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Paint Consolidation: What is it & How It’s Used

Paint consolidation is a crucial step in the process of fine art conservation. Over time, a painting may experience damage due to separation of the paint layers. Consolidation is the process of re-adhering the paint layers to the base in order to preserve the work of the original artist. Cracks, separation of paint layers, and delamination can be caused by a variety of factors. Once the underlying issue is identified, the approach to consolidation is determined through a series of tests, analysis, and a comprehensive understanding of the artwork’s material make-up.

The need for consolidation may arise as a result of age, environmental changes, direct damage, or previous repairs to the artwork. Abrupt temperature/humidity changes or water intrusion may cause the paint layers to swell and then to crack when returning into place. Environmental changes may also cause the canvas to shrink resulting in tenting of the paint layers. Additionally, these types of environmental conditions can cause mold or bacteria growth, damaging the substrate and paint layers. Exposure to extreme heat as a result of a fire or poor storage may cause blisters in the paint layers. Heat damage may also be present as a result of improper past repairs. Further, since incompatible materials tend to separate over time, mixed media present from previous repairs or the original artist can cause destabilization of the paint. Addressing the underlying issue is key to mitigating future damage and securing the integrity of the work.

Mapping of conditions of mural

Example of mapping of the conditions of mural.

Damages to the murals are mapped on vellum and accompanied by written reports to keep a detailed record of damage to the substrate and locations of paint failure/loss. Throughout the process, these maps may be redrawn to access and compare conservation progress.

 

(Left) Consolidant being applied to paint. (Right) Low heat iron being applied to flatten and smooth the adhesive.

The consolidant is then applied to the damaged areas. Typically, the consolidant is a liquid mixture of adhesive or resin and is applied to the surface or back, depending on the needs and approach, with a syringe or brush in order to reach localized damage. The chemical makeup of the liquid mixture must be flexible and reversible as well as compatible with the existing work. The liquid form allows the consolidant to seep behind the paint layers into hollow cavities. Once the consolidant is applied, it may require a low heat iron applied over vellum or simply pressure applied over vellum to flatten and smooth the adhesive. Gently applying pressure to the surface assists the unstable paint layers into place with the consolidant. Weights or support may be left in place depending on the needs of the painting. Conservation to ceiling murals may require temporary supports following consolidation to counter gravity. Consolidation is carried out and recorded methodically to ensure the surface is stable and the work of the original artist(s) preserved prior to addressing any losses.

(Left) Detail, “Agriculture” areas of loss and hollow sounding plaster. (Right), Detail, “Agriculture”, after full conservation at Kansas State University’s Hale Library.
(Left) Detail, “The Arts”, areas of loss. (Right) Detail, “The Arts”, after full conservation at Kansas State University’s Hale Library.

Depending on the condition of the painting, facing paper, applied over the surface of the work, may be necessary to protect the paint layer in the short-term. Facing paper is the temporary attachment of thin paper, often washi or Japanese paper, to the surface of the artwork with a water-soluble adhesive. The facing paper provides a number of benefits during conservation. The paper itself contains very few impurities and is made of only a handful of traditional ingredients. Facing paper may be adhered to the surface of a work for careful transportation from site to studio during conservation. It may also be used to protect the surface of the mural while local environmental conditions are mitigated prior to conservation efforts. The paper offers a flexible and supportive protection to the paint layers during conservation.

applying Japanese mulberry facing paper to the Overmyer murals
 Japanese mulberry facing paper being applied to the Overmyer murals at Kansas State University’s Hale Library.

The consolidation process should not alter the appearance of the artwork. Any residue from the adhesive must be carefully cleaned from the surface before proceeding with further conservation efforts. Unlike surface cleaning or inpainting where visual results are immediate, consolidation is a laborious yet necessary process in stabilizing the relationship between the existing paint layers and the base prior to any cosmetic repairs. In order for inpainting to have a successful and lasting effect, any persistent damages must be addressed and the paint layers secured.

(Left) “The Arts” mural before conservation. (Right) “The Arts” mural after conservation at Kansas State University’s Hale Library.
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Beginner’s Guide to Gilding with Tips and Techniques

Gilding is an extraordinary and special technique employed in architectural decoration for thousands of years. Gilding is the process of applying metal leaves onto a surface for both decorative and protective purposes. You will most commonly see architectural gilding on domes, in lettering, ornaments, and on the capitals of columns. The elegance of the color and material of the metal elevates the aesthetic of any building which receives this decorative application. Here is a basic guide to gilding with some tips and techniques used by professional conservators to implement and beautify architectural gilding.

Water Gilding vs. Architectural Gilding

There are two general types of gilding: water gilding and architectural gilding. These terms apply to the makeup of ingredients used to attach the metal leaf to a surface. While both methods produce a beautiful result, each has a distinct effect in terms of the appearance and durability of the gilding. Therefore, the specific task at hand will determine the type to use.

1) Water Gilding

Also known as gouache gilding, water gilding is the oldest form of the craft. Its traditional methods, though laborious, provide a beautifully detailed and finished appearance. Water gilding provides a high-luster appearance and shines brighter than architectural gilding. However, water gilding is susceptible to out-of-doors elements, and therefore it is typically used for high end furniture. This includes ormalu ornaments and boiserie. You will often see water-based gilding used for intricate interior detailing and on projects seen from a short distance. This is due to water gilding’s highly finished appearance.

Canning_Cosmos gilding

The restoration of Cosmos Club in DC included water gilding, oil gilding and roman gilding. Water gilding on the chair rail and door filets was cleaned and conserved and areas of heavy damage required full replacement, using traditional water gilding materials and techniques.

2) Architectural Gilding

Architectural gilding employs either an oil-based adhesive or a water-based adhesive. While oil-based gilding is a great method for exterior projects, a modern water-based medium is most often used for interior projects. For oil-based gilding, a medium such as linseed oil is used to adhere the metal leaves to the substrate. Because the finished result provides a lower luster than the water-based adhesive, oil-based gilding appears to have a less brilliant tone. Although it does not allow for as much detail as water-based gilding, the oil adhesive is resistant to moisture and can therefore be used in exterior projects. The large domes and embellished peaks of buildings which you see covered in gold are gilded with an oil base.

Gilded floral ornament at the Shrine of Our Lady of Guadalupe in Wisconsin

Gilded floral ornament at the Shrine of Our Lady of Guadalupe in Wisconsin

John Canning & Co. has utilized both methods in its numerous projects whether they be gilding elaborate indoor ornaments or larger exterior structures. The above picture is of a floral ornament at the Shrine of Our Lady of Guadalupe which John Canning & Co. had the task of gilding. The picture below is of an oil-based gilding process Canning performed in Hartford, CT.

Dome gilding at St. Panteleimon Russian Orthodox Church in Connecticut

Tips for Prepping the Surface

Every successful gilding project needs a thorough preparation of both the surface that is to be gilded and the gilding materials themselves. The substrate on which the metal leaves will be laid must be clean of any loose particles whether they be dust, paint, or any type of grime. Any dust or residue that is left on the surface will interfere with the adhesion of the metal leaves. Afterwards, the surface should be wiped down with solvent to pick up any remaining surface grime or grease. When working with glass or metal that has been painted, loose flecks of paint or finish must be removed before commencing the metal leaf application. The substrate should be checked for cracks, holes, and general deterioration. It is also important to fix any substrate issues before proceeding in the gilding process.

Tips For Applying the Metal Leaf

After the adhesive is applied to the substrate, the metal leaves can be laid down when the tack is at the right level. Note that there are different types of size with different drying times and tints. Choose the appropriate one for your gilding project and make sure the surface is dust/dirt free before applying. The metal leaves themselves are incredibly thin and fragile and therefore need to be handled with great care to ensure the metal is not torn. Because the thin metal is so fragile, it is important to lay the leaves down with great care and to not touch the metal itself. Therefore, leaves should be laid down onto the adhesive-covered substrate using a gilders-tip or the packaging in which it was placed.

Tips for Adhering and Burnishing Architectural Gold Leaf

Once the leaves are applied, the metal is gently brushed with soft bristle brushes, putting pressure onto the adhesive. A softer tool will help avoid the appearance of wrinkles on the surface of the metal and will remove excess leaf. Lightly burnishing the metal with a soft cloth is recommended to ensure proper adherence of the leaves to the substrate while mitigating any risk of damage to the leaves throughout the process. Burnishing will remove excess and overlapped parts of the metal leaves to create a seamless transition.

Tips for Protecting Metal Leaf

When gilding with a metal other than gold, an acrylic or oil-based protective coating may need to be applied to protect the leaves from tarnishing or oxidizing. Because the metal leaf is so fragile and susceptible to wear, it is necessary to coat the leaves in a varnish or sealer after applying them to the substrate. Gold leaf does not need an application of varnish or sealer because of its durability. This is why gold is the best choice for exterior gilding projects.

Tips for Choosing the Right Metal Leaf

A proper gilding project needs the correct type of metal leaf. For exterior projects gold leaf is the only choice. When using gold, the leaves used in exterior work should be at least 23.75 karat gold and 21-23 grams per 1000 leaves. On the other hand, interior projects can use gold leaves that are less than that amount such as 22 karat gold and 17-19 grams per 1000 leaves.

Restoring Gilded Materials

Many gilding projects require the removal of the original, tarnished metal, and a re-application of new leaves. This process has more complications than the original gilding project due to the two-part task. Gilding conservators such as John Canning & Co. have experience with the restoration of gilded structures. It is important to assess the reason for the problem before laying down new metal to avoid a reoccurrence of issues. This entails the restoration of the substrate to prepare the surface for a re-application of metal.

Aetna Insurance building dome

John Canning & Co. has restored the gilding of the Aetna Insurance building’s dome in Hartford, CT. Through restoring the substrate of the dome and gilding the surface with genuine gold leaf, the conservation team gave the building a fresh, dazzling appearance, which can be viewed throughout the city. For more information regarding the process of gilding or the various gilding projects implemented by John Canning & Co.

Tip for Choosing a Gilding Contractor

One of the most important tips for gilding projects is to make sure you have someone knowledgeable and experienced to perform the gilding. It is important to take the time and make an informed decision. In choosing the right professional it is important to research and gather information, get recommendations, request quotes, check credentials, and schedule consultations. This process will help you determine who to hire for your gilding project. If you have a gilding project, feel free to reach out and see how John Canning & Co. can be of assistance.

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Historic Wood Restoration: What to Expect and How to Prepare

Sourced from around the world, wood has been used as a building material from the earliest periods of architecture. The appearance of wood is unique to its location, and its flexible and strong nature makes it useful for many building projects. Whether it be a domestic, religious, or civic design, wood can be incorporated into most modes of construction. Unfortunately, due to its organic composition, wood is susceptible to decay and deterioration. This is especially the case for historic wood. The older the material is, the longer it is exposed to corrosive elements, and therefore the more susceptible it is to decay. Restoration work is therefore necessary to protect old wood for the preservation of historic architecture. The steps in a wood restoration are numerous and detailed. Important factors such as the wood’s composition, its original finish, and its current presentation will influence the methodology of the conservator. Whether you are a building owner trying to learn more about wood preservation or a contractor looking for advice on your project, this guide will walk you through the steps of historic wood restoration so you know what to expect and how to prepare.

What is Woodwork Restoration?

The goal of a restoration is to renew the original appearance of a building fabric using a blend of traditional and innovative tools and methods. A restoration project should never change the design or features of the architecture unless it is specifically asked for by the client. The wood restoration process entails the refinishing of a wood surface. This includes the stripping of the old finish followed by sanding, priming, and reapplication of a new finish. Each of these steps have subsets which are vital to the proper implementation of a restoration project. Below is a step-by-step, detailed chronological guide through a wood restoration process.

Step 1: Material Analysis

Before a restoration team can implement any physical changes to the wood, there needs to be an in-depth material investigation to understand its type and condition.

Type of Wood

Different species of wood will react differently to cleaning and repair methods. Softer kinds such as pine and cedar will react negatively to abrasive cleaning methods whereas oak and cherry have a more durable surface and internal structure. Studying the material in question will also reveal whether it is a solid wood or a veneer. While solid wood is a traditional sawn board, veneers are thinly sliced sheets of wood which are glued onto a substrate. These are much less durable than solid wood, which impacts the restoration process.

Wood Finish

After understanding the type of wood involved in the restoration, it is important to evaluate its condition. This includes an analysis of the original or current finish applied to its surface and the condition of the finish itself. The main finishes used on historic wood are shellac, varnish, and wax. Each of these finishes has a different use and quality, which makes analyzing the finish a necessity before stripping the surface coat. Shellac and wax are commonly paired together when finishing wood. Shellac provides a protective finish with a high gloss appearance but is not water resistant. Therefore, wax can be applied to the wood to protect the surface from water stains such as the rings left by water condensation on cups. The wax will also reduce the luster of the wood, giving the surface a matt look rather than a sheen. Wax can be buffed by a simple cotton cloth to increase the gloss of the finish. Woodwork at The Mark Twain House in Hartford, CT was largely covered in shellac and needed refinishing due to the original finish’s deterioration.

Mark Twain Woodwork Before Restoration
Deterioration of a Shellac Coated Wood Panel

Varnish covers a wide range of finishes and is not usually accompanied by wax. It is more protective than shellac and is useful for furniture and areas that receive constant contact. Generally composed of resin, spirits, and oil, varnish is suitable for outdoor applications and is one of the most common finishes found in historic architecture. Although it is not considered historic, polyurethane, invented to protect military equipment during World War II, is one the most protective finishes available. However, it is not always applicable for restoration purposes because it does not adhere properly to shellac-finished wood. Over time this finish will also become cloudy and lose the beauty that is kept in historic finishes. Choosing the right finish has always been impacted by factors such as availability, quality of ingredients, cost, viscosity levels, and the artisan’s preference. Each mixture has its own positive and negative attributes in the finishing process and should therefore be understood before being utilized in a project.

Issues with Woodwork

After investigating the type of wood and its finish, you can begin to study any issues within the material itself. Often times, the problem will concern the finish and not the wood. Historic finishes will suffer abrasion and natural weathering over time, thus wearing the surface of the wood. This leaves the wood susceptible to direct contact with destructive elements, which may deteriorate the material. The solution to this issue is a complete refinishing of the woodwork, including the removal of any remaining finish and a re-application of a fresh protective coat.

Step 2: Work Specification and Proposal

The material analysis leads directly into the writing of the work specification, followed by the proposal. Having gained an understanding of the type of wood, the current finish, and any issues at hand, a document stating the details of the project including scope, time, and solution is drafted. The specification is given to the client for their review and approval.

Step 3: Mockup

Once a contract is established, often the firm tests their restoration method for further approval by the client. This involves a complete restoration process on an inconspicuous area of the wood to confirm the chosen methods provide the desired result. If the mockup is successful, the full restoration process may commence. The mockup is used as a template for the general project.

Step 4: Stripping the Finish

Stripping the original finish off of the wood requires specialized tools and a delicate technique so as to not hurt the material’s surface. Different types of tools can be utilized depending on the project. Paint-removing instruments include a heat gun, sander, hand scraper, and chemical stripper. Each of these have their own positive attributes though some are more abrasive to the surface of the wood than others. A heat gun is able to quickly remove large spans of paint but can warp and burn the material’s surface. Sanders are desirable for a smooth removal however they need to be used correctly or they will grind past the finish and wear down the bare surface of the wood. Hand scrapers allow the conservator to make a detailed removal of the paint though the sharp edge can scratch and damage the piece. Chemical strippers quickly remove the paint from the wall but, depending on the type of wood and finish, can be too acidic for the material’s surface.

removing stripper
Paint Stripping in Progress

Understanding the benefits and risks of each tool will allow the contractor to decide what combination of instruments is needed to fulfill the specific project

Step 5: Sanding the Surface

Once the paint is stripped, the entire surface of the wood should be sanded (or rubbed with steel wool) to ensure no unwanted particles are trapped under the new finish. Wiping down the wood with a tack cloth after sanding will remove the dust and dirt accumulated by the prior steps.

Step 6: Priming or Staining the Surface

Before a finish can be applied, a primer needs to coat the surface of the wood. This acts as a further layer of protection and serves as an adhesive for the finish. However, if the sanded wood needs to change color so as to match the original aesthetic of the building, then a stain can take the place of the primer. A stain will darken and enrich the appearance of the wood while also working as a substitute for the primer.

Step 7: Refinishing the Surface

After prepping the surface of the wood, it is time to apply the new finish to the material. As mentioned before, there are different types of historic wood finish which can be applicable for the restoration of an older building. The finish used by the conservator should match the rest of the wood and provide suitable protection for the wood. To conclude the restoration process, a thorough rinsing and wiping of the wood is necessary to ensure no residue is left on the material’s surface. This can be done with tap water and a rag. The wood should be dried after cleaning to prevent moisture seeping into the new finish.

Historic wood restoration is an important part of preserving early architecture. By taking detailed and planned steps, a conservator can fully transform deteriorated wood in a building into a renewed piece of historic artistry. Check out more information provided in our wood restoration blogs or John Canning & Co.’s historic wood restoration, repair and replication services.

