objects Conservator at the North Carolina Museum of History.