A delicate glass vase by French artist Emile Galle (1846-1904), owned by the Glessner House Museum was brought to The Center after it was accidentally damaged and shattered. The vase broke into discrete fragments with extensive associated losses along the break edges, including an area of significant loss around the rim. There were also two running cracks as a result of a fracture. 

The Animalistic Vase was brought to The Center because it was broken into over twenty pieces and minute fragments. It had previously been extensively repaired with adhesive, and the joints restored with painted plaster. Before treatment began, it was difficult to determine just how many losses there were, but it appeared that all main fragments were present and the losses were minimal. On the surface, there was archeological evidence, as well as evidence of use and wear with related scratches and abrasions.

The Napoleonic Dragoon Helmet, an example of the Grecian-inspired helmets worn by specific members of Napoleon’s cavalry, was brought to The Center in need of restoration. The leather lining of the helmet was loose with several losses to the leather and the risk of further degradation. The proper right leather strap was loose as well, with both straps having been previously re-attached with blue putty. Furthermore, the skull of the helmet exhibited several shallow dents and the horse hair mane was tangled and messy. The top decoration was missing from the helmet completely. There were some scratches on the surface, as well as evidence of use and wear. The metal and hair elements were both coated with dust and grime. There was also some tarnish on the gilded areas.

This Tibetan headdress arrived at The Center with a severe active moth infestation that had caused major surface and structural damage. The conservation of this object has been an arduous, ongoing process since it was brought to The Center. Moths consume keratin, a protein found in animal furs and wool, and subsequently can destroy anything made from animal products. 

This Chinese Tang Dynasty Painted Pottery Figure of a Prancing Horse was damaged as a result of improper packing and packing materials during the shipping process. Upon examination, it was discovered that the breaks occurred at points on the legs where they had been previously repaired. It also became evident that there were other areas of previous poor restoration, notably around the face of the horse; these areas remained unharmed.

A two foot tall plaster replica of a traditional African carved wooden sculpture of sentimental importance came to The Center from a private collection after it had incurred severe damage from a fall. The impact of the fall bent the steel armature within both of the ears and caused them to shatter into over one hundred pieces. After careful examination of the piece, we decided the bends were irreversible due to the damage that rebending the metal might cause to the intact sections of the sculpture. Despite this, we determined it was possible to reassemble the broken ears and restore them to their original appearance.

This object is a sculptural relief carved in wood signed “P Luypen” in the lower right. The piece came to The Center housed in a red velvet lined wood frame. According to an assessment done by Richard Raymond Alasko in 1992, Pieter Luypen was a Dutch artist, born 1763, who died sometime after 1810. He notes that the wood is brown oak, depicting a spray of roses, lilies of the valley, lilies, asters, and lilac. There was a reproduction of the carving taken at an angle which at the time of the assessment was our only reference for placing broken elements correctly.