Decorative Painting & Finishes
Restoring and creating period decoration requires the in-depth knowledge and skill that John Canning & Co. is known for.
Decorative paint and finishes are commonly found in many historic structures throughout the world. Murals, friezes, frescoes, and other decorative elements can be found in churches, courthouses, libraries, private homes; virtually any structure with a ceiling or wall has the potential to house artwork.
Unfortunately, these brilliant and unique masterpieces can often become damaged or otherwise lost to the passage of time. Paint chips or peels away; finishes dull with the accumulation of soot and debris; artwork is covered over with fresh paint, which is then itself covered over with fresh paint; and so on.
Often owners can be unaware that these decorative elements even exist in their structures until a historic paint and finishes investigation takes place and reveals the truth. At that moment, the owner, architect, and anyone else involved with the project must determine the best path forward. What portions of the artwork can and should be conserved? What can be restored? And what must be recreated from scratch?
At John Canning & Co., we have decades of experience and expertise preserving, restoring, and recreating original historical works, and can guide you in determining the best pathway forward for your structure.
Our decorative painting and finishing skills include:
- Complex Stenciling
- Trompe L'oeil
- Simulated Stone (Marbleizing)
- Wood Graining (Faux Bois)
- Conservation of Existing Decorative Finishes
Our knowledge of traditional materials and how they interact is also a key element when conserving existing original decoration and replicating original work. When new period design must be created, we reference past masterpieces like the 1st-century decoration of Santa Maria Maggiore Basilica in Rome and the fine detail of 19th-century Herter Brothers to ensure that the new artwork matches the historic fabric of your building.
“The firm’s knowledge of historic finishes, their attention to the minute detail of every feature, the consideration they give to all documentation of original features, from historic photographs to paint sampling, and their dedication to appropriate restoration are impressive.”
— ANDREA F. SCHOENFELD, VICE PRESIDENT, COSMOS CLUB HISTORIC PRESERVATION FOUNDATION, WASHINGTON DC
“Canning’s thorough knowledge of period decoration and methodology, as well as traditional materials, was a valuable contribution to the project team.”
— AMANDA EDWARDS, PA-AIC, LEED GREEN ASSOC., JOHN MILNER ASSOCIATES, INC. ARCHITECTS, ARCHEOLOGISTS, PLANNERS, ALEXANDRIA, VIRGINIA
“Finding remnants of original decorative patterns that had been whitewashed for 75 years. [John Canning Co.] restored them to their splendor and created a beautiful worship space for the present day community.”
— JOHN I. MEYER, AIA, MEYER & MEYER ARCHITECTURE AND INTERIORS OUR LADY HELP OF CHRISTIANS CHURCH, NEWTON, MASSACHUSETTS
The process of preserving, restoring, and recreating decorative paint and finishes varies from project to project. That being said, certain steps (as outlined below) are fairly typical and expected of most projects.
At the beginning of each engagement, our first aim is to understand the history of the interior. This includes gathering as much information as possible about the original purpose of the building, the architect, and the style and period that the structure represents. It also involves understanding whether or not there are decorative elements elsewhere in the structure that can and should be referenced. It is not uncommon for the process to begin with a historic paint and finishes investigation.
Simultaneously, we seek to understand what the owner desires from the engagement. Understanding the budget and scope of the project alongside the owner’s intentions allows us to make the best possible recommendations in terms of what can and should be preserved, restored, or recreated.
Once we have all of the required information, the next step is to create a mockup of the work, which will allow the owner and other stakeholders to better visualize the completed artwork, and allows for a better understanding of how colors and design elements will interact with the existing setting.
After the mockup is complete and all parties are satisfied, final implementation can begin.
The exact cost of a decorative painting and finishing project will naturally depend upon a number of factors. Some of these include:
- Whether or not the process begins with a historic paint and finishes investigation
- The size of the work
- The complexity of the work
- Required access and logistics (for example, whether the work requires scaffolding or if the building needs to incorporate public egress)
- Whether preservation of any existing components is feasible
- Special materials costs
For this reason, it is difficult for us to say what is a typical cost may be. The surest way to get an accurate picture of what the costs may entail would be to contact us directly.