The RCA 648PTK television cabinet was announced on August 27, 1947. With 992 units produced in 1947 and 2,500 units in produced in 1948, the television set was a marvel of technology for its time, boasting a 15” x 20” picture, 13 channel coverage, an FM sound system, and Phono input. Marketed as a “striking ‘show-piece,’” the technology was all housed in a sleek, contemporary wooden cabinet, that would “add pride to ownership” for anyone who purchased the piece.

At The Conservation Center, we are always excited to treat pieces that utilize a wide range of our conservators’ skills, and help to preserve important moments in our cultural history. So, when a RCA 648PTK television cabinet came to us from the Children’s Museum of Indianapolis with water damage, we were excited to discuss the treatment options available for the conservation of the piece.

At The Conservation Center we are very fortunate to be surrounded by amazing art everyday. It is an extraordinary opportunity to work so intimately with many great pieces created by artists you have studied your whole life.   However during the day-to-day we often find ourselves focusing more on the physicality of the pieces as opposed to having discussions about the many artists that sparked our interest in this field in the first place.  Read on to the end of this article to find out which artists are some of our team's favorites!  Recently, we had the opportunity to conserve and frame one of our regular favorites, Alphonse Mucha.

The Conservation Center recently had the privilege of conserving two lithographs that were damaged by Hurricane Katrina. Our client inherited A Midnight Race on the Mississippi by Currier & Ives and J.J. Audubon’s Purple Martin (Calabash) from their parents in New Orleans. The pieces had been living in a second-floor storage unit when Hurricane Katrina blew through and ripped the roof off the facility, causing water to seep into the unit.

At The Conservation Center, we have the distinct privilege of seeing a remarkable variety of artworks and heirlooms come through our doors. We also have the privilege of getting to learn a bit about varied passions of the many dedicated collectors that seek conservation, and what it is that makes each of their collections unique.

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There are certain iconic scenes in art that everyone from the casual museum-goer to the serious art collector can recognize instantly.  Scenes including the Last Supper, the rising of Apollo’s chariot, and the triumph of David over Goliath have been depicted by artists across the span of art history, and though the style and medium of these artworks may vary, the scenes remain easily identifiable. Another of these iconic scenes is that of the Last Judgement.  Artworks imagining the moment when the fate of souls is determined for eternity can be seen everywhere from the Sistine Chapel to local church walls. So when a large-scale painting of the signature scene came to The Conservation Center in need of treatment, we were honored to play a role in its conservation and preservation.

Not so long ago in the present galaxy, not so far away,  The Conservation Center conserved a pair of Aliens created by Yinka Shonibare MBE.  

Shonibare was born in London and moved to Lagos, Nigeria when he was three. He later returned to his British origins to pursue a career in Fine Arts. As a painter, sculptor, photographer, and filmmaker Shonibare’s trademark medium is batik fabric, as seen in these Alien sculptures.

January is the time of year that many of us consider new beginnings and fresh starts. Many of us resolve to be more conscientious about our diets, exercise more frequently, and to be more mindful and compassionate in our interactions with others. It is in this spirit of renewal that we feature the recent rebirth through conservation of two Buddhist statues. Purchased by our clients at auction in 2001 the statues, not unlike all sentient beings, had suffered with the passage of time. 

Bill Lear is a staple at The Conservation Center.  Not only have we collaborated on maintaining his extensive collection, his is an active member of our Advisory Board.  Over the years we have come to know that there is always an incredible story with Bill's projects. Past projects have ranged from conserving Army discharge papers from the 1800's to fabricating a display for his commemorative Tibetan yak bell acquired during his summit of Mount Everest.  So when he arrived at The Center with two signed Shepard Fairey pieces to be framed, we knew we had to ask. 

Watch the video here. 

Recently, while on a visit to her mother’s house, a client of The Conservation Center rediscovered a photograph that she remembered as a constant fixture in her childhood home. She found the photographic portrait, which had hung in her family dining room, in a box alongside an old marriage certificate. Treasuring her memories of the photograph, and wanting the pieces to last for generations to come, our client entrusted The Center with the conservation of the two pieces, and decided to learn more about the items.

November was an exciting month for the city of Chicago, as Cubs fans celebrated the team’s first World Series victory since 1908. Dedicated fans have waited decades, and families loyal to the team have waited generations to see the Cubs crowned World Series champions. Through all of the ups and downs, fans have stuck by the team, collecting memorabilia every step of the way. It comes as no surprise, then, that over the years The Conservation Center has seen a number of Cubs-related works come through the doors for treatment.

A long time client of The Center, Greg knew just where to bring this 1896 lithograph when he received it from his uncle. And as with most every piece that Greg brings in for conservation, this print has an interesting story to tell about both his family’s history, and the history of the Midwest. A relic from the Civil War, The Easel Monument lithograph tells the story of brothers in arms, an effort to immortalize their bond, and of course, some necessary conservation to preserve it for the future.

Objectivity is necessary for conservation; it is a scientific, technical, and calculated field.  However, the necessity for objectivity is two-fold as sometimes a conservator must take refuge in objectivity to circumvent becoming immersed in the subject of a work.  This was very much the case during the nearly year-long treatment for Mauricio Lasansky's, The Nazi Drawings.