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Let Us Do It!


Fine, ConservArt quality custom framing at about half the price:

HOW? … Leave the selection to us!

You can save 50% and more on custom framing without compromising quality, by doing what many of our interior designer, gallery owner and artist clients do; choose your budget and leave the framing selection to us.

Who better qualified to choose an appropriate framing treatment for your artwork, poster, or photo? We select the framing  treatment for your picture to protect it and to enhance your enjoyment of it for years to come; all to the extent permitted by the budget you specify. Once the selection is made, your work is processed the same way as all our other custom framing orders and receive the same careful handling, expert workmanship and quality materials all under the supervision of art conservators. Our fine reputation, earned during our 60+ years of continuous business activities, attests to our expertise in the field.

This program is not for everyone, as framing presentation is a subjective affair. If you have specific needs and/or opinions as to how you want your framing to look, you will want to opt for our traditional custom framing service.

When you use the “Let Us Do It” program, you leave all aspects of the framing entirely to our discretion. In the unlikely event that you’re not satisfied with our selection, we will gladly custom frame your artwork according to the selection you make and all payments you have made will be applied towards the custom frame, so you have nothing to lose.

There are four quality levels available; Standard, High, Superior and Ultra. A larger budget buys higher quality materials and/or a more labor intensive framing treatment. However each level is guaranteed to save you about 50%. SUPERIOR and ULTRA selections are archival quality, suitable for high value original artwork.

You will be thrilled with the results when you “Let Us Do It”. Quality framing, tastefully done and you set the price. Truly a winning combination!  Call for an appointment and try it today! 561-482-7292

The Let Us Do It program may not be used in combination with other discounts or offers.

This program is subject to availability and may be suspended without notice.

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Posted by:
george

Posted on:
August 20th, 2013

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Continuing education class for Insurance Professionals


On April 17, 2012 I held two continuing education classes for insurance professionals hosted by Dry Concepts, at their spacious offices, located at 4190 South University Drive Davie, FL 33328, Tel:(954) 370-7778.

As usual both sessions were filled to capacity and in all, over sixty individuals attended the two three hour sessions, one held in the morning and the other after lunch. The course material addressed both technical and ethical topics, mostly unfamiliar to most attendees and was the source of much animated discussion among them. I usually incorporate a few hands-on demonstrations into the talks demonstrating the cleaning of oil paintings and the repair of works of art on paper. Attendees  find my classes a pleasant way to fulfill their CEC requirement and further their knowledge on how to handle claims which involve art and collectibles.

Continuing education credits are required by the State of Florida for insurance professionals in order to maintain their licensing as adjusters and agents.  For the past number of years I have been presenting specialized course material, which I developed for classes such as the ones held at Dry Concepts every few months.

Dry Concepts offers a full range of cleaning and restoration services in addition to offering continuing education classes on a number of related topics including mold remediation, cleaning of rugs and appraising. Contact them for a full class schedule and to make a reservation for an upcoming session.

We at ConservArt understand the complex issues relating to fine art and collectibles: it’s our business. In a highly specialized field like the conservation and restoration of works of art, we have the skills and resources to interact with the most sophisticated art expert or collector. With knowledge, logic and tact, difficult claims are routinely resolved to the satisfaction of all parties.

 Link to YouTube video

Open Letter to an Insurance Company Adjuster


The Insurance Company you work for has built a reputation of honor and reliability and continues to spend a great deal of effort and treasure to maintain and further this public perception. You do your best to perform your work conscientiously, keeping the best interests of your employer in mind and would do nothing intentionally to damage your employer’s reputation by short-changing your policyholders.

Your job in adjusting a claim is to make the claimant whole after a casualty by returning their property to the condition prevailing prior to the event, or if that isn’t possible to compensate them according to the terms of their policy.

Fire and flood claims are made up of numerous different physical items, some structural, others related to personal property. For reconstruction you will use a general contractor and check their quote against a current RS Means Construction Estimate Guide, the standard of the industry.