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What to Look for in a Professional Mural Restoration Company

Historical artwork has the power to revitalize public spaces, conveying stories, culture, and emotions through vibrant imagery. Over time, environmental conditions and damages caused by water, overpainting, abrasions, poor storage conditions, and neglect can take a toll on these beautiful works of art, leading to the need for restoration. Hiring a professional mural restoration company is crucial to ensure that the artwork is brought back to its former glory while preserving its historical and cultural significance. In this blog, we will explore what you should look for in a professional mural restoration company.

Expertise and Experience

Mural restoration is a specialized field that requires not only artistic talent but also technical expertise. It is essential to look for a company with a proven track record of successful mural restoration. Resumes of the key team members leading in the restoration should be reviewed prior to beginning any work. Check for qualifications, certifications, and membership in
organizations dedicated to mural conservation, such as the American Institute for Conservation (AIC) or the International Institute for Conservation of Historic and Artistic Works (IIC). A well-established restoration company should have a team of experienced conservators, art historians, and artists who can collectively assess and restore murals. Our team at Canning is led by professional members of the AIC, who always aim to guide our restoration projects using the code of ethics outlined by the organization for the preservation and restoration of historical artworks. Reputable mural restoration companies adhere to a strict code of ethics. Ensure that the company you choose is committed to preserving your mural’s historical, cultural, and artistic value by following these codes and guidelines.

John AIA award
Our founder, John Canning, is an honorary member of the American Institute of Architects (AIA)

Preservation Philosophy

A good mural restoration company should have a clear philosophy focused on preserving the integrity and historical value of the artwork. They should prioritize reversible methods and avoid over-painting or altering the original design. Ask about their approach to restoration, and be cautious of any company that is not transparent about their methods. The company should keep well-documented records of every restoration step taken during the mural conservation process. This ensures that their work remains recorded and separate from that of the original artist and allows future conservators to view a detailed log of previous work done to the mural.

Documentation and Research

Before starting any restoration project, a professional company will conduct thorough documentation and research. This involves understanding the mural’s history, artist, materials used, and the extent of damage. This initial assessment is vital in developing a tailored restoration plan. Without a prior understanding of the artwork, conservation efforts may not match the correct intention or materials used by the original artist, therefore disrupting the artwork’s historic integrity. A mural conditions assessment should be completed over the duration of the project and will include the initial research, documentation, test results, and recommendations for further restoration.

Research into the Industry in New Hampshire mural at the University of New Hampshire revealed historical images that aided in the restoration of original painter Arthur Esner’s work.

State-of-the-Art Techniques

The best mural restoration companies keep up-to-date with the latest restoration techniques and materials. They should be well-versed in cleaning methods, paint analysis, and surface consolidation. By using modern, non-invasive techniques, they can ensure that the mural remains unaltered and authentic.

Luzerne County Courthouse

Mural conservation in progress at the Luzerne County Courthouse

References and Portfolio

Ask for references and take a look at the company’s portfolio of past projects. This will give you a sense of their work and whether they have successfully restored murals of similar size and historical importance. Contact previous clients, if possible, to get their feedback on the company’s services. The company you choose should have a reputation of quality craftsmanship and their work should be completed on time, in-budget, and meet or exceed previous clients’ expectations. Our website offers a portfolio of some of the work Canning has completed, providing a transparent look at the size, scope, and depth of each project we have completed. The company you choose to complete your restoration project should do the same.

Communication and Transparency

Effective communication is key when hiring a mural restoration company. They should be willing to discuss the restoration process with you, provide regular updates on the project’s progress, and address any concerns or questions you may have. Your chosen company should allow you to request a consultation to speak with one of their qualified project professionals to answer any questions you may have about the restoration.

Budget, Timeline, and Proposals

A professional mural restoration company should provide a clear and transparent estimate of the project’s cost and a realistic timeline for completion. Not only should they provide realistic estimates but also detailed proposals that outline exactly what you as the client will be receiving as a part of the restoration. This proposal should not contain only one option for restoration but should instead include levels of restoration options to fit different budgets and timelines to best work with the needs of the client. Be wary of companies that provide vague estimates or promise unrealistically quick results. Our estimating team is always happy to provide clear outlines of project budgets, plans, and timelines to ensure your project can remain on budget, on-time, and run smoothly from start to finish. Should a full restoration not be an option based on budget, timeline, or otherwise, a reputable company should be able to provide alternative options. To follow these services, the company should also provide an ongoing maintenance plan and guidance for the murals that are being restored. This will allow for continuity throughout the project and provide instructions for future care beyond the restoration project.

Restoring a mural is a delicate process that requires a combination of artistry, science, and a deep respect for cultural heritage. Choosing the right professional mural restoration company is essential to ensure that the artwork is rejuvenated while preserving its historical and cultural significance. By considering expertise, preservation philosophy, research, ethics, techniques, references, communication, and budget, you can find a company that will breathe new life into these priceless works of art while honoring their legacy.

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The Fine Art Restoration Process

Fine art restoration combines science, research, and a craft that is meticulous and delicate, that breathes new life into masterpieces of bygone eras. Behind the scenes, highly skilled professionals work tirelessly to preserve and rejuvenate these cultural treasures, ensuring they continue to captivate audiences for generations to come. In this article, we will delve into the fascinating world of fine art restoration, shedding light on the meticulous process that brings faded and damaged works of art back to their former glory.

Examination and Assessment

The restoration process begins with a comprehensive examination and assessment of the work of art. A team of conservators, often including art historians, scientists, and skilled restorers, carefully inspect the piece. They document its condition, noting any signs of damage, degradation, and previous restoration attempts. Advanced imaging techniques such as X-rays, infrared photography, and UV analysis are frequently employed to uncover hidden details and underlying issues. The resulting condition report will aid conservators in their process as they work to restore each area of damage to the artwork and return the piece to its historical appearance.

Cleaning

One of the most critical steps in fine art restoration is the cleaning process. Over time, dirt, dust, grime, and layers of aged varnish can accumulate on the surface of a painting. Using specialized solvents and gentle cleaning agents, restorers painstakingly remove these layers to reveal the original colors and textures beneath. The goal is to clean the painting without causing harm to the underlying paint layers. Specialized tools, such as brushes, cotton swabs, and soft cloths are utilized by restorers to gently wipe away any surface grime or aged varnish. The conservator must understand the finishes present on the artwork to ensure the correct cleaning solutions and tools are used during the restoration process.

Fine artwork Brush Cleaning

Brush cleaning at the Fulton County Courthouse

Structural Repairs

If the artwork has suffered physical damage, such as tears, punctures, or flaking paint, skilled restorers perform structural repairs. This may involve reinforcing the canvas, filling in gaps or losses in the paint layer, and securing loose or detached elements. During this stage, any damage that is found will be assessed and treated based on the specific type of damage, including UV or water damage, paint loss, craquelure, abrasion, or any other notable form of physical damage. To reattach flaking paint, restorers often use a fine-tipped brush and a reversible adhesive, such as a conservation-grade adhesive, to secure the loose paint fragments back onto the canvas or surface. Gentle heat may also be employed to soften the paint layers and previous adhesives and create a more malleable surface on which to adhere the paint fragments. During this process, the canvas may need to be detached from the original frame and stretcher and reapplied to a new or reinforced stretcher. Doing so ensures the canvas will remain taut, and the repairs made to the canvas can be done on a sound surface.  The overall objective of this step is to stabilize the artwork’s physical structure while retaining its original integrity.

UNH Mural

Reattaching flaking paint at Hamilton Smith Hall

Inpainting and Retouching

Inpainting and retouching are processes in which conservators carefully reintroduce missing or damaged paint to seamlessly blend with the original. This is a highly delicate task that requires an in-depth understanding of the artist’s techniques and a keen eye for color matching. The goal is to make the restored areas harmonize with the rest of the artwork, ensuring that the viewer’s gaze is not distracted by visible repairs. This task should only be undertaken by a trained conservator with knowledge of the style and skills necessary to replicate the original artist’s work. All inpainting completed by conservators should be done in a manner that does not harm the original artwork and is reversible.

fine art inpainting

Fine art inpainting in progress by a conservator in our studio.

Varnishing

After cleaning and inpainting, the artwork is typically varnished. Varnish serves several purposes, including enhancing the colors, protecting the paint layer, and providing a uniform surface finish. Once the paint layers have been repaired and restored to their original appearance, the conservator will brush on the varnish in an even layer and allow it to dry. Restorers select a reversible varnish, allowing future conservators to remove it if necessary without damaging the original paint.

Documentation

Throughout the restoration process, meticulous documentation is essential. Conservators record each step, from the initial examination to the final treatment. Detailed notes, photographs, and scientific analyses create a comprehensive record of the restoration. This record can be valuable for future reference and research about the artwork. It can also serve as a complete log of all work done to the piece in case a future conservator needs to reverse the previous conservation efforts.

Preservation and Display

Once the fine art restoration process is complete, the artwork is carefully prepared for display or storage. It may be framed with archival materials, placed under controlled environmental conditions to prevent deterioration, and, if in a museum or gallery, exhibited to the public. All necessary precautions must be taken to ensure the safety and longevity of the artwork. These could include placing the piece in an area that does not get direct sun exposure to limit the chance of UV damage or properly storing the artwork in a safe, dry space within a gallery to reduce the chance of water or other environmental damage.

Fine art restoration is a labor of love that bridges the past and the present. Through the expertise and dedication of skilled conservators, artworks can be revived to their former glory. This process not only preserves our cultural heritage but also allows us to continue experiencing the beauty, history, and stories contained within these masterpieces. Fine art restoration is a testament to the enduring power of art and the commitment to safeguarding the treasures of human creativity for generations to come. Our skilled conservators are trained in the fine art restoration process. Please reach out or request a consultation to learn more about the fine art restoration services we offer and how our team can assist with your historic artwork restoration projects.

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7 Painting Techniques Leveraged in American Historic Buildings

The Use of Decorative Painting in Historic Interiors

Decorative Painting Historic Interiors

Humans have employed decorative painting since at least the Stone Age. Today there are several decorative painting techniques, many of which are used in the architectural restoration, preservation, and conservation industry. These techniques create visual excitement and cohesive design through embellished surfaces of unique textures and finishes.

John Canning & Co. regularly leverages these seven decorative painting techniques in American historic buildings:

Decorative Painting

Some of the common decorative painting techniques that can be seen in historic interiors include:

Stenciling

Stenciling is a decorative design technique used to produce and exactly replicate a design or pattern.  The image or pattern is created by applying paint to a surface by using the stencil to apply a design to a surface through superimposed openings/holes. The openings allowing the paint to reach the desired parts of the surface determined by the stencil design.

The art work in stencils can range from simple lettering and basic patterns to the very ornate and complex designs. Stenciling is use to help reinstate and create decoration for historic structures. Stenciling offers a practical method for producing elegant designs. Even though you can spend quality time developing and creating a stencil, the stencil can be used to quickly reproduce that design so you don’t have to sacrifice quality for quantity.

Stenciling is a common decorative finishes technique found extensively in historic interiors. A couple of examples include a residence in Newport New Hampshire and the First Church of Christ, Scientist in Boston.

Trompe L'oeil

Trompe L'oeil is a form of painting to give the illusion of depth and dimension.  When done correctly it tricks the eye into perceiving a painted elements as a three-dimensional object.  Sometimes called illusionism, a style of painting which gives the appearance of three-dimensional, In French literally meaning “trick the eye” and that is exactly what happens when the artisan uses this technique. To implement the Trompe L'oeil technique and artist must have a strong understanding of using colors and how lighting and shadows work together to create the layers needed to create the uses.

The use of trompe L'oeil on ceiling was common to give the appearance the building continue upwards to great heights, the term di sotto in sù (“from below” in Italian) is used to sum up this soaring effect. It is also used in portraits and murals to give the visual illusion the subject or elements are emerging from the painting.  

Grisalle is a form of trompe L’oeil that uses monochrome painting to create decorative effects using elaborate shading technique.

Trompe L’oeil can be seem in many historic decorative interiors including in the Philadelphia Academy of Music and Independence Hall in West Virginia.

Gilding

Gilding also known as Metal leaf is an ancient art where tissue thin sheets of rare metals or imitation leaf are applied to either a flat or ornamental surface. This technique is often used to highlight certain features of architecture. The results can be opulent or richly understated. Gilding can actually use rare metals such as gold, silver, bronze and aluminum to put on surfaces including metal and wood.  Methods of gilding include hand application and gluing, chemical gilding, and gold plating.  Gilding can be used to give an object a gold appearance at a fraction of the cost a solid gold object, without the weight of sold gold.  Radio City Music Hall in New York, The Cosmo Club in Washington DC,  and the San Francisco War Memorial Opera House are great examples of interior gilding.

Marbleizing

Marbleizing, also known as marbling, faux marbling and simulated stone, is the preparation and finishing of a surface to imitate the appearance of polished marble. This technique has been used for many centuries were decorative painting is being implemented to help enrich the appearance of interiors. One technique is Scagliola which involves the use of specially pigmented plasters. Scagliola is a technique for producing stucco columns, sculptures, and other architectural elements that resemble inlays in marble and semi-precious stones.

Examples were marbleizing can be found include the Shrine of Our Lady of Guadalupe in La Crosse, WI, and the National Building Museum in Washington, DC.

Faux bois 

This cost-effective decorative painting technique, which simulates the appearance of wood, is most often used when species of wood cannot be sourced due to rarity, availability, or cost. This imitation of wood or wood grains can be applied to non-wood surfaces such as inexpensive woods, bricks, and brass. The woodgraining process involves many layers and techniques dependent on the desired wood grain outcome. Learn more about faux bois and the projects John Canning & Co. has successfully crafted from our archives.

Examples of woodgraining include Michigan State Capitol, the Taft Museum of Art in Cincinnati, Ohio and Iowa State Capitol.

Glazing

A glaze is a thin transparent or translucent medium layer that modifies the appearance of the underlying paint layer. Glazes are used to change the surface through a carefully controlled application of the glaze over a painted surface. The multi-layering of several glaze colors develops a complex and beautiful surface. Glazing can be applied in three to thirty coats and has many different appearances.

Scumble is a technique similar to glazing, except that the coating is opaque, and is just painted on very thinly to allow bits of the paint below to shine through. While most painters glaze with dark colors, scumbling is more popularly used for lighter colors; especially atmospheric effects when rendering fog or clouds.

Strie is common technique that is used in glazing. The strie technique mimics the look of centuries-old paint altered by dust and sun. This technique creates a subtle dramatic stripe and plaid effect.

Glazing is extremely common in decorative painting is it is part of the process of so many techniques including Marbleizing and Faux bois.  Some examples include the Eisenhower Executive Office Building in Washington, DC and the Hill Auditorium, at the University of Michigan.

Faux Gustavino Tile

Another technique utilizing scumbles and glazes is the creation of this faux Gustavino tile. Guastavino tile is a tile system technique that uses layers of terra cotta tiles set in a herringbone pattern for self-supporting architectural vaults using interlocking terracotta tiles and layers of mortar to form a thin skin. To achieve the faux Gustavino tile it requires rubbing in the scumbling and then applying multiple layers of glaze and a crazing varnish. A great example of faux Gustavino tile is the Boston Public Library where the faux Gustavino tiles were created to match the existing beehive Gustavino tile ceilings.

Conclusion

A high degree of decorative finishes knowledge as well as strong solid knowledge of architectural styles and materials is needed to match new decorative finishes to that of the original finish. This is what is needed to be a true artisan.  Today’s artisans of decorative painting use this knowledge to implement historic decorative painting techniques to help keep the beauty of the past alive.   As a architectural arts decorative painting contractor, John Canning & Co.'s artisans have decades of collective experience and the expertise to deliver the highest quality craftsmanship when it comes to decorative painting.  If there are any projects that require decorative finishes in your future, we are always happy to assist.

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Visual Guide:

Decorative Painting Finishes Resources

Looking to learn more about decorative painting techniques? Check out our Decorative Painting Visual Guide below or our decorative painting blog posts (for a full list of blogs on decorative painting, click here

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John Canning & Co. 2023 Retrospective

As John Canning & Co. reflects on Year 2023, our firm is filled with gratitude for the restoration, preservation, and conservation opportunities in the architectural and decorative paint industry that we continue to have. Many of our projects this year were achieved over a one-to-three-year timeframe, showing the dedication and trust in the craftsmanship of national landmarks, education, and civic projects listed below. We could not include all of our projects; therefore, this article looks at some of John Canning & Co.’s 2023 project highlights.

National Landmarks

As John Canning & Co. moves toward 50 years in business, we reflect on the numerous national landmark projects our firm has completed; this year our top projects include the Basilica of the Sacred Heart of Jesus in Hanover, PA and the Andrew W. Mellon Auditorium in Washington D.C.

Basilica of the Sacred Heart of Jesus

Completed within the 2023 year, the scope of work performed by John Canning & Co. focused on the historic decorative paint and fine art conservation of the Basilica of the Sacred Heart of Jesus. Upon completion of the initial paint investigation, Canning shared findings with Father Dwight Schlaline revealing the Basilica had well-preserved original paint designs beneath the existing decorative paint layers. This wonderful and amazing discovery led to the largest paint exposure our firm has encountered, revealing all decorative paint and fine art designs of the original chapel. The scale of well-preserved original decoration that we conserved is truly a unique find in the preservation industry.

