After completing a Batchelor of Science degree
in Accounting, Tom had other plans. Several years
as a cabinetmaker specializing in period furniture
reproductions led to a position at the Philadelphia
Museum of Art in their Furniture Conservation
Studio. Three years later Tom relocated to Nashville,
Tennessee to take a position with James L. Horne
Antiquary. A one-year position at Winterthur
Museum, in their Furniture Conservation Studio,
brought Tom back to the Philadelphia area. Tom
went into private practice upon completion of
the contract with Winterthur. While developing
his private practice, a four-month contract at
the Philadelphia Museum of Art was offered to
treat furniture for the "Worldly Goods" exhibit.
The opportunity to work on early Pennsylvania
furniture, some of which had never been publicly
exhibited, presented a rare chance to study and
learn from some of the best pieces ever produced
locally. Since that time Tom has devoted his
time to his private practice.
Over the course of the past fifteen years, Tom
has treated a variety of frames, furniture and
wooden objects including American, English and
Continental examples. Tom has co-authored two "how
to" furniture making books published by Schiffer
Publications in Atglen, PA. In addition, an article
on the treatment of a John and Hugh Finley cornice
box for Art and Antiques Magazine was co-authored
with Mary McGinn and Alexandra Kirtley. A paper
on the fabrication of bent laminated auditorium
seats, for the Wagner Free Institute of Science
was presented by Tom in June of 2000, to the
American Institute for Conservation's (AIC) Objects
Specialty group and subsequently published in
the AIC Objects Group Postprints.
Being intrigued by the Renaissance workshop
of Verrocchio where different crafts were practiced
and combining this idea with the Museum conservation
department model, Tom helped to establish Belmont
Hills Art Conservation Studios in 2003. When
treating fine or decorative arts, the insights
and skills of various disciplines can often be
combined to enhance and ultimately improve the
overall treatment. As a co-operative of several
conservators practicing various disciplines,
consultation among the group members is an important
part of our daily approach to the treatment of
fine and decorative arts.
Membership in professional organizations like
the American Institute for Conservation (AIC)
and the Institute for Conservation (ICON) allows
Tom to remain up to date with the latest techniques
and approaches to the treatment of fine and decorative
art. He is a professional associate of the AIC
and serves on the AIC membership committee.
