Conservation Corner: What Your Support Makes Possible

The Westmoreland has made significant progress in its conservation efforts, all of which have been possible thanks to contributions to the Barbara L. Jones Conservation Fund. This support has a tremendous impact on preserving and celebrating the treasures in our collection. 

Thanks to this fund—and the extensive work managed by Doug Evans, Director of Collections and Exhibition Management, as well as the efforts of talented local conservators—we have achieved remarkable milestones in conservation since January 2022: 

Works on Paper: 

  • 60 pieces have been treated. 
  • Our Paper Conservator has dedicated 283 studio treatment hours to this work. 

Paintings: 

  • 44 paintings have been conserved. 
  • Our Painting Conservator has dedicated 459+ hours in the studio, not including additional time gathering, unframing, and examining the works by staff. 

Framing Enhancements: 

  • 38 standard frames and 17 custom frames have
been purchased. 
  • 4 period-appropriate frames have been acquired
to enhance key works. 
  • 13 frames have been conserved or repaired. 
  • 24 works now benefit from Optium acrylic, replacing
inferior glass or plexiglass for better preservation.
Virtually invisible, anti-reflective, and abrasion-resistant, Optium acrylic enhances visibility with reduced glare
and provides anti-static protection to prevent dust accumulation, ensuring better preservation and
presentation of the artwork. 

These efforts have been particularly critical in supporting the numerous rotations in our galleries and recent exhibitions such as 65 Artists, 65 Years: An Anniversary Exhibition and The Great Search, Parts 1 and 2, both of which primarily feature pieces from our collection. These efforts will also continue to support the many gallery rotations in 2025, including Pennsylvania in Progress; Treasures from the National Academy of Design; and more. 

We are thrilled to showcase a few examples of works transformed through this process on the
enclosed document.

WORKS TRANSFORMED THROUGH CONSERVATION

O. Louis Guglielmi, Cook’s Day Off, 1928. Oil on canvas. Gift of the Mildred Alvine Gardner Estate

This evocative little painting was recently restored by Christine Daulton, Paintings Conservator, to highlight Guglielmi’s talent and ensure its lasting presence in The Westmoreland’s Permanent Collection.

John French Sloan, Portrait of a Woman (Possibly Mary Regensburg), 1936. Sanguine crayon on paper. Gift of Betsy Feist and Linda Feist

This beautiful drawing, believed to be a portrait of artist Mary Regensburg, later Feist (1914–2014), has been thoughtfully conserved by Jessica Keister, Paper and Photograph Conservator of Steel City Art Conservation, to preserve its charm and integrity for generations to enjoy.

Mary Shepard Greene, Bambi, 1914. Oil on canvas. Purchased with funds provided by Museum members, with additional funds from the William W. Jamison II Purchase Trust and the Thomas Lynch Trust

Before conservator Kristin deGhetaldi treated Blumenschein’s “Bambi” (1914) in her Newark, Delaware studio, the painting had several issues: disfiguring cracks, discolored grime, undersaturated varnish, and dust. Fully restored, the painting is now on view as part of “Treasures from the National Academy of Design.”

Additionally, we have undertaken thorough surveys to evaluate our textile and decorative art collections. This assessment helps us identify pieces that need treatment and those suitable for deaccessioning, ensuring the longevity and relevance of our collection. 

We have made significant progress on the conservation of the Museum’s holdings and will continue our efforts full steam ahead. Thank you to all who have supported this important work. Their dedication ensures that the Museum’s collection remains vibrant and accessible, telling the stories of American art and culture for years to come.