Basilica-of-Sacred-Heart-of-Jesus

Completed Basilica of the Sacred Heart of Jesus – Hanover, PA (top center), Completed Faux Marbre High Altar Restoration (left bottom), Assessment of Sacred Heart fine art within apse (right bottom)

Mellon Auditorium

A classical-style design by Architect Arthur Brown, Jr. built in 1934, The Andrew W. Mellon Auditorium located in Washington D.C., has seen the completion of a multi-finish restoration this year by John Canning & Co.  Most notably, our firm performed Sphinxstone wall and column repair throughout the space. Sphinxstone is a cast acoustic material simulating stone surprisingly made of seashell. Our innovative approach to using both traditional materials – sea shells – and techniques allowed for a sensitive restoration to maintain the historical character and properties of the original simulated limestone.

Listed as a national landmark with the National Register of Historic Places, the Mellon Auditorium received skilled, professional artisan work in historic color matching, gilding, decorative painting, inpainting, and ornamental plaster repair.

Mellon-Auditorium

Completed – Andrew W. Mellon Auditorium – Washington D.C.

Mellon-Auditorium

Sphinxstone Application to Patched Areas of a Wall Repair – Andrew W. Mellon Auditorium – Washington D.C.

Institutions – Universities

Historic educational institutions bare great responsibility in preserving the history of its past successors and benefactors. In 2023, John Canning & Co. returned to these three universities that have continuously called upon and trusted our firm to perform the best in restoration, preservation, and conservation, for additional campus building restorations. Through this Year in Review blog, discover our 2023 works and previous accomplishments.

University of Virginia Chapel

The restoration of historic university chapels is one industry of many that John Canning & Co. artisans have the pleasure of restoring. Welcomed back based on successful past works, the University of Virginia sought woodwork restoration and conservation work within their campus chapel this year. Woodworking areas included chapel doors, liturgical figureheads, and organ pipes. The entire organ was fully restored using a combination of wood finishing techniques and decorative paint application on the individual pipes. Woodwork repair and restoration required preparation, expertise, and artistry to reinstate the chapel’s original beauty. Previous work at the University of Virginia include Garrett Hall, Rotunda plasterwork, and various woodgraining at the campus Pavilions and Rotunda.

UVA Organ

 Completed Restored Organ – University of Virginia Chapel – Charlottesville, VA
UVA Figureheads
Prepared Figurehead for Dutchman Repair (Left ), Restored Figurehead (Right)- University of Virginia Chapel – Charlottesville, VA

Yale University L&B Reading Room

The Linonia and Brothers Reading Room, also known as the L&B Reading Room, was contracted to John Canning & Co. this year after successfully completing multiple campus projects at Yale University in the past. Paneled in wood of a Tudor-style architecture, our woodworking artisans performed wood cleaning and refinishing techniques, as well as ceiling plaster work to complete the entire restoration project. Through the years, John Canning & Co. has worked on numerous Yale University campus structures: Sterling Memorial Library, Battell Chapel, Manuscripts & Archives Library, Morse Recital Hall, Sprague Hall, and Divinity School. The L&B Reading Room is just one of the many Yale projects we worked on in 2023.

Yale-Univ-LB-Reading

Completed – Yale University Linonia & Brothers Reading Room (L&B Reading Room) – New Haven, CT

Harvard University Adams House

John Canning & Co. has worked on multiple projects over the years at Harvard University for both interior and exterior work. Some of the campus restorations John Canning & Co. has performed in the past include Grays Hall, Gordon Hall, Andover Hall, Memorial Hall, Medical School Building, and Sackler Building, to name a few. In 2023, our firm was contracted to perform the removal of original murals for cleaning and conservation, which were reinstalled within the Adams House. By the delicate hands of professional conservator technicians, the removal, cleaning, and conservation of the murals was completed this year.

Harvard-Adams-House

In Progress Mural Cleaning & Conservation – Harvard University Adams House – Boston, MA

Civic – State Capitols

Historically significant buildings such as state capitols are beginning to see the wave of restoration, conservation, and preservation work needed to maintain or revive their significance, to uphold its duty to the people by conserving history. John Canning & Co. is honored to have worked on a total of six state capitols in 2023, the following state capitols have received National Historic Landmark recognition by the National Register of Historic Places: Connecticut, Michigan, Pennsylvania, and Wisconsin.

Connecticut State Capitol

Proud to perform additional work on the Connecticut State Capitol Building – the state home of the John Canning & Co.’s main office – 2023 focused on restoring areas of decorative painting within the two atriums below the central skylight. The need for restoration developed from chronic water damage affecting the historic appearance. Our firm has historically been called on by the Connecticut State Capitol for various restoration, conservation, and preservation work such as wood restoration, ornamental plaster restoration, trompe l’oeil, gilding, and glazing. Our firm is honored to have provided professional services, leaving another stamp of John Canning & Co. craftsmanship to be admired in this restored National Register of Historic Places building.

CTstatecapitol

Connecticut State Capitol – Hartford, CT

Michigan State Capitol

Designated a National Historic Landmark in 1992, the Michigan State Capitol is one of the first state capitols to be topped with a lofty, cast-iron dome. Inside, the magnificent rotunda are nine acres of decorative fine arts giving homage to Civil War Veterans. John Canning & Co. has been tasked with decorative painting restoration and conservation within the rotunda. The rotunda requires detailed cleaning to ensure longevity in preserving historic architectural finishes. David Riccio, Principal of John Canning & Co., said, “when I look around the rotunda, I see a tour de force of decoration and craftsmanship. It’s monumental and worthy of the People of Michigan”. This project has been deemed “for the people of Michigan”. Our firm has performed past work within the House of Representatives, Senate Chambers, Adjacent Areas, and Public Spaces of the Michigan State Capitol in the late 1980’s to early 1990’s and 2016 ranging from woodgraining, plaster conservation, plaster stabilization, marbleizing, decorative paint restoration, and other architectural finishes.

Michigan-State-Capitol

Michigan State Capitol – Lansing, MI

Missouri State Capitol

Newly added to the John Canning & Co. project list of state capitols, the Missouri State Capitol required the skilled plaster craftsmanship of our firm this year, to restabilize the detaching and unstable plaster within the Legislative library’s half dome plaster ceiling. Several coffers makeup the integrity of the half dome plaster ceiling, held together by a construction of metal lath, rod, washer, and bolt elements to support the overall structure.

Missouri-State-Capitol

Missouri State Capitol – Jefferson City, MO

 

Pennsylvania State Capitol

John Canning & Co. returned to the Pennsylvania State Capitol this year, tasked with restoring a total of 50 mahogany Senate chamber desks, originally installed during the overall capitol design of 1906. Canning artisans used traditional methods when performing dutchman repairs and using aniline dye to restore the mahogany color finish. Aniline dyes not only enhance the wood color but allow for the woodgrain pattern to remain clear. To complete each desk in total, tarnished brass hardware was polished like new. In the past our firm has performed various metal, wood, plaster, and stone restorations alongside decorative painting, gilding, and glazing in the following spaces: House Chamber Ante Rooms, including the Members Lounge, Vestibule Post Office, Governors Ante Room, House Chamber Portico Doors, and the Ladies Waiting Room.

Pennsylvania-State-Capitol

Pennsylvania State Capitol – Harrisburg, PA

West Virginia State Capitol

Seeking the professional and experienced work of John Canning & Co., after many past successful projects, the West Virginia State Capitol commissioned Canning artisans to create eight new murals of various historical scenes to be displayed in the rotunda’s four lunettes and four pendentives – each mural ranging from 27-37 feet. While the mural scenes are all original Canning designs, the driving inspiration stems from original Architect Cass Gilbert’s design drawings of the Capitol, which reference these historic scenes. Unfortunately, Architect Gilbert passed away during the 1932 construction and was never able to see the completed work of his architectural design. More than 90 years later, Architect Cass Gilbert’s vision is being brought to light through allegorical paintings of classical themes in law and education for onlookers to experience and discover the historic, cultural, and civic significance.

West-Virginia-State-Capitol

West Virginia State Capitol – Charleston WV

Wisconsin State Capitol

John Canning & Co. returned to the Wisconsin State Capitol this year after having performed an assessment of finishes for delaminating plaster ceilings in the rotunda in 2022. This project focused on plaster restoration and decorative paint conservation. The scope of work included the removal of ambered varnish from a total of 64 historic ceiling panels.

Wisconsin State Capitol Ceiling Finish

Conservators Apply a Strappo Technique Using an Isolation Varnish
to Remove 60-Year-Old Darkened Varnish – Wisconsin State Capitol – Madison, WI

 

Wisconsin State Capitol Paint Analysis

Paint Layer Removal to Conduct Paint Analysis for Historic Restoration –
Wisconsin State Capitol – Madison, WI

Awards

This year our firm was called on by many well-known industry architecture and construction firms to provide the “Canning Way” level of expertise and craftsmanship. Through this outreach, our artisans were welcomed into new spaces with established leadership, in addition to projects of our own. Whether led by Canning or contracted with an industry leader, our firm is proud to share our 2023 projects awards.

Martin Luther King Jr. Campus – Hartford, CT
2023 AIA Connecticut Elizabeth Mills Brown Award of Excellence – JCJ Architecture

MLK

 

St. Mary-St. Catherine of Siena Parish – Boston, MA
2023 Bulfinch Award for Historic Preservation, ICAA New England Region

St. Mary-St. Catherine of Siena Parish

Boston Huntington Theatre – Boston, MA
2023 Preservation Massachusetts Award -Shawmut Construction

Boston Huntington Theatre

 

Yale University’s Schwarzman Center, New Haven, CT
2023 Traditional Building’s Palladio Award for Restoration and Renovation-Robert A.M. Stern Architect’s

Yale-Schwarzman-Center

New London City Hall – New London, CT
2023 Preservation Connecticut Award of Merit

New-London-City-Hall

John Canning & Co. places high value on the trust, commitment, and collaboration we have with every historic architecture and architectural finishes opportunity, as well as, owners, architects, contractors that initiate these project requests. While the works we have completed this year have spanned from one to multiple years in completion, the level of craftsmanship and professionalism stand the test of time, establishing continued professional relationships in the restoration, preservation, and conservation of historic architecture. As a leading restoration and conservation studio, we have an incredibly talented, dedicated, and knowledgeable staff of traditionally trained decorative painters, ornamental plasterers, masons, carpenters, fine art conservators, and architectural material conservation technicians. We are expert Preservation Problem Solvers with a goal of Perfecting Preservation. Our firm looks forward to the project opportunities of 2024 – performing our craft for the greater cause of keeping history alive through historic restoration of our Nation’s greatest structures and historic landmarks.

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6 Types of Art Damage

During the historic art restoration process, our conservators encounter many different types of damage. These damages can range in severity and all require unique methods for conservation and restoration. Although art damage can manifest in many ways, the six major types we see most often are craquelure, flaking, water damage, abrasion, UV damage, and physical damage.

1 ) Craquelure

Craquelure manifests in artwork as a network of visible surface cracks and lines in the coatings, including paint, varnish, or lacquer. Cracking in a paint layer or surface coating can be caused by age, exposure to changing elements and temperatures, or physical stress on the painting, such as a fall or blow to the surface. To restore a painting suffering from craquelure, a conservator may recommend consolidation of the paint layer, inpainting, and the application of a proactive varnish to ensure no further damage or cracking occurs to the coatings.

2) Flaking

Paint flaking is a common sign of wear and age that occurs on historic artworks. The visual signs of flaking are obvious to the naked eye and can result in the loss of sections of the paint layers throughout the artwork. Exposure to water, changes in temperature and storage, and general aging can all be causes of flaking paint. When flaking is encountered during artwork conservation, it is often recommended that the failing paint layers be carefully reattached to the substrate and sealed with a finish coat of varnish to keep the paint from further failure. Any sections of the artwork that may have been lost to flaking can be inpainted or reproduced by the conservator if that is the chosen restoration path.

Paint flaking and loss on the Overmyer mural at the University of New Hampshire

3) Water Damage

Water damage can present itself through other forms of failure, such as flaking or paint loss. It can also result in staining to the paint surface and moisture within the paint layers, causing the paint layers to become damp or detached from the base substrate. This type of damage is found most commonly on murals painted directly onto a substrate such as plaster. Moisture intrusion from the walls can cause water damage to the artwork and necessitate the conservation of the piece. In the case of water damage, a conservator may recommend removing the artwork and addressing the base problem before returning the painting to its original location. Unless the root cause for moisture intrusion is solved and the substrate is consolidated, the water will continue to damage the artwork and further the degradation of the art piece.

4) Abrasion

Abrasion occurs when there is a progressive loss of surface coatings due to physical scraping, wear, or rubbing of the painting’s surface. This can occur during storage, transport, or as a result of exposure to people or objects touching the artwork’s surface. The abrasion seen here on the mural at the Old Steinway Building in New York City is a perfect example of the scraped pattern and rough texture caused by abrasion. Surface cleaning, inpainting, and the application of a protective coating are all steps likely to be recommended by the conservator to repair the areas affected by abrasion.

Old Steinway Damage

Artwork abrasion at the Old Steinway Building in New York City

5) UV Damage

UV damage is a very common form of art damage, as many art pieces are exposed to UV light while they are on display. Unless a piece is stored away, it is nearly impossible to stop a painting from being affected by UV light. Constant exposure to light can cause the top layers of varnish to age and yellow, creating a dark film over the painting that obscures the original vibrancy of the art. When UV damage is present on an art piece, it is necessary to clean the artwork and remove the varnish layer to reveal the underlying paint and restore the art to its original appearance. The painting should then be re-varnished to seal the paint layers and maintain its appearance.

6) Physical Damage

Physical damage to a historic artwork can include rips, tears, and punctures caused by environmental factors, improper handling and restoration, or any other reason such as vandalism. This type of artwork damage is often the most evident, as it will manifest in torn canvases, ripped or punctured substrate, and other signs of harm that are visible and easily identifiable. When it comes to physical damage, the artwork may be in a vulnerable state that requires immediate attention from a qualified professional to remedy the affected areas. The canvas or other substrate on which the artwork is completed may need a full repair, which can include replacing missing areas of the substrate, inpainting areas of lost work, and re-finishing the surface to ensure the damaged areas are protected from further harm.

All types of art damage will be documented in a conditions assessment performed by a qualified conservation professional. The assessment will determine the necessary steps required to return the artwork to its historic appearance and conserve the historical integrity of the piece. As with all forms of art conservation, every step taken by a conservator is completed using reversible methods and materials that do not harm or alter the historic integrity of the art. The conservator may decide during the assessment that the process of conserving the artwork would prove to be more harmful to its integrity than simply leaving it as is. In this case, the conservator will note this in the treatment recommendations section of their report.

Our team of conservators and restoration professionals specializes in providing well-researched, thorough, and accurate art condition reports for historic murals and artwork. Our experienced team is well-versed in the details and underlying causes of historic art damage and is knowledgeable in the process required to restore them. We would be happy to assist you with any art conditions reports for your historic murals or artwork pieces; simply request a consultation to connect with one of our knowledgeable consultants.

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7 Types of Paint Failure Found in Historical Buildings

Historical buildings have an integral role in our society – providing cultural, economic, and historic value from the past to present day. Critical to the conservation and preservation of our historical buildings is the commitment to timely paint restoration; without this maintenance process, detrimental occurrences such as paint failure will occur.

 

For the Steinway Library Canning restoration at the Pilgrim Hall Museum involved preserving and repairing surfaces back to their historic appearances.

The Pilgrim Hall Museum

Types of Paint Failure

    • Peeling/Incomplete Coatings
    • Crazing
    • Alligatoring / Cracking
    • Solvent Blistering
    • Chalking
    • Staining
    • Wrinkling

Paint surface conditions can range in severity due to common factors like time, light exposure, and high moisture content.  Effects of these conditions can result in the following.

  • Peeling/Incomplete Coatings

Also known as “intercoat peeling”, this paint failure is the result of improper surface preparation. When a surface is improperly prepared for the new paint layer it fails to adhere properly, causing the layer to peel. Incompatible paint types to one another – Oil Based, Water Based, Latex Based – are secondary causes for peeling.

When several layers of paint become excessively hard and brittle, no longer having the ability to expand and contract with a wood substrate. This paint failure presents fine, jagged interconnected breaks in the top layer of paint. If not restored, additional moisture will gain access, prompting additional swelling and deep cracking / alligatoring.

  • Alligatoring / Cracking

The ultimate paint failure is when the bond between the initial and sub-layers of paint has diminishes all together due to intercoat paint failure. This paint failure creates an overall pattern of horizonal and vertical breaks in the multiple paint layers, creating the visual of reptile skin.  In the worse cases, the surfaces will badly flake.

  • Solvent Blistering

Typically seen more in dark color paint applications, solvent paint or thinners absorb heat rapidly, making the drying process almost immediate. As the layers underneath set, solvents become trapped and vaporize, showing through the final paint layer.

  • Chalking

Considered the most ideal way for paint to age, chalking – the process of powdering the paint surface – is a form of paint failure. In moderation, this gradual disintegration of resin within the paint film makes for the ideal surface to repaint. If the paint is applied in a thick manner or contains a higher volume of pigment to binder volume ratio, excessive chalking can cause the paint to wash down onto a surface of different coloring. Excessive chalking will cause streaking and rapid disintegration of the paint film.