For personal property that isn’t replaced, you employ a variety of specialists who have the expertise to perform the needed tasks. A clean-up contractor to handle the general contents, a dry-cleaner for clothing, experienced specialists for cleaning upholstered items, oriental carpets, fabric wallpaper, murals, faux painting, antique furniture, computer equipment, family photographs and albums, paintings, sculpture, art glass, collections, etc., etc.,

An experienced clean-up contractor is worth his weight in gold, he can be an adjuster’s best asset and secret weapon. He will be aware of the limits of expertise that his employees can provide and will refer items that require specialized handling to firms which have the needed knowledge to provide this extra level of care.

Less experienced clean-up contractors will tackle just about anything and while they may have the best of intentions, invariably they will cause damage because they are unaware of what they don’t know. Using such service providers can be problematic and dangerous for an Insurance company. Inappropriate treatment will result in irreparable damage and result in additional liability and expense for the insurer.

Similarly, hiring firms to provide estimates without checking their credentials and using their quotes as the benchmark for settling a claim is both unfair and unethical. An adjuster cannot claim ignorance and a use the desire to save money for his employer as justification for shortchanging an insured. The figure does not compensate the insured for the true cost of returning their possessions to pre-casualty condition, therefore it cannot be considered as full compensation according to the policy.

There are different degrees of preparedness for any task. The janitorial staff at a museum are never the same people who clean and maintain the collection. Paper towels and Windex are not the proper way to care for the Mona Lisa.

Fortunately, for the field of restoration for works of art and historical objects, there is a directory of qualified and peer reviewed service providers maintained by the American Institute for Conservation.

The Directory is searchable by geographic location and field of specialization. All individuals listed operate in accordance with the Code of Ethics of the AIC and provide state of the art services to Museums, collectors, Insurance Companies, dealers and consumers. One must question why any qualified service provider would not be listed in this Directory and conversely, if they aren’t listed, are they qualified?

Ask yourself if in case of litigation, would you be able to justify using someone not on this National List, or the figures provided by such an individual, as a meaningful benchmark?

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george

Posted on:
May 2nd, 2012

Posted in:

Conservation Matters


My name is George Schwartz. I’m a professional conservator working in Boca Raton, Florida. I have a full-service Studio and provide treatment services, consult, write, teach and think a lot about the preservation, conservation and restoration of Cultural Property.

I write about conservation matters, because when we consider our Heritage and Cultural Property, conservation matters!

It would be difficult to state it more succinctly than Phillip Long did:

“Our heritage is all we know of ourselves,
what we preserve of it, our only record.
That record is our beacon in the darkness of time,
the light that guides our steps.
Conservation is the means by which we preserve it.
…It is a commitment not to the past,
but to the future.”

By now most of us have read the HHI Report. The Survey reveals widespread problems in our Nation’s Public Institutions which are entrusted to care and preserve our Cultural Heritage.

The Report paints a sad picture of the entire system of how the Preservation and the Conservation of our National Heritage is managed. Irreplaceable treasures of history and culture continue to deteriorate despite the best efforts of many dedicated professionals.

I don’t claim to have foolproof solutions to this serious problem, but I do have the vantage point of being somewhat outside the System and this provides me with a different even if not necessarily a better perspective.

In these pages I will be posting some new ideas, proposed solutions and some sterilized extracts of my correspondence with some of the leaders in the field of Conservation and colleagues. Sterilized, because I scrupulously respect the confidentiality of private correspondence and would never knowingly compromise confidences by being indiscreet.

I hope to generate enough controversy to get readers thinking and more importantly, acting and to chime in regarding how we can improve the state of collections in the Public Trust and in the hands of private collectors. I’m looking for comments especially from people with views opposing to mine, so that together we can find a way to truly make a difference.

Thanks for reading!

George

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Posted by:
george

Posted on:
October 30th, 2011

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