Work Placements

Placement Opportunities

Work placements are an important element of our programme, providing scope for students to develop skills and experience and to meet with professional practitioners in museums, galleries, archives and other settings. Over the years, our students have benefited from opportunities in diverse locations. Examples this year include The Hunterian Museum and Art Gallery, Glasgow Life, The Royal Highland Fusiliers Museum and National Galleries Scotland.

2022 Placements

Documenting oil colour paints in the collection of Wilhelmina Barns-Graham's artist materials (copyright Andy Grace Hayes)

Database of Artist’s Materials, Wilhelmina Barns-Graham Trust

Colour photograph showing use of a portable XRF instrument in the analysis of William Bell Scott's painting The King's Quair (copyright Danielle Nomura)

Pigment Identification using XRF Analysis, NGS

Stereomicroscopy analysis of the Thomson album (copyright Therena Baptista Medeiros)

The Thomson Album, National Trust for Scotland

Devising a database of colourant samples on paper (copyright Tui Russell)

Raman Standards for Pigments, University of Glasgow

Colour photograph showing use of a portable XRF instrument in the analysis of Michael Armitage's 2016 painting Nasema Nawe (copyright Wenbo Li)

Analysis of Michael Armitage’s Nasema Nawe, NGS

Tracing timelines in the provenance of Joan Eardley paintings (copyright Zhenyi Piao)

Eardley – Provenance, Display and Varnishes, The Hunterian

2021 Placements

Imaging analysis of A Regatta on the Clyde at Glasgow Green, the Cathedral in the distance ( c. 1825-30) by John Knox, painting, oil on canvas, private collection (© The Hunterian)

Analysis of John Knox’s Regatta, The Hunterian

Anchor Line shipping company advertising poster, Glasgow University Archive Services, UGD 255/1/40/18a

Anchor Line Advertising Ephemera, Glasgow University Archives

Colour photograph showing a viewing The Abdication of Mary, Queen of Scots (GLAHA:43874), painting by Gavin Hamilton (1765-1775) as part of the provenance research

Provenance Research, The Hunterian

Clolour photograph showing use of a portable XRF instrument in the analysis of a painting (copyright Noa Leibson)

XRF Analysis of Artwork, The Hunterian

Colour photograph showing microscopy analysis of Alexander Nasmyth's painting of Ardencaple from Roseneath, Dunbartonshire (copyright Alexandra Marchant Wink)

Microscopy Analysis of Nasmyth Paintings, The Hunterian

Detail of stained glass by Daniel Cottier, Beauty, Cairndhu House, 1873

Cottier’s Colours on Stained Glass, National Trust for Scotland

Colour photograph showing two plasma screens and wall mounts used to display time-based media in a gallery (copyright National Galleries Scotland)

Conserving Time-Based Media, NGS

2020 Placements

Example XRF spectrum from a painting sample containing a yellow and a brown pigment

Pigment Composition in Lauder Painting, NGS

2019 Placements

Colour photograph showing a detail from a section under UV light from the base of a painted plaster scale model of a World War II memorial in the Royal Highland Fusiliers Museum

Art UK Sculpture Project, The Royal Highland Fusiliers Museum

Colour photograph showing an example of a finished application of a frame design made using a Henry Doig mould from National Galleries Scotland

Doig Frame Making Techniques, NGS

Magnified image of a detail from a painted banner for the Coronation of King George VI, Glasgow Museums showing copper corrosion and hand- painted finishing details in black (© CSG CIC Glasgow Museums and Library Collections)

King George VI Coronation Banners, Glasgow Museums

Detail from a beta-radiograph showing a partial watermark on a work by Alan Ramsay, National Galleries Scotland

Investigating Watermarks in Alan Ramsay Works, NGS

Example of a work space showing accounts documents and vouchers from a Clerk's Press Drawer, GUA 58277, 1779-1780, Glasgow University Archives

Documenting Historic Conservation Treatments, The Hunterian

Schematic diagram showing an excerpt from a data linkage model produced for the Power to Transform research project to characterise the designer John Macfarlane (copyright University of Glasgow)

Painted Stage Cloths and Theatrical Designs, The Hunterian

Joan Eardley Working Practice, Scottish National Gallery of Modern Art

Colour photograph showing a researcher at work recording details of paintings in the Scottish Colourists' Room at Kelvingrove (copyright Ruth Wright)

Scottish Colourists in Public Collections, The Hunterian

2018 Placements

Detail showing transmitted light of, Untitled. 1940-42 by Eileen Gray, paper and card collage with ink and gouache on paper, National Galleries of Scotland, copyright NGS

A Multispectral Analysis of Eileen Gray, NGS

Detail from a Stoddard-Templeton design (courtesy of University of Glasgow Archive Services)

Stoddard-Templeton Design Archive, Glasgow University Archive Services

Colour photograph showing a selection of film canisters that house 16mm film-based works within the collection of National Galleries of Scotland, Edinburgh

Time-based Media and Implications of Ownership, NGS

Detail showing varnish and dirt in corners of a Pilkington Jackson military statuette (courtesy of the Royal Highland Fusiliers Museum)

Pilkington Jackson Military Statuettes, The Royal Highland Fusiliers Museum

Detail showing uneven varnish surface on arm area from a painted wooden soldier (courtesy of the Royal Highland Fusiliers Museum)

Painted Wooden Soldier Figure, The Royal Highland Fusiliers Museum

Handmade bushes with coiled metal ferrules from the Whistler artist materials collection, The Hunterian (courtesy of The Hunterian Collection)

Whistler Artist Materials, The Hunterian

SEM-EDX elemental mapping of a sample from The Nilgai by George Stubbs (1724-1806) from The Hunterian Collection

Waxy Wildlife Wonders, The Hunterian

Examination a painted textile, the blue Peacock by Talwin Morris, using a DinoLite, courtesy of the Glasgow Museums Resource Centre and Glasgow Museums Collection

Talwin Morris’s Peacocks Mismatched, Glasgow Museums

2017 Placements

Detail of thread from the embroidery in Regimental Colours (courtesy of the Royal Highland Fusiliers Museum)

Regimental Colour, The Royal Highland Fusiliers Museum

Detail of a polychrome limestone altarpiece, French, circa 1450-1500 from The Burrell Collection, Glasgow. (Courtesy of Carter Lyon)

Medieval Polychromy, The Burrell Collection

Colour image of a detail from a carved powder horn, circa. 1838, from The Royal Highland Fusiliers Museum, Glasgow under UV light (Courtesy of Georgia Tooley)

Scrimshaw Powder Horns, The Royal Highland Fusiliers Museum

Detail of a portrait miniature of a field officer, showing the face layer build up of paint over a carnation colour with blue around the lips, The Royal Highland Fusiliers Museum (Courtesy of Macon St Hilaire)

Portrait Miniature, The Royal Highland Fusiliers Museum

UV image of a medieval sculpture of Madonna and Child, 1480-1500, from the Burrell Collection (courtesy of Theodora-Maria Stasinopoulou-Petrova)

Provenance of a Medieval Sculpture, The Burrell Collection

Magnified image of a sample of the warp fibre from a social history banner in Glasgow Museums collection (courtesy of Maria Kontimpa)

Social History Banners, Glasgow Museums

Selected Past Placements

Detail of an example stained glass image from Glasgow Museum Workshop

Provand’s Lordship’s Stained Glass

Colour photograph of a student photographing prints for a study into photographic processes (courtesy of Carrie Henrichs)

Early Photographic Processes

Detail of embroidered book, The Whole Book of Psalms (1636), showing a Tree of Life on silk, Glasgow University Special Collections

Embroidered Book Bindings