  • Staining

Oxidation is a primary cause for staining and occurs as moisture sets between wood and metal substrates. Metals like iron, steel, and copper when paired with a wood substrate can create rust and discoloration. A second cause for staining occurs when moisture and natural extractives from specialty wood like redwood or cedar wood chemically interact, causing a surface deposit of colored matter.

  • Wrinkling

Results of improper application; wrinkling occurs when paint is applied in excess volume, applied without the proper drying of layer before, improper surface preparation, or applied in high heat environments.

Close ups of the disintegrated plaster and paint due to water damage at the Pilgrim Hall Museum at Steinway Library.

The Pilgrim Hall Museum – Steinway Library: Disintegrated Plaster & Paint Due to Water Damage

Before shot of the cracked and peeled paint at the Virginia State Capitol as a result of water damage.

Paint damage from water issues at the Virginia State Capitol

Causes of Paint Failure

As mentioned, weathering will occur over time causing various types of paint failures for differing surface materials. Some agents of deterioration are moisture, sunlight, temperature, and environmental grime.  Paint cannot adhere to a surface that contains more than 15% moisture, a professional conservator will be sure to perform a moisture meter test before applying the paint restoration technique.  Moisture penetration can cause mold and mildew within paint layers, developing paint failures such as peeling, crazing, cracking / alligatoring, blistering, and staining.

Another deterioration agent is sunlight which can cause oxidation and blistering paint failure – the process of the final paint layer rapidly drying, causing vaporization of the trapped paint below, showing through to the finish layer.  Environmental conditions and grime are also to note, as these elements tend to result in paint failures like crazing, wrinkling, and peeling. Over time, temperature and humidity can affect how ductile the substrate and applied paint react.  Organic matter is guaranteed to cling to painted surfaces and if painted over rather than removed, the grime can prevent proper adhesion, causing peeling.  Dirt, pollution, and temperature conditions fall between CLASS I & II of determining paint removal before restoration, these CLASS levels require little to no paint removal to begin the restoration process.

John Canning Co performing a plaster restoration at the Steinway Library in the Pilgrim Hall Museum, addressing paint failure during the restoration.

The Pilgrim Hall Museum – Steinway Library: Plaster Restoration

Paint Failure Has Occurred – Now What?

In order to determine the proper restoration process and technique, our trusted conservation professionals at John Canning & Co. will perform a finish assessment and historic paint investigation. This process entails the review of the historic building through archival research – primary and secondary sources – to understand the historical context of the work being analyzed.  Following this research, our conservators perform a scientific historic paint analysis from on-site exposures and sampling, later providing a report and interpretation of findings. These findings help guide the restoration or conservation process.

The Pilgrim Hall Museum – Steinway Library: Completed Plaster & Paint Restoration to Historic Appearance

Your Preservation Problem Solvers

Time and environmental factors play a large role in the process of paint failure. Paint restoration can help to return the original color and appearance of a historical building, which is an essential part of preserving its historical character. By restoring these colors and designs, we can honor the architectural style and design of the past and maintain the building’s cultural value.

John Canning & Co. is an architectural arts restoration contractor with over 45 years’ experience. We are one of the nation’s experts in historic restoration, conservation, and preservation.  John Canning & Co. is an expert specializing in services in the architectural arts and finishes.  The type of projects that we work on include national landmarks, religious establishments, educational institutions, government buildings, museums, theatres and entertainment venues.  We are expert Preservation Problem Solvers with a goal of Perfecting Preservation. We find the architectural arts restoration, preservation and conservation solutions for the most complex problems and situations.  Even after years of historic restoration of the country’s most prestigious landmarks, we remain awestruck by the majesty and history that these buildings hold, and are most honored to help keep their history alive. If you have a project that needs our expertise, contact us today.

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5 Tips for Caring for Architectural Marble

Marble has been utilized in architecture for thousands of years. This unique stone is versatile in function and adds a beautiful aesthetic to any building in which it is used. The stone is so durable that it can be found in many historic sites and buildings as old as the Parthenon in Athens, Greece. Because of its rich history as a building material, much can be gleaned from studying marble’s use throughout the various architectural styles. Historic marble buildings themselves provide a wealth of knowledge pertaining to the era in which they were built. Therefore, it is important to maintain the stone and preserve its beauty to both respect the unique qualities of the material and the significance of the building it composes. There are certain methods for the general upkeep and maintenance of your marble which can be implemented without professional help. However, you will often need an experienced stone restoration team to restore or repair your marble if the situation is too severe to be solved through everyday methods. Here are five tips you can employ to better preserve your architectural marble.

Tip #1 Clean the Stone

There are multiple methods you can employ to keep your marble clean. Not only does consistent cleaning help maintain the stone’s aesthetic, but it also helps prevent natural elements from wearing down the marble’s surface. Here are the steps you should take to clean marble.

1) Cater Your Cleaning Methods

Different cleaning techniques are geared towards specific types of stone. Because marble is less dense than other architectural stones, you cannot use as harsh cleaning chemicals as you would if you were dealing with sandstone or granite. The denser the stone, the less susceptible it is to corrode from contact with acidic solutions.

2) Choose the Right Cleaning Materials and Methods

Abrasive cleaning materials such as sand blasters or acidic cleaners can seriously damage marble. It is best to utilize neutral pH cleaners such as water-based solutions. Spirits mixed with water can provide a suitable solution for tough stains but it is important to be weary of applying too great an amount of alcohol to the surface of the stone. Another popular cleaning material is latex. This is often used by professional conservators. John Canning & Co. has often employed the method of latex cleaning to restore different types of stone. Latex cleaning is capable of cleaning large flat surfaces as well as complex figures such as statues.

Latex Stone Cleaning

The process of latex stone cleaning begins with the application of liquid latex to the surface of the stone. This material dries and pulls dirt out of the stone’s pores which is then lodged in the plastic. After the film is completely set, it can be peeled away and any remaining residue can be wiped off of the marble’s surface.

Tip #2 Make an Inspection List

One of the most important steps in maintaining your masonry is the creation of an inspection checklist. Referencing a checklist that notes common issues to look out for, as well as a place to gauge the severity of an issue, is crucial to preserving your stone and monitoring its condition.

Tip #3 Know what Issues to Look For

There are common issues with marble that you should be able to recognize and log into your inspection checklist. Here are some common issues with architectural marble.

1) Efflorescence

Efflorescence is the chemical result of excess moisture coming into contact with the natural salts of the stone. The effect is a white powdery appearance which dulls the aesthetic of the marble. This can be resolved through diligent cleaning with an aqueous solution and sponge.

2) Erosion

Erosion is especially important to look out for when dealing with marble, given the stone’s high level of porosity. Because marble is more porous than many other types of stone, it can absorb oils, dirt, and grime easier than its relatives. These particles will eat away at the stone’s surface and erode the marble. This issue can be avoided with continuous inspections to ensure the surface of the marble is clean. It is especially important to assess areas of the marble prone to contact such as outside masonry or walls within reach of touching.

3) Cracking

Marble’s porosity makes it susceptible to cracking. The leading cause of cracked masonry is the excess of moisture which breaks down the material’s integrity. When marble absorbs moisture in a warm environment and then encounters cold conditions that freeze the water, the ice will expand and crack the stone from within. This issue occurs only when outside temperatures are below freezing and regular cleaning will not be sufficient to ensure no breakage occurs.

Tip #4 Make an Inspection Schedule

Once you have an inspection list drafted, you must create an inspection schedule. This will ensure that you monitor the condition of your marble with consistency and therefore avoid letting a neglected problem subsist. It is important to implement a thorough walk-through at least once-per-month, and to modify your schedule accordingly as issues progress.

Tip #5 Call in Help

Although you can clean the stone without professional service, often times it is smartest to hire professional stone conservators to both repair and restore your marble. You should call in a professional if your marble is cracked, chipped, or embedded with grime that cannot be removed through simple cleaning methods. To ensure that you have the best team for the job, be thorough with your research about which contractor is best suited towards your needs. It is important to look for restoration professionals who have completed numerous projects in the field of marble conservation and who have quality references.

Marble is an iconic part of architecture and has a rich history from which architects, artists, and the public can learn. It is therefore important to preserve historic marble buildings for their continued influence and inspiration throughout society. Conservationists like John Canning & Co. are dedicated to the preservation of this stone and many other building materials.

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Types of Historic Paint

Paint has been utilized as a decorative and pictorial tool throughout architecture from the very start of civilization. Even before civilizations were formed, cave paintings show an ancient love for art in one's dwelling. As society and architecture progressed, painting styles have altered to fit the era's ideologies and appreciations. While there have been many types of historic paint implemented in architecture, there are some general groupings which are important to know. Having an understanding of the types of paint used by ancient artists up through paint compositions recently developed will help cultivate an appreciation for the technique of making paint and the architectural decoration thereof. Here is an overview of the different types of historic paint, followed by how these historic paints were used within decorative painting and architecture throughout different time periods.

General Overview of Historic Paints

Milk-Based Paint and Natural Binders

From the start of painting to the medieval period, naturally derived binders and mediums were combined with earth-toned pigments to create an applicable mixture for decoration. Some historic paintings have been able to stand the test of time due to their location or durable composition while many ancient works of art have been corroded by both natural and human wear over the centuries. Paintings have become more durable with the introduction of the fresco, giving historians and analysts the ability to learn from the ancient techniques.

Spirit Varnish

Composed of resin, a dissolver, and oil, spirit varnishes have been used since the early Egyptians as a protective coat as well as a tool for creating luster on a surface. Varnish has been experimented with overtime, yielding different types of finish and stand-alone paints.

Oil-Based Paint

Towards the beginning of the 15th century, oil-based paints, especially linseed oil, were developed as both a protective varnish and decorative tool. Slow to dry and more durable than its predecessor, oil paints have been continually used throughout architectural decoration.

Synthetic Paint

Artificially made and pre-mixed, much of modern paint consists of factory-produced binders, such as acrylic paint. Many binders used now are plastic and make a more durable mixture than the naturally composed paints.

How They Were Used

Pre-Civilization

The very first signs of painting come from caves throughout Europe where mud was mixed with earth-derived pigments like brown and red to create a rudimentary mixture. The subject of the historical cave paintings were various animals of prey and the cataloging of the natural environment. These paintings are estimated to be around 30,000 – 40,000 years old. You can see the first utilization of a brush around this time, hinting at early stages of decorative innovation.

Egyptian

Paint does not re-appear for another 30,000 years until ancient Egyptian art dated around 4,000 BC is discovered. The earliest Egyptian painting techniques suggest a great deal of modernization of design methods since the early cave paintings. There had been an introduction of pigment binders by this period that made the paint more durable once applied to a surface. Natural materials such as sap and milk were used as a binding medium for the paint mixture. The earliest form of a formal paint mixture called distemper was introduced at this time. Comprised of natural binders, water, color pigment, and chalk, distemper provides a more suitable paint than the previous mixtures although it is still feeble and temporary compared to its modern relatives. The Egyptians also introduced varnishes which were used as a protective sealer. These paints were of a glossy appearance and were made of sap and resin.

Classical Greek

Painting techniques stayed relatively sound until a new method called fresco was introduced by the Greeks 2,000 years following the Egyptians. Fresco is a painting technique where water-based paints are applied onto wet plaster. The drying plaster traps the pigment within its surface, thus preserving the paint better than previous techniques. The water in the paint is mixed with lime before coming into contact with the pigment, which helps with binding and therefore the paints durability. The plaster itself was not combined with lime until much later, when it was introduced in the early Renaissance. Encaustic painting methods were introduced in the last few centuries BC and involved the melting of wax to use as a binder for the pigments.

Infilling and Restoration of a Historic Fresco

 

Infilling and Restoration of a Historic Fresco

Roman and Medieval

By the 2nd century, artists were experimenting with oil-based paints. Natural oils from vegetation were utilized in Roman decoration, whereas the more popular linseed oil was introduced 4 centuries later, towards the start of the medieval period. Oil-based paints were originally used as an innovation of the original varnish introduced by the ancient Egyptians. Their original intended purpose was to work as a sealer and to provide luster to an already painted surface. However, as the paint began to be used more frequently, it became a ground-breaking tool for decorative painting.

Renaissance

At the start of the 15th century, oil-based paints were still being used as a protective varnish in northern Europe. When Italy discovered the use of linseed oil in paintings, the sealer quickly turned into a featured element throughout renaissance architecture. Large painting projects became more manageable due to the slower drying composition of linseed oil which gave rise to more in-process deliberation and detail in the application of frescos throughout religious, civil, and domestic decoration.

Maryland State House Old Senate Chamber

 

Maryland Old State House Senate Chambers restoration required the use of old fashion distemper and linseed oil paints.

American Modernization

From the 18th century throughout modern paints, synthetic binding substitutes have been utilized for a number of reasons. The durability of synthetic paints, such as acrylics, facilitates architectural decoration. A wide range of artificial hues have expanded the painter's palette, allowing for a more specific and detailed design for every project. Even linseed oil has been substituted for more modern mediums, such as tung and mineral oil.

In Summary

Paint compositions and the application methods for architectural decoration have developed over thousands of years. The modernization of techniques for mixing pigments with binders, combined with the innovation of mediums, has made paint more durable while allowing artists more experimentation with their designs. In understanding the history of paint, including the types of historic paint, conservators, owners, and artisans alike can appreciate and utilize this decorative history to influence their future artistry.

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Density of Various Wood Species

There are many factors that affect wood’s ability to function as a building material. Strength, flexibility, and endurance are key factors to take into account when determining the best type of wood for your construction project. All of these factors are affected by the wood’s density which varies a great deal among the different species. Density is an important quality which should be understood by both contractor and client before they use any type of wood for a building. Whether you are a property owner looking to have a restoration or a contractor preparing for a project, here are some important factors to keep in mind about the differences in density between the various species of wood and how they affect the building process.

What is Density and how is it Measured?

Density is the ratio of mass to the amount of space occupied. For example, because a baseball is solid and a basketball is hollow, a baseball is considered denser because it has more mass per its volume. The same method of reasoning can be used for measuring the density of wood. Measuring a piece of wood’s density is a special technique due the porosity of the material. When the wood is alive in a tree, the moisture content in the cavities of the wood is much higher than when the wood is cut down and dried. Therefore, live wood is heavier and denser than when it is used for building. To measure the density of the wood as a building material, it is necessary to measure the proportion of water weight from when the wood is full of moisture to its weight after the wood drains.

Why Does Density Matter?

The density of wood relates to a number of factors including its flexibility, strength, and susceptibility to deterioration. Denser wood provides a stronger and more durable foundation to a building and works well under constant use. However it is often difficult to build with highly dense wood due to its inflexibility and weight. Because denser woods have a lower porosity due to their compact composition, they will not take in moisture as abundantly as more porous kinds and are therefore better protected from interior decay and rotting. This being said, wood continues to fluctuate between absorbing and evaporating moisture even after it is processed as a building material. Therefore the wood’s density does not only change the scope of a building project but could greatly affect the building’s endurance years after construction. Denser wood has tight knitted filaments, allowing for the wood to keep out excess moisture and gives it flexibility to bend generously while being at low risk of snapping. However, it can be difficult to build with denser wood because the material is too hard for many regular nails and screws to penetrate its surface. All of these factors must be kept in mind when determining the process of construction and restoration.

Different Densities among Different Species

There are two general types of wood: hardwood and softwood. While there are some exceptions, it is generally the case that hardwood materials are denser than those of softwood. Softwood is used much more frequently in architecture because it is easier to install and work with while hardwood is used for more structural purposes due to its strength. Here is a list of common hard-woods and their density:

Hardwood

  1. Maple

Maple has a density of around 43 lb/ft³, making it a very strong material and good for utilizing in high contact areas like floors. However, its weight makes the building process more difficult.

  1. Walnut

Walnut has a similar density as Maple, averaging a density of around 42 lb/ft³. This material is not very flexible and relatively light. It is easier to work with than maple but its demand makes the wood an expensive option.

  1. Mahogany

Mahogany can have a density anywhere from 31 lb/ft³ to 53 lb/ft³ depending on its type. It has a beautiful color and is often used in luxury buildings and homes. It can take the shape of many different features but is commonly seen being used in doors and cabinetry.

  1. Cherry

Cherry also has a wide range of densities, starting at 43 lb/ft³ and going up to 56 lb/ft³. Its tight knit composition keeps the wood rigid, not letting natural elements change its shape or size. For this reason it is commonly used outdoors.

  1. Balsa

Balsa is an exception to the usual high density shared among hardwoods. It has an extremely low density, averaging around 8 lb/ft³. Although it has a soft interior, it is still strong and durable, presenting itself as a high quality building material for small items. It is not commonly used in architecture but is easy to use for less structural purposes.

Softwood

  1. Pine

Pine’s density fluctuates between 22 lb/ft³ and 53 lb/ft³. Due to its resistance to warping and light weight, pine is one of the most common building materials used throughout all types of construction. However, pine is usually best kept indoors due to its susceptibility to outside elements.

