Sheila Landi FIIC 1929-2024
It is with great sadness that we announce that BAFRA Accredited Specialist member, Sheila Landi passed away on Sunday 1st December. Brilliant, kind, charming, occasionally ferocious and possessing of a wicked sense of humour, Sheila was inimitable. A force to be reckoned with, Sheila forged a path for textile conservation at a time when textiles were considered merely craft and women were rarely given the opportunities afforded to men.
Sheila trained as a painter, first at Kingston College of Art and then at the Royal Academy Schools. She married Brian Landi and for the next 10 years concentrated on painting, subsidised by various part-time jobs. Finding that painting was far too monastic an activity and desirous of a more convivial pursuit Sheila applied for, what was then termed, a “craftswoman” post at the Victoria & Albert Museum and in 1962, at the age of 33, she joined the textile conservation department.
Sheila’s previous occupations, and observation of techniques used by those working in other disciplines within the wider conservation section, were to prove useful when adapting skills to the care and handling of textiles. Sheila was someone who was not afraid of the object. She looked at conservation as a technical problem for which a solution had to be found objectively. She was someone who used her imagination, who was innovative and not afraid to try out new ideas.
Sheila became Head of the Textile Conservation Section in April 1972, working under the first Keeper of Conservation, Norman Brommelle, who, together with Sheila was a great advocate for creating training opportunities, raising awareness of the scientific and theoretical side of conservation, which was ground-breaking at the time. Sheila was one of the instigators of the Museums 3 – 4-year apprenticeship training scheme, leading to the V&A Diploma. Sheila played a key role in conservation development within the museum. Her great energy and broadness of vision led to the creation of the V&A’s Textile Conservation Studio at Osterley Park in 1977.
Sheila was also extremely active in the wider establishment and acceptance of the profession. Members of her generation were influential in moving conservation from a craft-based activity to the professional status we now take for granted and Sheila, as a member of the Civil Service Union, challenged perceptions and fought for parity between departments of fine art restoration and the conservation of the decorative arts.
Sheila has had a profound influence on the development of techniques and ethics at both a national and international level. Her book, ‘The Textile Conservators Manual’ was first published in 1985, after 7 years of writing and development. She regarded her writing as her permanent contribution to the profession, by which her work will be judged.
During her career Sheila caused controversy, she took reputational risks but was ready to admit failure and always happy to share information. She was well known for her bravery in experimenting with thermoplastic adhesives, and that bravery through experimentation has helped shaped how conservators use adhesives today. Sheila expected younger conservators to revisit and improve on her work with newer, modern techniques, and she was always generous in sharing her thoughts on how to reapproach treatment and happily shared her treatment notes and images.
Sheila’s passion for conservation did not stop on her retirement from the museum. In 1989 free from the demands of an institution she took on new challenges. She initially worked part time at the National Maritime Museum for two years, and as a free-lancer she organised the creation of a conservation studio at Waddesdon Manor, and in 1992 she set up her own studio at Burghley. Sheila’s wish was for The Landi Company to continue and grow at Burghley, and Melinda, Kelly and Louise are working hard to ensure this happens.
Sheila’s legacy is not only the impact she has had on a generation of conservators who have worked under her guidance, or her writing, but her example of determination, of on-going curiosity, questioning and experimentation. Numerous textile conservators owe at least part of their knowledge and learning to Sheila, and countless numbers had the privilege of working with her directly, with many having gone on to rewarding careers in the heritage profession or, have themselves set up in private practice. Sheila’s work took her around the world, making numerous friends along the way, many of whom she kept in touch with for decades. As Sheila said herself, ‘Conservation is a serious business, but it does not have to be a solemn activity. I have certainly had a lot of fun’.
Louise, Melinda and Kelly
The Landi Company Textile Conservation Ltd.