For all our clients, from the private collector to the corporate or institutional custodian, our conservators are ready to advise on preservation needs and carry out stabilization, repair and restoration treatments in a skilled, yet practical, manner. Our conservators have advanced education in art conservation and have worked at cultural institutions (art museums, historic museums, archives) before entering private practice.
We are active members of the conservation community, helping to further the state of knowledge in the conservation profession as well as expand our own opportunities for learning. We have written technical notes and articles for professional journals, attended national and international conferences, delivered talks at conferences and symposiums, served on boards and of conservation and museum associations, and participated in peer review panels.
Our lab has conservators with different specialties working together to provide a cohesive approach to the examination, assessment (surveying), and conservation treatment of collections of art and archival material. This benefits collectors and museums wishing to preserve or restore a collection of art or archival objects and those recovering from disasters such as fire and flood.
Principal Conservator of Fine Art
Sarah Spafford-Ricci received a Bachelor of Science (H.Ec.) from the University of Saskatchewan and a Master of Art Conservation from Queen’s University (Kingston, Ontario). With many years of experience in public museums and galleries she brings to the practice of conservation a varied treatment background and a special skill with cleaning, repair and restoration of contemporary art, and art with mixed media and unusual materials.
Sarah has examined thousands of Canadian paintings in treatment assessments and in museum conservation surveys. She has amassed a very large body of experience in the conservation and restoration of art by Canadian artists, from historic to contemporary.
Sarah has worked in the conservation labs of the Glenbow Museum (Calgary, AB), the Royal Ontario Museum (Toronto), the National Gallery of Canada (Ottawa), the Royal Saskatchewan Museum (Regina, SK), and the MacKenzie Art Gallery (Regina). Sarah was editor of conservation standards manuals for the Saskatchewan and Alberta provincial museums associations. She has written museum and conservation articles on disaster response and recovery, conservation assessments and surveys, and care of public and corporate art. At the Royal Saskatchewan Museum, she participated in a year-long recovery and response effort following a massive fire at the museum.
Sarah has served on the boards of the Canadian Association of Conservators (CAC) and the Saskatchewan Museums Association and is currently British Columbia’s representative to the CAC. She has been chosen for adjudication panels for the Getty Conservation Program (USA), the Government of Canada Museums Assistance Program, and the Canadian Association of Professional Conservators.
Tara L. Fraser
Senior Conservator of Paper
Tara Fraser holds a Bachelor of Fine Arts and Certificate in chemistry from the University of Saskatchewan and Master of Art Conservation (ABT) from Queen’s University (Kingston, Ontario). Tara has particular experience with treating watercolours, nineteenth and twentieth century prints, and contemporary paper works. She has a depth of experience with preservation of archival materials and the matting and mounting of paper.
Tara has worked in the conservation labs of Oxford University (Oxford, UK), Saskatchewan Archives Board (Regina, SK), Queen’s University Archives (Kingston, ON), and the AP Fine Art Paper Conservation lab in New York City. In 1996 and 1997, she was Conservation Consultant at the Smithsonian Institution Archives in Washington, D.C., where she wrote the disaster plan for the archives, headed a team that surveyed over 10,000 cubic feet of archival materials, and prepared 3,500 cubic feet of archival records for relocation to National Underground Storage and for digitization.
Tara has served as provincial representative to the Board of the Canadian Association of Conservators and as conservation reviewer for grants for the Canadian Archivists Association. She was the author of the Archival Heritage Strategy for the province of Saskatchewan and has written articles on conservation of archival materials, disaster planning and preparedness, and the care of public art.
She is currently Adjunct Professor at University of British Columbia, Vancouver lecturing on preservation of Archival materials. When at Fraser Spafford Ricci, she undertakes complex paper conservation treatments and provides expert advice and analysis, particularly in the area of large scale preservation and conservation projects for archives, historic paper collections and galleries.
Conservator of Paintings
Christine Foster holds a Master of Arts in History of Art from University of Aberdeen, Scotland, and a Master of Arts in the Conservation of Easel Paintings from University of Northumbria at Newcastle (UK), where she trained under paintings conservator Alan Phenix. In Europe, Christine worked in the conservation labs of the National Gallery of Scotland, the national conservation lab of Historic Scotland in Edinburgh, and the Marischal Museum in Aberdeen, and in the United States at a Boston private paintings conservation lab. Christine has a solid knowledge of both British and American painting practices, and her treatment skills are particularly suited to the restoration and conservation of historic British and European paintings.
Conservator of Paintings
Emily holds a Bachelor of Arts (Honours) in Visual Arts and Museology from the University of Western Ontario (London, ON), and a Master of Art Conservation from Queen’s University (Kingston, ON). She also trained in Florence Italy, working on traditional European paintings and frescos, obtaining a Post-Baccalaureate Certificate in Art Conservation at Studio Art Centers International (SACI). Emily has interned in the Toronto conservation labs of the Royal Ontario Museum and the Art Gallery of Ontario. Though experienced in both historic and modern paintings, her area of interest is modern and contemporary materials, paintings, and artworks. As a practicing artist, Emily has a good understanding of current art production processes.
Conservator of Paper
Dorcas holds a Bachelor of Science in Chemistry with a Minor in Art History from the University of British Columbia (Vancouver), and a Master of Art Conservation from Queen’s University (Kingston, ON) specializing in paper conservation. She has completed internships in the Conservation Science Lab at the Hong Kong Heritage Museum, at the City of Vancouver Archives (BC) where she worked in conservation of archival material, and the National Gallery of Canada (Ottawa, ON) where she undertook conservation treatments on works of art on paper. Dorcas has experience and understanding of conservation techniques and methods, supported by her broad interests in the science and materiality of cultural heritage, historic works of art on paper and archival materials.
Nicole Natingor holds a Bachelor of Arts in archaeology with a focus on museum studies from Simon Fraser University (British Columbia). Nicole has worked in collections management, research, and preventive conservation at various museums in British Columbia, including the Chinese Cultural Centre Museum and Archives in Vancouver, White Rock Museum & Archives, and, most recently, at the Delta Museum and Archives. Nicole’s museological background is an important asset to FSR’s conservation consulting and lab work.