  1. Cedar

Cedar has a density of around 29 lb/ft³. The wood has a nice natural appearance and has a high tolerance in moist areas where other species of wood would deteriorate. Although it is relatively soft, it is a strong material and easy to use for construction.

  1. Spruce

Spruce has an average density of around 35 lb/ft³. While it is one of the denser softwoods, spruce is light and can be used for smaller, held objects. Although it can be used in both indoor and outdoor environments, it is important to treat spruce to avoid rot.

  1. Juniper

Juniper has an average density of 35 lb/ft³. Similar to spruce, juniper is of the denser composition for being a softwood. Its durability and rigid nature make juniper an easy material to use for building projects. It also has a natural beauty which makes it an attractive prospect for furniture wood.

Whether you are dealing with hardwood or softwood, it is important to consistently asses the material’s condition and to treat the wood accordingly. All wood, being an organic material, is prone to deterioration and should therefore be properly conserved. When conducting a wood restoration project it is imperative to seek an experienced contractor for a consultation. There are many more qualities than density which effect a species’ adequacy for building so knowledgeable conservators are vital to implementing a proper restoration.

 

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Church Art Restoration: 7 Steps for Preserving History

Sacred art has been a religious, cultural, and civil influence for almost 2,000 years. Implemented throughout the world in both historic and modern churches, religious murals and sacred decoration have been an important part of every society. Much of sacred art is historic, often susceptible to deterioration and thus fading from its original splendor. It is important therefore to maintain, preserve, and restore religious art to keep its rich history alive. Here is an overview of church art restoration and the 7 steps taken to preserve our religious history.

Common Issues with Sacred Art

  • Residue

Church art and decoration can fall under disrepair through a lack of cleaning. Dirt, dust, and grime can rest on the surface till the canvas or other substrate absorbs the unwelcomed particles. Subsequently, the art becomes dull, faded, and can even begin to flake. Other types of residue can come from people interacting with a reachable piece of art, such as breathing on or touching its surface. Oils from the skin can cause harm to the work so it is important to keep it away from any unnecessary contact.

  • Faulty Restorations

Some art restorations can ironically be more damaging than protective for original works of art. In a conditions analysis, you will often find that the surface design is not the original mural, but a recent addition by either a past restoration team or the building owner. In painting over the original décor, the beauty of the sacred decoration is masked. Out of reverence for the church’s primary designs, it is important to keep the original art exposed when conducting a restoration.

  • Paint Delamination

Paint delamination is the loosening of paint from its substrate which, in the case of church art, is often plaster. This occurs due to a number of factors such as improper environmental control, improper applications of the paint to a surface, and the paint’s age. If a room’s temperature rises and drops and if the space has inconsistent levels of humidity, then the paint starts to morph and crack. As the mixture moves, it separates from its substrate and eventually becomes fully detached. This can be a common issue in a church due to the size of its interior; the larger a space, the more difficult it is to control its climate. During the original application of paint at the time of the church’s construction, the mixture might have been painted onto plaster while the wall had not yet dried. If this is the case, then there would be issues with the two substances bonding and becoming durable, resulting in delamination. Older paint is naturally more worn and susceptible to chipping so a general removal and reapplication of new paint may be necessary when the analysis finds the paint to be overdue for restoration.

  • Water Damage

Water damage occurs when excess moisture comes into contact with the art’s surface and causes staining. This issue can often arise in historic buildings such as churches due to a drainage problem or a simple leak in the roof. It is important to remove the painting from the line of contact with water, or dry the wall mural when it appears wet so as to avoid any major staining issues.

7 Steps for Art Restoration

There are certain steps which licensed conservators and restoration contractors take in order to best preserve any damaged art. From the beginning phase of research and consultation to the final implementation of the restoration plan, it is important as an owner to be aware of the steps taken by professionals to preserve sacred art. Here is a step-by-step look into church art restoration.

Step 1)  Archival Research

The first step a sacred art conservator takes in a restoration project is researching the history of the Church itself. It is important to preserve the original intention of the sacred art in appreciation of its history. Therefore, an art restoration contractor should focus on renewing the sacred decoration to its former beauty while implementing the least amount of changes and overall manipulation to the pieces themselves. Archival research will also help the firm understand the original artists and the intent behind creating each specific mural inside the building. All of these factors will weigh in on how the restoration is conducted so as to best preserve the earliest style and aesthetic of the church.

Step 2) Conditions Assessment and Report

After the historical context of the church art is understood, a material investigation can begin. The restoration firm will implement solvent tests to discover any defective layers of paint or varnish. This will help the contractor decide the best methods to employ when conducting a conservation cleaning and faulty paint removal. Further research will help the firm understand the effects previous restorations have had on the church, and whether there is an original piece of art hidden under more recent coats. All of these specifications are then documented in a conditions report which will be presented to the client in a consultation and proposal. Pictures, sketches, and solutions will also be documented so as to provide the clearest plan for a restoration project.

Step 3) Proposal and Mockup

After having analyzed both the historical context and physical situation of the art, the firm will present their proposal of solutions including the scope, timeframe, cost, and objective for a restoration project. Utilizing the conditions report, the client can clearly understand the various aspects of the job and will decide their preference. Once the contract is made, a mockup might be  created so as to establish a sample piece of the general project. This is often done in an inconspicuous area in the case that the proposed solution is not applicable to the building’s needs. If the mockup is approved, restoration can begin, using the sample area as a template for the general project layout.

Step 4) Stabilization of Church Murals

This step, while not always necessary, is a key factor in the preservation of church art. Mural stabilization is needed when the building’s plaster or other substrate, which acts as the surface for the paint, is in need of repair. When the substrate cracks and breaks apart, it separates and ruins the mural which coats the wall. It is therefore necessary to ensure the substrate is intact before restoring the paint itself. Stabilization is also employed when delamination causes the paint to separate from the building. This issue can be resolved through different tactics such as applying new adhesives and heat to the paint so as to reattach it to the substrate.

Step 5) Preserving the Paint

Paint preservation and restoration is implemented differently depending on the composition of the material in question. Knowing whether the paint is encaustic, distemper, tempera, or oil can change the methods employed to fix the church murals and decorative art. It is also important to be aware of any defective finish which would have been applied in prior restorations or original paint which is no longer suitable for use. If there is any varnish which is negatively effecting the mural then it is necessary to remove it for the pieces’ preservation. Varnish removal requires a delicate touch so as to remove the discolored finish without scratching the surface of the paint. Using a solvent such as turpentine will loosen the protective coat and expose the vibrant pigments of the original paint. Once the painting is exposed, a new varnish can be applied to protect the mural.

Step 6) Paint Repair and Replication

If issues with the art are more extensive than can be resolved with a finish restoration, then there are a few repair techniques which can renew the piece without detracting from its original design. Infilling is a painting method which fills any eroded divots, cracks, and holes on the surface of the mural. Using a putty, the cavities are made flush with the rest of the wall’s surface and a repainting of the damaged area can commence. When parts of the mural are missing due to fading, erosion, or outside damage, the conservator must replicate the original design based off of research. Depending on the availability of the work’s documentation, an artist might have to implement some creative license so as to provide the best finished result. Through expertise and craftsmanship, a trained preservation artist can make a seamless transition between the original work, and new additions.

Step 7) Over Painting Vs. Inpainting

An improper restoration could mean the covering of original art through applying the new paint over too great an area. This is called over painting and can lead to a mural having an uneven and dull appearance. A proper restoration project utilizes inpainting, a process which keeps the new replacement paint in only the damaged areas while leaving the original paint which is in good condition untouched. Inpainting involves different types of painting styles including pointillism, a method where many tiny dots are applied to the mural by the tip of a brush. This creates a subtle movement of color and doesn’t distract the eye from the original work.

The preservation of church art is no small feat. Requiring the expertise and professionalism of a licensed conservator, a proper restoration project can refresh the whole aesthetic of the building while giving reverence to the original decorative design. If you are interested in learning more about sacred art preservation or are looking for your church’s own restoration, please check out our sacred portfolio of work.

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John Canning & Co. Earns the 2023 Bulfinch Award in the Historic Preservation category

John Canning & Co. Earns The 2023 Bulfinch Award in the Historic Preservation Category

Work Done at St. Mary-St. Catherine of Siena Parish in Boston, MA

Bulfinch 2023 Award

Cheshire CT, Sept 2023:

John Canning & Co. is honored to receive the Historic Preservation 2023 Bulfinch Awards from the Institute of Classical Architecture and Art (ICAA) New England Chapter for our work at St. Mary- St. Catherine of Siena Parish in Boston, MA.

The Institute of Classical Architecture & Art is a nonprofit organization that works through advocacy, education, and publication to further the classical tradition in urbanism, architecture, and the allied arts.  The New England chapter’s Bulfinch Awards are bestowed upon architects, designers, and industry professionals of superior merit for notable projects each year.

The Bulfinch Awards are hosted by the Institute of Classical Architecture & Art New England Chapter (ICAA New England) and recognize practitioners from across the nation who are committed to promoting excellence in the classical tradition and allied arts within New England. All eligible projects work toward building upon the legacy of Boston's early Federal architect, Charles Bulfinch, who is widely regarded to be the first native-born American to work in the field professionally. Initiated in 2010 and modeled on the ICAA’s Arthur Ross Awards, the New England Bulfinch Awards program is an annual competition.

A true work of church architecture, this remarkable church in Boston, St. Mary’s was one of the last important works of church architect Patrick C. Keely who designed this church in the Gothic Revival style in 1882. The architecture throughout the church consists of painted decoration, ornamental plaster, ornamental wood ceilings with elaborate hammerbeams, murals, sculptures, and stained glass.

The goal of the project was to restore the originally desired intent and bring back the color palette, the incredible details and feel of the space.  This project involved a comprehensive finish restoration by John Canning & Co. that included decorative painting, gold leafing, glazing, polychrome finishes, wood finishes, art conservation, metal restoration of fixtures, as well as plaster repair and replacement including some ornamental plaster. 

Our Canning team successfully restored this historic church with assistance from Gianfranco Pocobene for art conservation and the pastor of St. Mary -St. Catherine of Siena, Rev. James J. Ronan, who was an absolute pleasure to work with.

John Canning & Co. has received many Bulfinch Awards from the New England Chapter of the ICAA. John Canning & Co. was a part of the teams of two of the projects from the educational sector that received the 2022 awards; Harrison Design’s project at Our Mother of Perpetual Help Chapel at Thomas Aquinas College for the Ecclesiastic Award, and Robert A.M. Stern Architect's project at Yale University’s Schwarzman Center for the Historic Preservation Award. Other  awards Canning received include the 2013 award for Cathedral of St. Patrick in Norwich, CT, the 2017 award for Saint Patrick’s Church in Lowell, MA, the 2020 award for the Mark Twain House & Museum in Hartford, CT, and the 2021 award for St. Mary’s Church in New Haven, CT.  These awards were in the Craftsmanship/Artisanship category.

Located in Cheshire, CT., John Canning & Co. is one of the nation’s experts in historic restoration, conservation, and preservation. John Canning & Co. offers services in a variety of areas, including conservation, planning, designing, historic paint analysis, plaster condition surveys, restoration, decorative finishes and painting, budgeting, and consulting. With over 45 years of experience, John Canning & Co. has received numerous awards and has been entrusted to restore state capitols, courthouses, churches, libraries, museums, theatres, educational establishments, and other historic buildings.

 

StMary St Catherine Parish after restoration
Completed restoration of St. Mary - St. Catherine of Siena Parish.

 

StMary St Catherine Parish before restoration StMary St Catherine Parish after restoration

Side Altar

Close-up of two of the painted angels flanking the statue before/after restoration. In the before, the background blue was overpainted at some point, no longer showing true turquoise colors that relate to the stained-glass above.
   

 

 

 

 

 

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How to Identify and Prevent Issues with Historic Stone

Masonry has been utilized as a building material from the very start of architecture. The Egyptians used limestone and marble in making the Great Pyramid of Giza and these materials as well as many others are still in use today for projects as big as modern skyscrapers. Stone has many qualities which makes it attractive to builders and architects alike. Its durable nature allows for buildings to last for hundreds of years under the right care. However, there are certain issues and defects which can arise in stone like erosion and deterioration. Owners need to be weary of these problems so as to treat them quickly and effectively before more damage occurs. Being able to identify issues in masonry and knowing how to prevent them in the future can save the beauty of a building and lengthen its lifespan.

Regular Maintenance Inspections

As an owner, it is important to regularly asses the condition of your building and this is especially true with historic architecture. There are a few factors of proper maintenance which should be kept in mind. A maintenance schedule should be made to keep consistent care of the building. This includes scheduling stone assessments as well as cleaning. When issues are found, document them through taking pictures and logging them in the building’s records. This will facilitate future assessments and restorations and will allow you to keep a focus on defective areas. As you inspect the building, make sure to continually monitor the development of any issues and document their progression. This will allow you to be clear with contractors about the timeline of any defects in the stone. Consistent assessment and monitoring of any problems will allow you to determine the safety level of the building. While it is not always necessary to immediately renovate smaller defects in the stone, if the structural integrity of the building is at risk, safety concerns should compel the owner to bring in a contractor as soon as possible. If safety issues should arise, it is imperative to have a contractor already vetted and ready to be contacted so the restoration can happen quickly and effectively. It is therefore important to research different conservators before issues arise to best prepare for the future.

Here is a list of issues common in historic stones and the methods employed to prevent them.

Cracking

As stone absorbs moisture, it is more susceptible to cracking due to the formation of ice within its cavities. As the water inside the stone freezes due to cold temperatures, it expands and cracks the stone. Another reason for stone to crack is the natural weight of the building’s mass on the material. As gravity continues to push down on the stone, it is possible for there to be cracks which can also lead to a loss of structural integrity. This can produce a big safety issue which should be addressed immediately. Cracking due to moisture and pressure can eventually lead to a complete breaking apart of stone fragments, leaving cavities and divots in the surface. These broken pieces can be filled, replaced, and repaired by an experienced conservator, so if any chipping occurs, it is important to seek help.

Cracked Stone at Harvard Medical School

Splitting/Delamination

Delamination is the splitting and peeling away of a stone’s surface due to deterioration. Delamination can occur due to an improper placement of the stone during construction or its contact with corrosive materials like dirt.

Mortar Defects

Mortar is the glue which holds together the stone blocks of a building. After years of use, it can disintegrate and crumble due to a number of factors. The biggest cause for mortar decay is the entrapment of moisture in the material. Because of mortar’s porosity, it can easily absorb and hold water. When the water freezes, it expands and cracks the mortar. Having moisture will also generate bacterial growth which could erode the interior of the substance. If the building’s mortar is new but still suffering from decay then there were issues in the mixture itself and the way in which it was applied. It is also possible that the wrong type of mortar may have been chosen for the original project. A common mistake is the application of a cement mortar that is too strong and hard for the masonry and leads to cracked stone or brick. Historically, mortar was made of a mixture of lime which works well under the pressure from the stone and is a popular tool in modern restorations. If the defects and fissures in the masonry are static then there is a chance that minor patchwork should suffice. However, if the issues continue to grow and expand, professional help is recommended and a restoration of the masonry could be necessary.

Moisture in Stone

Excess moisture is the leading cause of most stone deterioration. This is especially the case for many porous materials like sandstone. Moisture can become trapped in the stone due to a number of factors. A poorly applied or faulty sealer coating on the surface of the rock can take in water without letting out any of the moisture. Furthermore, trapped water might not evaporate as well as it should due to a defect in the air circulation of the room. Other issues with moisture include dampness caused by improper drainage of a building and water leakage due to the improper application of mortar to the surface of the stone.

Other Accelerants of Stone Deterioration

Apart from moisture, there are a few other common factors that affect stone deterioration. The first issue stems from mixing water with the salt of the stone or connecting mortar. This is called efflorescence and it dulls the surface of the rock, diminishing its overall aesthetic. “Acidic substances such as rainwater or pollutants are also accelerants of deterioration.” They can eat away at the surface of the stone increasing the rate of decay.

Graffiti

As well as looking for natural issues with the stone, an owner should be aware of vandalism’s effect on a building. Graffiti can be a big problem with stone preservation and the overall aesthetic of a building. If graffiti does occur, then it is necessary to remove the paint from the wall before it starts to deteriorate the surface. There are specific methods to removing materials as adhesive as graffiti without damaging the stone, so it is necessary to call in a restoration contractor for help with vandalism related issues.

John Canning & Co. has assisted with the removal of graffiti and other forms of vandalism in Washington D.C.’s Union Station. Through a rigorous cleaning process, the conservation team was able to restore the stonework to its original state.

Washington Union Station South Exterior Colonnade, After Graffiti Removal

Washington Union Station South Exterior Colonnade, After Graffiti Removal

Different Stones Susceptibility to Deterioration

There is a gradation of porosity and hardness throughout the types of stone utilized in building projects. Knowing the difference between the different types’ strength and density could help you arrange your focus during an assessment of your stone’s condition. Marble and granite are among the stronger and denser building stones. These will have less of a susceptibility to decay by moisture and natural weathering.

Granite (left) and Marble (right)

On the other hand, limestone and sandstone in general have a softer interior and a higher level of porosity. This is due to their composition of small rocks and sand which do not form as compactly as other stone. They will therefore require a more diligent assessment to make sure there is no erosion in the material.

