East Asian Art Storage Project This multi-phase effort provided a safe and effective storage area with new conservation grade storage units and the rehousing of some 4,000 objects.	Ormerod Bedcover One of the Museum's most significant printed textiles, a bedcover printed by George Ormerod, was extremely fragile and arrived at the Museum with numerous losses.
Rodin’s The Thinker After being displayed outdoors in an urban-industrial environment for over 60 years, Philadelphia’s version of Rodin’s The Thinker showed the effects of "acid rain" and particulate deposition common in such atmospheres.	Luca Signorelli's Head of a Boy Long thought to be a fragment cut from a larger work, examination has shown that this painting was in fact originally made on a small, hastily prepared scrap of wood.
Conserving a Tibetan Altar The goals of this project were to reveal the brilliant colors and artistry beneath the accumulated soot of a Tibetan altar, as well as reconstruct the altar, create a structural support, and explore both the altar's age and the artisans’ materials and techniques.	Finishing Techniques In Metalwork Works of art made of metal are decorated through a variety of methods, which are referred to as finishing techniques. These techniques can be classified into two major categories: chemical or physical. This publication describes several finishing methods along with a brief history of their use.
French Empire Mantel Clock This important clock from the Museum's collection required treatment to return its disfigured surfaces to their bright original appearance.	Costume and Textiles Department Move In January 2008, the first of over 30,000 objects from the Costume and Textiles Conservation department moved through the doors of the new storage facility in the Ruth and Raymond G. Perelman Building.
Federally Compliant Protective Clear Coatings For Metals IMLS- National Leadership Grant to the Conservation Department, Philadelphia Museum of Art Federally compliant protective clear coatings for metals October 1, 2008 – September 30, 2011	Thomas Eakins's The Gross Clinic The conservation of The Gross Clinic, frequently described as the most important American painting of the nineteenth century, can only be described as thrilling and daunting. What were the artist’s intentions? Can we really recover the appearance of the painting when it was new? Should we even try? Or should we accept the changes in a painting over time as part of the history of the object?