Cleaning Methods to Prevent Stone and Mortar Deterioration

It is possible to avoid many of the issues in masonry through diligent stone care and consistently assessing the condition of the material. The best practice to avoid long term problems is regular cleaning of the stone surfaces. Cleaning the stone can eradicate the possibility of future deterioration because it rids the surface of excess moisture and dirt. However, the material could be negatively affected by an improper method of cleaning and so it is imperative to know how to conduct the appropriate process to achieve the best result. Cleaning processes vary depending on the type of stone and its condition. Unless there is a clear issue with the material such as etching or efflorescence, using “water and a soft brush” should suffice for a proper cleaning. If there are signs of erosion or discoloring then it is important to employ more specific and rigorous techniques. Any cleaning process you use on historic stone should be gentle enough to not scar the surface. Using non-acidic soap is a safe and secure way to clean most stone. If there are specific spots which need extra attention then you can use a soft towel, sponge, or brush to rub the cleaning agent on the surface without hurting the material. Another cleaning method used by conservators is latex removal. This involves the application of a latex film to the stone and then peeling away the dirt and discoloring from the surface. To finish the cleaning process after any of these methods, it is important to wash and wipe down the stone to ensure that there are no excess particles on its surface. If you are unsure whether your materials are right to clean the stone, it is important to seek guidance from a trained conservator. Read more information about the cleaning process of stone here.

Stone Statue Cleaning in Progress Using a Sponge at St. Patrick’s Parish (left) and Latex Stone Cleaning (right)

When to Call in Professional Help

Although it is tempting to try and clean or repair the stone yourself, when dealing with historic stone it is best to have a professional involved for the cleaning or restoration process and to help guide you in the proper treatment methods.  If there are any defects, such as cracks in the stone or mortar, or if there are signs of deterioration expanding, it is imperative to seek consultation from a historic stone restoration professional. Although it is important to keep a consistent cleaning schedule, some issues require more maintenance such as replacing and fixing the broken stone. In these cases, do not hesitate to reach out for an inspection and restoration proposal.

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How Damaged Woodwork is Repaired and Restored

Woodwork is a staple in all architecture, whether it be historic or modern. There are numerous different types of wood and each provides an aesthetic which completes the beauty of a building. However, architectural woodwork can deteriorate, chip, and lose its finish. It is therefore important for wood to be assessed consistently and, when needed, restored to its former appeal. The process of restoring and repairing woodwork is not a simple process. Requiring preparation, expertise, and artistry, there are multiple steps implemented by conservators in a wood restoration. Here are the steps taken by professional contractors to reinstate a building’s woodwork to its original beauty.

Wood Investigation

For any restoration project, thorough research and material investigation need to be performed before any material is altered. There are generally two different ways to research a project, archival research, and material analysis.

  1) Archival Research

Whenever you restore wood, especially in historic settings, it is important to not deviate the restored look from the original design. Therefore, to familiarize and understand the type, context, and function of the woodwork, it is important to research any archival records from the building’s original creation. If the building is historic then it is especially important to research the era and style of architecture at the time when the structure was built.

  2) Material Analysis

Apart from understanding the context of the building, it is necessary to understand the composition of the woodwork that needs to be repaired or restored. If the analysis is not done then certain types of wood can respond differently to the materials used in a restoration project and can result in a different appearance then intended. It is also important to match the new material to the original. Besides understanding the material’s composition, the analysis should provide the conservator with the right information regarding any problems which need to be addressed. The investigation will allow the contractor to provide the client with the full scope of repair and restoration needed to complete the intended project.

Project Planning

It is important for a contractor to be clear with the owner as to the intended techniques materials, and scope of the project. This is called writing a work specification. Before any actual restoration can commence, the client and contractor need to be in agreement on the project details. For this reason there are some key factors to keep in mind about project planning. If you are an owner looking for a restoration contractor, it is imperative that you are clear about your desired final look. This should help determine cost and the amount of time spent on a project. It is also important that the contractor discusses the intended style of the building so that there is no confusion on how the restored woodwork will look at the end of the project.

   1) Mock-Ups

Once the restoration plan is discussed between the owner and contractor, the firm should test its approach by working on a small sample of the wood designated by the client. If the sample is acceptable to the client, then the conservation team can use the mock-up as a template for the actual project.

Mark Twain Woodwork Process Used
Wood Finish Mock-Up at the Mark Twain House & Museum

Restoration vs. Repair

Unless desired by the owner, restoration and repair projects never venture past the refurbishment of the original design. Although both restoration and repair deal with the conservation of a building, these two processes utilize different methods in obtaining that end. A restoration is implemented on woodwork that needs to be refurbished but does not need extensive repairs. This process usually involves the removal and re-application of a surface finish or conservation cleaning. A repair is employed to fix more major damages and issues in the building and therefore must alter the original woodwork more radically such as removing and replacing wooden features. However repairs do not try to implement a new style to the building but try to replicate the original aesthetic. Following any necessary repairs, a restoration of the general building is implemented. The extent to which the restoration and repair processes are executed depends on the severity of the issue at hand. While different in approach, these projects are directed towards the same goal: the renewal and refurbishment of the original woodwork while incurring the least amount of change to the original design.

Repair Process

There are multiple processes used by conservators for fixing broken, scratched, or deteriorating wood. Two main examples would be the Dutchman repair and the Faux Bois method.

  1) The Dutchman Repair

The Dutchman repair method involves the replacing of a section of damaged wood with a new piece called a Dutchman. This is helpful for more extensive repair needs like replacing molding or larger areas of a damaged wall. The Dutchman which is used to replace the original material should be of the same type of wood so as to create the most seamless transition. After removing the defective section of the wood, a suitable replacement piece is cut to fit the cavity left by the original. Once fitted, the conservation team will then follow the steps of an ordinary restoration process by sanding, priming, and finishing the woodwork.

  2) The Faux Bois Method

This painting process can make most materials like glass, plaster, and metal, imitate natural wood. The faux bois method pairs wood and non-wood substrates through painting a woodgrain which matches the true material. Faux bois allows for cheaper substrates to be used in replacement of the more expensive real wood or wood that is hard to obtain. This allows for repairs to be more cost-effective for the owner. Furthermore, if you are working on repairing a historical wooden building, some types of wood used in the original construction might be extinct, forcing the contractor to utilize a different type of wood. Applying a faux finish is a difficult and complicated task, requiring an experienced artist who is knowledgeable of the wood they are imitating. The process is useful either when you are repairing a section of wood with a dissimilar piece or if you are looking to match a material with the overall aesthetic of a wood building.

  3) Using Veneers vs. Solid Wood

Using veneers is another cost effective means to repair damaged wood while maintaining the beauty and luxury of a solid wood fixture. Able to be used on furniture and architecture alike, veneers are thin sheets of wood which can be attached and layered to imitate conventional thicker wooden boards. The large diversity of different types of veneer make them perfect candidates for matching original woodwork and they are easy to cut, install, and finish. However, solid wood, when taken care of, is stronger and can last longer than the thinner sheets. Also, if future restoration is needed, solid wood can withstand more scraping and sanding than veneers.

Restoration Process

Once repairs are made and there are no more extensive material changes needed, a restoration process can begin. This process involves the removal of the old finish and a re-coating of the wood to refurbish the material and restore its original aesthetic.

  1) Stripping Paint and Varnish from Wood

The first step in this process of restoring woodwork is to remove any of the defective finish from its surface. There are different tools able to be used for this including a hand scraper, and sander (powered or by hand), and chemical solutions. Chemicals are helpful to remove the finish from areas unable to be reached or maneuvered around by hand. However, if they are too acidic they could go farther than removing the varnish and deteriorate the wood. A powered sander is also utilized in many finish removal projects. It is a fast and effect means to expose the surface of the wood. However, because a sander is an abrasive tool, if used improperly it could scratch the wood. It is important to be thorough in your removal of dust and excess particles so the new layer of primer and finish can adhere properly to the wood.

  2) Priming the Surface

Before coating the exposed surface with the new varnish, it is necessary to apply a primer to increase the endurance of the woodwork. Different primers can be used depending on the intended use. Oil-based primer is optimal for coating scraped and sanded wood because it acts as a sealer on which a varnish can be applied.

  3) Applying the New Finish

After the wood has been scraped, sanded, and primed, it is time to apply a finish to its surface to create the desired look and provide a durable coat. There are multiple different types of surface finishes which give distinct results to your woodwork. Each finish should be utilized depending on the original look of the building. The coat being used to restore the woodwork should match the original finish so as to not alter the design or aesthetic of the building. If the building is historic and dated from around the 18th through the 19th century then you might be dealing with a type of shellac or wax finish. John Canning & Co. worked on restoring the woodwork of the Mark Twain House which was from this period and needed Mohawk Shellac Flakes for a seamless blend between the original and restored areas.

Mark Twain house & Museum
Restored and Finished Historic Wooden Furniture from the Mark Twain House and Museum

If the Building is newer and dated from around the 20th to 21st century then the wood might need a polyurethane coating. There are also penetrating finishes like oil-based coats which are useful for surfaces which get a lot of contact. John Canning & Co. used a penetrating finish called Tung oil to restore the Cosmo Club Ballroom floor.

Cosmo Club Ballroom floor restored.

Cosmos Club Ballroom Floor Restored

The process of applying the finish to the surface of the wood is specific to the type used. The surface finishes are often thinner and less durable than their oil-based relatives and therefore require more coats to be administered.

Woodwork Cleaning

When a restoration or repair project is finished, a thorough cleaning of the woodwork surface is necessary to remove the build-up of dirt and dust from the process. These cleaning measures can also be taken by the owner to preserve the woodwork long after the conclusion of the conservation. Regularly cleaning the wood is crucial to maintain the beauty and integrity of the building. It is important to use the right chemicals and tools to clean the woodwork to avoid scratching the surface. Often times, a damp rag should be adequate for a gentle removal of dust and grime. If cleaning solution is needed to target more stubborn dirt, then make sure that the mixture has low acidity. Acid could damage the finish on the wood and expose the material to direct contact with decaying accelerants. If you have any questions about the type of chemical solution you should apply, it is best to reach out to a licensed conservator for a consultation.

Preserving woodwork is a complicated but rewarding endeavor. Keeping the beauty and design of architecture intact is crucial to appreciate the style of different eras and cultures. For any questions regarding the process of woodwork repair and restoration, contact a conservation specialist for a consultation like Canning. For more information on John Canning & Co.’s experience with the repair and restoration of wood, visit our blogs on everything wood.

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John Canning & Co. Welcomes Amy Zucca as Resident Art Historian

Amy Marie Zucca, Ph.D. joins John Canning & Co. as Resident Art Historian

Cheshire CT, September 2023

John Canning & Co. is pleased to announce the addition of art historian, Amy Marie Zucca, Ph.D. to the company. 

Art HistorianDr. Zucca joins John Canning Co. as its resident Art Historian with a doctorate in Art History, specialization in the Italian Renaissance period. Zucca will bring her expertise to bear, as sacred and historic sites are evaluated and provide context for the architectural styles and symbolism that these spaces reveal.  Through the collaboration with clients and in-house artists on commissioned work, she will also be writing featured blogs and articles on the current day connections between art and architecture performed by John Canning & Co., delving into the historical designs, techniques, and imagery inspired by the Old Masters.

Zucca’s path to Canning is marked by a life of teaching and learning, especially in the field of art history. She earned a Bachelor of Arts in Art History with honors at New York University, graduating Phi Beta Kappa. Her undergraduate honors thesis was written under the mentorship of the Florentine Renaissance expert A. Richard Turner. Off campus, Amy worked at The Frick Collection, NY, and was awarded a summer internship at the Peggy Guggenheim Collection in Venice, Italy, during the 45th Venice Biennale.

Zucca went on to earn her Master of Arts in Art History at the Institute of Fine Arts at New York University. Her graduate studies included research projects on the choir screen of Bamberg Cathedral, Germany; the Byzantine chalices in the treasury of Saint Mark’s Basilica, Venice; conservation of nineteenth-century tintype photography; and J.M.W Turner’s early-nineteenth-century paintings of the Grand Canal, Venice. Awarded a scholarship to study abroad, she traveled to London and Venice and then throughout Germany, seeking out many of the works she had only encountered in books. Back in NY, Zucca took up teaching the History of Western Art course in NYU’s undergraduate department, cultivating the dynamic, image-driven teaching style that would be the hallmark of her career in the classroom.

At the invitation of the Italian Renaissance scholar, Paul Hills, Zucca went on to earn her PhD at the University of Warwick, United Kingdom. Her doctoral dissertation Images of Moses and Sixteenth-Century Venice focuses on the pioneering work of painter Jacopo Tintoretto in the age of the Counter Reformation. During her time in the UK, Zucca held teaching positions at the University of Warwick, University of Nottingham, Richmond the American International University in London, and St Mary’s School Shaftesbury. Always emphasizing the unmatched impact of encountering works of art and architecture in life, she led countless educational trips ranging from London museums to extended studies in Rome and Paris to her students.

About joining Canning, Zucca says, “I’m excited to work with the talented staff here and collaborate with clients to communicate the meanings, contexts, and artistic value at the heart of their sacred and secular projects and programs.” With her education, experience, and passion for the art and architecture of the past, Zucca hopes to help restore and preserve beauty for the future.

Maintaining high standards in every aspect of art commissions is what led Principal and President, David Riccio to bring Zucco on board, “Every historic project was originally constructed with very specific intentions, symbolism, and purpose in mind. It is always our goal to let those details guide our designs and work. With deep respect for and knowledge of historic paint schemes and period interiors with complex finish systems, we continue to lead the industry with truth and beauty as our guides.”

In September, Zucca will pen a series of case study articles about John Canning & Co. s’ recently completed Basilica of the Sacred Heart of Jesus project in Hanover, PA during which the team completed a massive conservation and preservation project encompassing tens of thousands of square feet of the church’s interior surfaces. The scale of the project exceeds anything the preservation industry has seen in more than 50 years. 

 

ABOUT John Canning & Co.

John Canning Company has been the leader in new commissioned artwork and designs for both civic and sacred spaces across the United States for over 45 years.

Specializing in ecclesiastical art and design, as well as a range of services that include historic preservation, conservation, restoration, and beautification of interiors. The JCC craftsmanship spans the trade of architectural arts and finishes with expertise in ornamental plaster restoration, plaster stabilizationdecorative finishesgildinghistoric woodwork, and stone as well as exterior services of architectural gilding and selective decorative finishes. JCC offers preconstruction and planning services such as budgeting and specification support as well as consultation services that include historic paint analysisplaster surveys, design services and mockups.

Our principals are professional associates of the American Institute for the Conservation of Historic and Artistic Works (AIC). We are guided by the principle “do no harm” and advance that principle by providing treatments that are reversible and supplying owners with thorough documentation of research, conditions, actions taken, and materials used.

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Architectural and Exterior Gilding in College Chapels & Churches

Gilding is a fine art that can be used in the construction and restoration of any building. Adding both elegance and magnificence to a building’s aesthetic, gilders take great pride in their ability to beautify architecture through their craft. The versatility of the gilding process allows for objects as small as a jewelry to structures as big as domes to be adorned in gold or another leaf. Architectural gilding is the process of adhering thin sheets of metal (usually gold) called leaves to the surface of any substrate to provide an ornamental effect in the building. This process requires the skilled hands of a knowledgeable artist so it is important to contact a professional gilder if you are looking for a project to be implemented at your own space. John Canning & Co. has conducted numerous interior and exterior gilding projects on university chapels and parish churches throughout the country. Here is an overview of gilding implemented in chapels and churches.

 

gilding in progress

Gilding in process

The Religious Symbolism and History of Gilding

From its conception in ancient Egypt to its use in modern architecture, gilding has always conveyed a sense of importance and reverence for the building which it decorates. While civil and even domestic gilding exists, this art is especially known for its religious use in churches and university chapels alike. Usually elevated above the head of the viewer, gold leaf brings one’s mind up to the heavens while the purity of its color represents the majesty of the divine. Brightly reflecting the sun, gilded domes and exteriors stand out among college campuses, acting as a natural beacon to signify the sacredness of the building. The dome especially serves as a reminder to all students to take time for contemplation and prayer, and welcomes whoever enters the church’s walls. Below is a few of the university chapels and churches which John Canning & Co. had the pleasure of adorning interiorly and exteriorly in gold leaf.

St. Mary’s Chapel – Boston College

Gilding was conducted on the altar in St. Mary’s Chapel at Boston College. Utilized as a decorative accent to the white marble, gold leaf lettering and ornamentation were applied on the front of the altar. This job required high levels of detail due to the intricacy of the lettering and floral designs. Factors that needed to be considered during this job included the marble’s ability to hold the gold leaf during and after the process as well as possible wear due to the material’s exposure to contact.

Gilded altar

Due to the solemnity of the gold’s location, a professional and reverent level of artistry was needed so as to elevate the architecture without distracting onlookers from the building’s purpose.

Sterling Chapel – Yale University

Exterior gilding is highly ornamental in an architectural aesthetic. Often used on domes, gold leaf catches the sunlight, illuminating the building’s design. This is especially the case with Sterling Chapel located at Yale University. John Canning & Co. had the pleasure of gilding the dome and steeple cross of this 20th century Georgian style church. Conducting the full process, the gilding team primed and coated the dome with gold leaf. When implementing large scale gild projects such as Sterling Chapel, a slow-set oil size is used as an adhesive for the sheets of metal. This composition does not solidify for about a half-day, giving the gilders a large margin of time to lay down the entirety of the gold in a delicate and detailed fashion.

Gilded dome (left) and half-gilded cross (right)

The location of the building is an important factor when doing exterior gilds. The cross on top of the dome and the dome itself are exposed to all of the natural elements of New England weather. This includes snow and hail which can be very abrasive to the surface of a building. This was factored into the project planning so that the most durable adhesive and gold leaf would be used while still maintaining the delicacy of the art.

Christ Chapel – Hillsdale College

Similar to the detailed work at St. Mary’s Chapel, gold leaf lettering was installed in the entablatures throughout Christ Chapel at Hillsdale College. This work was done on both the interior and exterior of the church. The gilding process had to be executed in high areas and covered large horizontal spans of limestone. Contrasting with the striking magnificence of the ancient Greek Pediment, and framed by Doric capitals, the gold script is eye catching for anyone who enters the sacred building.

Christ Chapel Entrance
Gold leaf lettering on limestone

Further gold leaf accents were installed in plaques at the base of the coffered ceiling. This continued the elegant aesthetic throughout the interior of the building without overpowering the off-white hue of the limestone.

In Summary

Gilding is a unique and beautiful architectural element which transforms a surface into an elaborate and elegant piece of art. Able to be conducted both interiorly and exteriorly with different types of metals, gilding’s versatility makes it an attractive tool to architects and owners alike. If you are interested in gilding for your building or have questions regarding the process, more information can be found here.

 

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How to Make a Historic Stone Maintenance Plan

Historic stonework has been an intrinsic part of architecture from the beginning of civilization. It acts as both a record keeper of a past culture’s appreciations and ideas as well as a modern tool for constructing churches and homes alike. To fully appreciate and learn from a building’s historic stone, it is important to regularly care for the material. Historic stone maintenance is a skill which can be utilized by both a professional conservator and a building owner. However, it is crucial to understand the correct methods to use in cleaning your building so as to avoid any negative side-effects. Here is some information to help guide you in establishing a maintenance plan and some tips for preserving your historic stone work.

A maintenance plan should consist of regular walkthrough/inspections and routine cleanings for the historic stone. Depending on the results of the inspections, issues may need to be addressed by either the owner or a professional stone conservator. This is especially true if there is a safety concern, in which case, professional service may need to be brought in to perform a more in depth conditions assessment.

Scheduling Walkthrough/Inspections

The most important way to maintain your historic masonry is to consistently inspect its condition. Scheduling a walkthrough to inspect the stone on a regular basis will help you identify and address any issues in the masonry before they spread. Visual inspections are the first line of defense and key in maintaining your building and historic stone. Here are some factors to remember and look for during a regular scheduled walkthrough inspection.

Knowing the Types of Stone

Certain types of stone will need more attention and care than others. Because there is a wide range of porosity among the various classes of stone, certain kinds will deteriorate faster due to an excess intake of moisture and dirt. For example, it is prudent to focus your attention more on limestone than granite when you are filling out your conditions assessment, as the former is more prone to decay and cracking. This also pertains to the placement of the stone in the building. If the material is exposed to outside conditions then it will be more susceptible to decay than interior masonry.

(Left) Marble in the Luzerne County Courthouse Lobby, (Right) Close-up of the Granite at Union Station in Washington, D.C.

Knowing How the Stone was Finished

There are different ways in which architectural stone is finished. Sealed, polished, honed, and natural stone each have a different susceptibility to dirtying. Sealer is often used on stone floors to protect the surface from having imbedded dirt. Polish also protects the stone but it is used primarily as a method of decoration. Honed stone has a cut, gritty surface which does not have any finish. Natural stone is untouched apart from its mining. Because honed and natural stone do not have a protective coating, it is more likely that they will absorb dirt and moisture faster than the sealed and polished stone. Therefore, taking a special focus on the more susceptible types will be required when you conduct your assessment.

Logging Issues with Timestamp

After inspecting each section of historic stone in your building, write down any prevalent information regarding possible defects or notes for cleaning into a log for future observations. Make sure to write the date for the walkthrough inspection so you can monitor how long it takes for any issues to develop. It is also important to take photos of any sections mentioned in the report. These can be used as a reference for understanding the descriptions of the issues in the log. Another way to visualize the problem and its location in your documentation is through drawings and diagrams. Keeping track of your stone’s condition will be vital for communicating with contractors regarding the timeframe of the problems’ progression and any prevalent issues. Once the maintenance inspection is complete, you can refer to or update the stone’s cleaning schedule. A regular cleaning of the masonry is necessary to prevent staining and other issues.

Routine Cleaning of the Stone

When it comes to the historic stone cleaning process, there are a few important factors to keep in mind. Knowing these factors is especially important if you have not consulted or received a cleaning specification from a specialist who deals with historic stone cleaning. By knowing the proper way to clean, and understanding what elements and materials to use on the stone, you can properly refurbish the masonry without causing damage and wear to the material.

Know the Type of Stone

Cleaning stone might seem like a simple task, however using the wrong methods could actually damage the material. Different materials such as granite and limestone require vastly different cleaning methods due to their levels of porosity. It is therefore prudent to understand what type of stone you are cleaning and the best materials suited for the project.

Cleaning Solutions and Materials

There are many different solutions and materials used for cleaning stone. Some of the best options which are often used by professional conservators are aqueous solutions, latex cleaners, and dry materials.

Aqueous Solutions

An aqueous solution is one of the best options for cleaning stone due to its composition. The mixture has a neutral ph. level, meaning that it has low acidity which is gentle on the surface of the stone. It is especially useful for cleaning masonry of a softer composition like sandstone. It also does not contain any surfactants because, if left on the stone for a long period of time, soap could cause damage to the material. A high quality aqueous cleaner that professional conservators utilize is the Prosoco Envivo Klean 2010.

Latex

Another great tool for removing embedded grime from the stone is a liquid latex cleaner. After you spray the mixture onto the stone, its cleaning agent will penetrate the surface and bring out the lodged dirt. As the latex dries, it will shrink and catch any dirt that comes to the surface.

Latex stone cleaning

Latex Stone Cleaning

Dry Materials

Dry materials such as a rag or duster can also be used although they are not as effective as the other tools. One of the easiest methods to employ as an owner is to use a dry chemical sponge cleaner like a dry erase to remove surface level dirt. However, this process will not remove embedded dirt.

Stone cleaning with a sponge
Stone Statue Cleaning in Progress Using a Sponge at St. Patrick’s Parish

Cleaning Solutions and Materials to Avoid

There are some cleaning solutions and materials that should generally be avoided in any type of stone maintenance. Using soap such as dish detergent or hand soap can be detrimental to the surface of the stone. If left on the stone for a long period of time, soap can extract the salt from the rock and let it rest on the surface, causing what conservators call sugaring. When sugaring occurs, a white residue appears on the surface, detracting the beauty and aesthetic from the stone. Another problem to look for is caustic and acidic mixtures. Caustic cleaning solutions include bleach and should be avoided. Too acidic of a solution could also severely damage and erode more porous stone like sedimentary rock. Other abrasive methods like sand blasting and power washing could hurt a stone’s surface, especially if the stone is of a softer type.

When to Call a Professional Stone Conservator

While it is important for building owners to maintain their historic stone on a regular basis, there are some issues and factors which make the outside help of a professional conservator necessary for a proper maintenance check. Firstly, if there is any issue with cracking and chipping stone or mortar than it is vital to call in a contractor to replace your stone. If there is severe staining from dirt and surface level cleaning methods are not suitable, then a conservator should be hired. In some cases, it might be necessary to remove the wax sealer from the stone surface which should not be done by the owner.

Historic stone cleaning and preservation can be a laborious and exhausting process so it is often best to ask for help when there are deeper level stains or damage in your masonry. However, as an owner you can do your part by committing to regular assessments of your stone and surface cleaning so as to best preserve you building’s aesthetic. For more information on the process of stone cleaning and restoration visit our blogs on stone.

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The Restoration of St. Mary’s Chapel at Boston College

History

Boston College was founded in 1863 by the Jesuits, and remains one of the handful of Jesuit colleges in the United States. St. May’s Chapel is contained within St. Mary’s Hall, which is one of the oldest buildings on Boston College’s Chestnut Hill campus, second only to Gasson Hall. St. Mary’s Hall was opened in 1917 as a residence for the Jesuit faculty, and maintains this use to the current day. St. Mary’s Chapel was an original place of worship for the Jesuit community on campus and was named after St. Mary’s Church in Boston, which can be connected to the Jesuits as far back as 1847. The modern day chapel on campus is lauded as a “Gothic Gem,” by the Jesuits and architecture community. The chapel contains an ornate wood ceiling with matching pews, marble altar, and beautiful artwork on plaster walls.

St. Mary’s Chapel Restoration

Our original involvement at St. Mary’s included consulting on the restoration of the finishes throughout the hall and chapel. Our team performed an in-depth conditions assessment of the fine-art and decorative paint, cast stone, woodwork, and plaster, then developed cleaning and conservation solutions for each element. Mockups were conducted as part of the treatment determination process, allowing our conservators to find the best products and treatment methods that would clean and conserve the materials without harming their historic integrity. Later, our conservators returned to St. Mary’s Chapel to execute the conservation cleaning, repair, and restoration of the finishes and materials within the space.

The cast stone within the chapel had become soiled from years of built-up surface dirt and grime. Our cleaning process included dry brushing and the use of latex to remove the surface dirt, grime, soot, carbon stains, and efflorescence. These methods were chosen as they were gentle on the cast stone and did not damage the surface or alter the color of the historic stone.

Latex (left) and brush cleaning (right) on the historic cast stone

The historic intricate carved woodwork on the ceiling of the chapel and the marble altars with gilded lettering were cleaned by our conservators as well. The ceiling was cleaned using a solvent-based cleaning solution and cotton cloths that allowed the conservators to gently remove any surface grime from the woodwork. These finishes each required unique cleaning solutions and methods, and were completed in a way that would not alter or damage their historic integrity.

St. Mary’s Chapel altar before (left) and after (right) cleaning and restoration

Cleaned and restored marble altar and gilding in St. Mary’s Chapel

A major part of the restoration and conservation project involved cleaning and conserving the painted plaster surfaces, canvas murals, and decorative painted finishes throughout the chapel. A custom cleaning solution was developed for each of the surfaces, and tools such as sponges and cotton swabs were used to gently lift and remove the surface dirt and grime from each of the finishes.

Mural cleaning using a cotton swab in process by Gianfranco Pocobene Studios

Cast stone and murals before (left) and after (right) conservation cleaning

The revived colors of the painted decoration and murals in conjunction with the brightened, cleaned stone truly transformed the chapel’s appearance, making it an overall beautiful space and returning it to its original splendor.

St. Mary’s Chapel before (left) and after (right) cleaning and restoration
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How to Restore Traditional Paint in Historic Buildings

Throughout history, architectural painting is an important part of the record we use to understand a culture’s appreciations and beliefs. Whether it is a wall mural or a non-decorative coat, paint has, and always will be, instrumental to the proper finish and attractiveness of a building. However, paint can fade and peel, requiring its refinishing and restoration. In order to preserve the original beauty of a historic building, it is necessary to keep a few factors of paint restoration in mind.

Types of Historic Paint

Generally, there were originally two types of paint utilized for the interior in historic homes: Oil-based paint and water-based paint. The type of paint is determined by the medium which holds its mixture together. As the names imply, one is composed of oil and the other of water. These two mediums have different effects on the paint’s overall composition and presentation. Water-based paint is most adequate for indoor applications due to its delicate stability and water solubility. Oil-based paint, which is durable and scrubbable can provide a glossier finish to an indoor room, most notably on molding and trim. Water-based paint is commonly used on plaster, because of its vapor permeability while oil-based paint is used for coating wood substrate.

When analyzing and restoring traditional paint, certain steps should be followed:

Step 1 – Paint Investigation

Archival Research

It is important to understand the original context of the materials and intention in the building’s design.  Look for documents that may contain a detailed record of the original paint job or original photographs of the spaces in question. The paint investigation project team does archival research before touching the historic paint so as to get a proper knowledge of how the original process was executed and to understand where important decoration might be. This allows for them to stay in theme with the intended look of the original décor and allows for them to use the necessary tools and paint to best restore the original surface.

Paint Exposures and Analysis

The next step of paint investigation in a historic building is the removal of paint in selective areas. Delicate removal of the outer coats of paint can provide a look into the building’s past. Elaborate murals and decorative design which could still be of value are often hidden under numerous coats of more recent paint. Although it is tempting to simply strip and re-coat the top layer of paint, it is important to peel back multiple layers to see if there are designs which can be preserved. The process of removing the outer coats of paint to reveal the original design is called finish exposure. Uncovering the originally intended décor of a building in hopes of preserving it is a preferred and longer lasting option of refurbishing a building than that of just applying a new protective layer of paint.

Original Paint Unveiled Through Finish Exposure

Because the paint in historic buildings is layered over time, it is important to inspect the history of the building so that you have a clear understanding of the kinds of paint used. This will tell you the composition and color of the original paint and will allow you to accurately create a uniform coat throughout the area you are painting.  Multiple processes to examine paint and its qualities so as to best provide help with restoring historic buildings can be employed during the paint analysis process. For information on the different techniques of paint analysis visit more of our blogs on paint.

Interpretation & Recommendations:

Collecting the data itself is not enough for the restoration team to implement the proper materials into their project. The information obtained from the archival research and paint exposure must be interpreted in order to understand the necessary elements for a proper restoration process. It is the responsibility of the firm to advise the client as to the steps needed for the paint restoration based on the data from research. Without the interpretation and consultation from trained artisans, the information derived by the paint analysis is rendered useless. For more information on the process of paint analysis and data interpretation, visit our services page.

Step 2 – Restoration

Before any paint restoration can be done, the substrate must be assessed and restored if necessary. A sound substrate whether wood, plaster, or canvas, is required to perform a proper paint restoration. It is most common to see plaster as the substrate for historic buildings.  An understanding of the existing conditions and proposed materials will play a key role in the long-term success and durability of the finishes. Compatibility of new materials to existing will require research and trial.

Plaster Restoration

It is most common to see plaster as the substrate for historic buildings. When restoring the traditional paint, it is crucial to also restore any damaged plaster beneath the original coat. Lime plaster is preferred over other plasters for restoration due to its versatility and adaptiveness. The formula and creation of lime plaster is simple. Through combining sand, water, quicklime, and animal hair, a plasterer can create a durable filament for any cracks or holes in the surface of a historic building. Due to its versatile and ductile composition, lime plaster can be applied in unique and beautiful ways. It is therefore important to have trained hands apply the material in a historic restoration to get the best result. Check out this blog for more information on how John Canning & Co. utilizes lime plaster.

Plaster Scratch Brown Layer

Paint Restoration

Once the plaster substrate is patched and even, it is necessary to sand down any remaining flecks of plaster which could compromise the paint’s adherence to the wall. Depending on your intended result, there are different methods of painting to employ. If the project calls for painting matching original colors but not methods and materials, the paint analysis info can provide the commercial color match for any paint colors needed.  If the project requires the use of traditional methods & materials (of the time period) to meet requirements and standards for the restoration project, paints might have to be made by hand by someone with the expertise and skill set.

 

Before and After – Paint Restoration – Old Senate Chamber, Maryland Statehouse

If the project requires decorative paint restoration, it is imperative to call in a decorative paint restoration expert so the original decorative details can be matched by trained artisans. Having someone without the knowledge and skills to implement decorative painting often results in cartoonish and amateurish looking decorations.

During the restoration process, certain techniques can be utilized such as infilling to alleviate issues like divots and paint stabilization to prevent original paint from completely peeling off the wall. Out Paint Restoration: Process & Techniques blog has information on major restoration barriers and their solutions.

Infilling Divots in Original Paint

Restoring traditional paint in historic buildings can be a complex process and it is recommended that you enlist the assistance of a historic finishes’ consultant, often a trained and experienced fine arts or materials conservator. A historic finishes consultant can help guide you through the process and perform the necessary investigations and conditions assessments to achieve a high-quality restoration for the paint of your historic building. As expert historic finish consultants, John Canning & Co. can assist in all stages of pre-construction and planning including historic building conditions assessments, historic paint analysis/investigations, finish assessments and plaster surveys. If you have a restoration project you would like to discuss, contact us today.

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6 Steps for Cleaning Historic Fine Artwork

Historic fine artworks are valuable treasures that have been created by artists over the centuries. However, over time these works of art can become dirty, damaged, or discolored due to exposure to environmental pollutants, natural aging, and mishandling. Therefore, cleaning and restoring historic fine artwork is an essential task to preserve its original beauty and value. The process for cleaning fine art is very similar to that of cleaning historic murals, just on a slightly smaller scale and with extra care taken to be gentle, as fine art can often be more brittle than murals.

Step 1: Research

Similar to mural cleaning, the first step in the process to clean historic fine artwork is to research the history of the art. This helps to provide valuable insights into the original artist and their intent, the materials used, the method, and the historical appearance of the piece. Knowing this information will aide in making informed decisions while cleaning the artwork.

Step 2: Examination and Evaluation

The second step in cleaning a historic fine artwork is to examine and evaluate its condition. A thorough examination can help identify the type and extent of the damage, the original materials used, and any previous restoration work. This examination can be carried out by a professional art conservator or a qualified restoration specialist.

Step 3: Testing

Before cleaning the artwork, it is important to test the cleaning materials and techniques to ensure that they do not cause further damage to the artwork. A small and inconspicuous area of the artwork is selected for testing the cleaning materials and techniques. These tests will determine the presence of an incompatible finish as well, and can help to find the best method to remove it. Different finishes will react differently to solvents, and therefore these tests are crucial to ensuring the original paint layers are not damaged during the cleaning process.

Step 4: Surface Cleaning

The next step is to remove the surface dirt and dust from the artwork. A soft-bristled brush, vacuum cleaner with a micro-suction tool, or another gentle tool is used for removing surface dirt and dust. Care must be taken not to apply too much pressure or use abrasive materials that can scratch or damage the artwork. Surface cleaning is necessary to make the following step of solvent cleaning an easier process.

Fine artwork Brush Cleaning

Brush cleaning at the Fulton County Courthouse.

Step 5: Solvent Cleaning

After surface cleaning, a solvent is used to remove any stubborn stains, varnish, or paint layers. The type of solvent used depends on the type of material and stain. For example, alcohol, acetone, or mineral spirits can be used for cleaning oil paintings, while water-based solvents are used for cleaning watercolor paintings. Whatever solvent is carefully chosen for the job must be gentle enough to not harm the underlying paint layers. Chemical cleaning agents are typically customized specifically for the object being cleaned, and therefore commercial cleaning agents should not be considered for fine artwork cleaning.

Fine artwork solvent cleaning

Solvent cleaning in progress at the Basilica of the Immaculate Conception

Step 6: Protection

The final and most crucial step in the cleaning process that ensures the artwork’s longevity is to protect the cleaned piece with a protective coating or varnish. This varnish layer will shield the painting from UV light, humidity, and other environmental factors that could cause deterioration and return the painting to its pre-cleaning state. All varnishes and coatings applied to historic artwork by conservators must be reversible in nature so that future conservators can remove the varnish to clean and refinish the painting again if needed. This includes any paint used to inpaint and repair areas of loss or damage. Any changes made to the artwork must be fully reversible, regardless of the coating type. Qualified conservators should be professional associates of the American Institute for the Conservation of Historic and Artistic Works (AIC). This organization is guided by the principle to “do no harm” and they advance that principle by providing treatments that are reversible. It is also essential to establish a proper storage and display environment with appropriate temperature and humidity controls and minimal exposure to direct sunlight. These conditions will help the artwork remain clean and vibrant, and ultimately slow the discoloration or damage of the paint and varnish layers.

The process of cleaning historic fine artwork is a delicate and meticulous endeavor that requires expertise, patience, and adherence to the above steps. From conducting thorough research of the artwork’s history and materials to employing careful surface cleaning techniques using specialized conservation-grade materials, each step is crucial in preserving the beauty and integrity of these invaluable pieces of history. By entrusting the task to qualified conservation professionals who understand the unique challenges of cleaning historic fine artwork, you can ensure the longevity and continued enjoyment of these cultural treasures for generations to come. If you are looking for assistance with a fine art conservation project, please request a consultation to connect with one of our preservation professionals. Our team has over 45 years of experience with the conservation of historic artwork and architecture, and would be happy to employ their expertise in the field for your preservation project.

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The Evolution of the Collegiate Gothic Style

While perhaps most popular in the early 20th century, the origins of the Collegiate Goth Style can be traced back to the early 1820s. Its modern interpretation skews more to the tastes of the Gothic Revival movement of the 1920s and 1930s, but perhaps the purest examples of this style can be traced to the 1870s and campus additions to Yale, Harvard, Cornell, and Trinity College. Four distinctly different interpretations of a common theme, each remarkable and beautiful on its own merits. The additions to the four campuses over one decade show the remarkably fast evolution of the style.

 

Yale University in New Haven, Connecticut

Farnam Hall (C.1870 by Russell Sturgis) was the first of four Victorian Gothic buildings to be constructed on the campus of Yale University and was built to replace colonial brick dormitories. Crafted in red brick, stone, and wood, the structure lacks much of the ornamentation associated with the Victorian Gothic movement. Carvings in the wood are distinctly Gothic but are not abundant. A characteristic hip roof, though not as characteristically exaggerated, adorns the building. Arches, colonettes, and tracery are all present. Noticeably absent is elaborate molding. Farnam Hall is connected to another of Sturgis’ buildings, Battell Chapel, which is also designed in the Victorian Gothic style. Also notable on Yale’s campus are the buildings designed by James Gamble Rogers. Rogers designed many Collegiate Gothic buildings on Yale’s campus, including Sterling Memorial Library, and was responsible for creating an aged appearance inspired by century’s old buildings at Oxford and Cambridge. Though not constructed until the 1930s, Rogers’ buildings were weathered and aged using specialized techniques including textured plaster and the use of rottenstone to weather woodwork. This helped to cement the historic collegiate feeling of these buildings, and of the entire campus.

Farnam_Hall_Yale_University

Yale University Farnam Hall

Harvard University in Cambridge, Massachusetts

Memorial Hall (1870-1877 by William Robert Ware and Henry Van Brunt) is an example of English-Gothic-meets-High-Victorian architecture. The brick structure is reminiscent of a typical Gothic building found on the campus of the Harrow School in England, while the roof line and colorful use of patterned slate shingles is distinctly Victorian in style. The interior has the same unique combination of Gothic and Victorian styling. Soaring vaulted ceilings remind one of the vast interior of the great Westminster Hall at the Palace Westminster in London. But extensive embellishments, stained glass windows, gilding, and color evoke the High Victorian palette.

Memorial Hall, Harvard University

Harvard University Memorial Hall

Cornell University in Ithaca, New York

Sage Hall (1871-1875 by Charles Babcock) is a perfect example of how plans change over time to match rapidly evolving tastes. Babcock’s original Sage Hall renderings included extensive ornamentation along the roof line and around windows and doors. Keeping with Victorian styling, the original sketches would have resulted in a far more visually interesting building. Towers, turrets, cupolas, and a soaring roof still provide many points of interest, and a beautiful roof line graces the building. Though not highly embellished, the mansard-style roof is uniquely Victorian, but the addition of towers and spires brings a Gothic touch. Sage Hall uses red brick, white brick, stone, and slate—a true High Victorian and Gothic combination.

Sage_Hall_Cornell_west_facade-min

Cornell University Sage Hall

Trinity College in Hartford, Connecticut

Jarvis Hall, Seabury Hall, And Northam Towers– comprising the “Long Walk” (C. 1878 by William Burges) is the only example of Burges’s work in the United States and is one of the greatest examples of Victorian Gothic architecture in the Country. As the building was constructed using brown and grey stone, with large, sloping slate roofs and tall, spired towers, there is little debate that the campus takes on a distinctly Gothic feel. The campus, originally located in Downtown Hartford, was moved to make way for the new Connecticut State Capitol. Trinity College commissioned Burges to construct a new campus that would be the envy of the Country. Burges returned with an impressive plan comprised of a large campus surrounding four enclosed courtyards. Multiple bell towers, large turrets, colonnades & cloisters, sculpted quadrangles, and cavernous interiors were all part of the final design. Unfortunately, the planning phase was so costly the College spent nearly all of the money to build the actual buildings on revisions and additional plans. Today, only a small part of Burges’s plan has been realized—though noteworthy on its own merits.

Northram_and_seabury Trinity college the long walk

Trinity College Seabury Hall and Northam Tower on the Long Walk

Princeton University in Princeton, New Jersey

Ralph Adams Cram designed a collection of Gothic-inspired buildings on the campus of Princeton’s Graduate College. Dormitories, a chapel, and the Carillon Tower rounded out his addition to the campus. Clad in mixed stones and appointed with large, sloping roof lines and extensive ornamentation, this collection of buildings completed in the early part of the 20th century further solidified the hold of the Collegiate Gothic Style on college campuses into the 20th century. Spires rise high from bell towers, gables and arched dormers get from roofs, and colonettes and archways surround entryways—distinctly Gothic.

Princeton_graduate_college

Princeton University Graduate School Carillon Tower

Washington University in St. Louis, Missouri

Danforth Campus is a cluster of Gothic stone buildings modeled on Cambridge and Oxford in England. Crafted mostly in yellow stone, the group of several buildings was first conceived in 1899 by Walter Cope and John Stewardson and was designed to “express the continuity of Western civilization.” The pair achieved this by crafting a series of buildings in styles ranging from early Tutor to post-Jacobean. All Gothic in nature, the buildings naturally fit together, but the use of visual storytelling via an “architectural timeline” is unique to Washington University. The series of buildings continued, even after the original architects left the project. Modern-looking buildings with flourishes of Gothic touches were constructed at the College, thus continuing this timeline.

Washington University

Washington University Brookings Hall

The University of Pittsburgh in Pittsburgh, Pennsylvania

Cathedral of Learning (1926-1937 by Charles Klauder) is unlike any of our previously discussed buildings. This modern piece is more a skyscraper than a standard “building.” With 40 floors, this steel-framed building is regarded as one of the final buildings constructed in the Collegiate Gothic Style. The second tallest building on a college campus (the tallest building used entirely for academic purposes), the Cathedral of Learning opened with great fanfare and continues to expose thousands of students to modern Gothic architecture every year. With many unadorned modern areas, the Gothic elements are reserved for the exterior, lobbies, event, and study spaces.

Cathedral of Learning University of Pittsburgh

University of Pittsburgh Cathedral of Learning

So, what is the difference between Gothic, High Victorian Gothic, French Gothic, and English Gothic? Are these distinct movements or sub-movements? And what is their place within the larger movement of the Collegiate Gothic Style?

Those are tough questions to answer but perhaps most simply put, Collegiate Gothic architecture can be defined as buildings Gothic in nature located on a college campus. Gothic became the preferred style for buildings as it impressed upon students the seriousness of learning, the power of knowledge, and the privileges of a learned life. The Collegiate Gothic movement was less interested in defining strict rules and methods for building, for that would stifle the natural creativity that was learning. As an organic movement with broad influences and an ever-evolving presence, the Collegiate Gothic Style produced a remarkable range of buildings in a short time. Designed and built to endure, one cannot help but be in awe.

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What Are the Benefits of Preservation?

In your town, state, and all around the country you will notice structures in need of preservation as well as those that have been lucky enough to benefit from preservation. In order to understand the benefits and importance of preservation of the country’s structures, you need know what preservation is and how it differs from restoration and conservation.

Preservation

Preservation is the art and science of retaining and sustaining an object’s historic fabric. In turn historic preservation is a field of study and practice that focuses on the conservation, and protection of cultural heritage sites and buildings. Historic preservation is often defined as the process of identifying, protecting, and enhancing buildings, places, and objects of historical and cultural significance. This process embraces many phases including the survey and evaluation of historical, architectural, and cultural resources in an area and the development of planning and legal measures to protect these resources in the future. This is done to tie a place’s history to its population and culture and maintain a tangible physical connection to the past so that these places can be enjoyed by future generations.

Preservation vs Restoration vs Conservation

Conservation focuses on the maintenance and preservation of the original material and design of a structure, while restoration aims to return a building to its original state by recreating missing or damaged elements. In contrast, preservation seeks to protect and maintain a building or cultural site in a way that respects its historical and cultural significance, while also allowing for changes to be made to ensure its continued use and relevance.

Preservation Benefits when it comes to Historic Buildings and Sites

Historic preservation has many benefits, including maintaining a sense of continuity and connection to the past and fostering a sense of community and pride. By preserving historic buildings and sites, we can learn about the people and events that shaped our communities and gain a deeper appreciation and understanding for the world around us. Preservation also helps to promote sustainability by reusing existing structures, reducing waste, and preserving natural resources. It can also sometimes have economic benefits, by creating jobs and increasing property values in historic districts.

Importance of Preservation of Historic Buildings and Sites

Historic preservation is important because it helps us to understand and appreciate our cultural heritage. It allows us to connect with the past and learn from our history, while also creating a sense of place and community. By preserving historic buildings and sites, we can also ensure that future generations have the opportunity to learn from and appreciate these important cultural resources, while helping to foster a sense of pride and identity in our communities, by celebrating the unique characteristics and heritage of our neighborhoods and cities.

Historic preservation promotes education and research into our shared history and cultural heritage. Preserved historic resources can be used for educational purposes, providing a hands-on way for people to learn about the past. Preservation also encourages the study of historic architecture, design, and craftsmanship.

Historic Fabric

It is more than the buildings and sites, we need to consider the historic fabric which serves as a tangible link to the past and can tell us a lot about the history, culture, and architecture of a particular time and place. The historic fabric of a building includes its original materials, design features, decorative finishes, and craftsmanship, which are often unique and irreplaceable. By preserving the historic fabric of a building, we can ensure that future generations can continue to appreciate and learn from it.

Preservation Benefits when it comes to the Historic Fabric and Decorative Finishes of Buildings

The preservation of historic fabric can contribute to the economic vitality and cultural identity of a community. Historic buildings and neighborhoods are often popular tourist destinations, attracting visitors who are interested in the architecture, history, and cultural heritage of a particular place. By preserving the historic fabric of these buildings, we can help to maintain the cultural and historical character of a community, which can attract investment and contribute to the local economy.

Preserving historic fabric can also be environmentally sustainable. Reusing and maintaining existing buildings reduces the need for new construction, which can have a significant environmental impact. Historic buildings were often constructed with durable, high-quality materials that are not commonly used in modern construction, such as brick, stone, and hardwoods. By preserving these materials and reusing them in the maintenance and restoration of historic buildings, we can reduce waste and conserve natural resources.

A great example of how preservation of historic buildings can help communities, is looking at some of the historic theatres around the county.  Theatres are community gathering places and when the beautiful decorative finishes are preserved it makes the spaces more inviting and magical enhancing the theater-goers experience.

Stadium Theatre

Stadium Theatre in Woonsocket, Rhode Island after preservation & restoration

Importance of Preservation of Historic Fabric and Decorative Finishes of Buildings

When it comes to the historic preservation of decorative finishes, it can be even more important for landmark and historic buildings. Decorative finishes, such as painting, gilding, plasterwork, and murals, are an important part of the historic fabric of a building and can provide insight into the craftsmanship, design, as well as the social and cultural values of the time period in which the building was constructed.

One of the main reasons that the preservation of decorative finishes is important is that they are often unique and irreplaceable. These finishes were typically created by skilled craftsmen using techniques and materials that may no longer be available. By preserving the original decorative finishes, we can ensure that the building retains its historical and artistic significance, and we can learn about the techniques and materials used by past generations of artisans and craftsmen.

The preservation of decorative finishes can also contribute to the aesthetic and cultural value of a building. These finishes can be an important part of the character and charm of a historic building, and they can help to create a sense of place and identity. The preservation of these decorative finishes can contribute to the tourism and cultural heritage of a community, as people are often drawn to historic buildings and regions for their appealing and cultural significance.

Ceiling decorative finishes at Rodeph Shalom

Ceiling decorative finishes at Rodeph Shalom after restoration and preservation

John Canning’s & Co.’s tagline line is Perfecting Preservation and we aim to understand the original methods and materials used so we can stay true to the designer’s original intent when performing any preservation, conservation or restoration work.  We are expert Preservation Problem Solvers with a goal of Perfecting Preservation. We find the architectural arts restoration, preservation and conservation solutions for the most complex problems and situations. We are honored to help keep the history alive for all the prestigious landmarks and historic buildings that we are privileged to work on. By preserving the original finishes, we can learn about past techniques and materials, contribute to the cultural heritage and tourism of a community, and protect the underlying materials from damage.  The preservation of the historic fabric and finishes of landmark and historic buildings is essential for maintaining our cultural heritage, promoting economic vitality, and contributing to a sustainable future. If you have a project that needs a historic preservation specialist, do not hesitate to contact us.

If you want to learn more about preservation in your state there are some great resources available.

You can find a list of National and Regional Preservation Organizations as well as other great information and preservation resources at this website link for the National Preservation Institute.

For a list of state historic preservation offices and the national register of historic places, check out the National Parks Service’s website.

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How to Safely Clean Historic Stone

Historic stone is a valuable part of our cultural heritage, and it is essential to preserve it for future generations. Cleaning historic stone requires care and attention to avoid damaging the stone’s historic integrity. In order to safely clean historic stone without harming its unique qualities, there are several steps that must be taken.

Identify the stone

Identifying the type of stone is an essential first step in the cleaning process, as different types of stone require different cleaning methods. For example, limestone and marble are sensitive to acidic cleaning agents, which can cause etching and discoloration. On the other hand, granite and sandstone are more durable and can withstand more aggressive cleaning methods. To identify the type of stone, you can consult a professional stone cleaner, a conservation expert, or a local historical society. Once you have identified the type of stone, you can select the appropriate cleaning method to ensure the stone is cleaned safely and effectively without damaging its unique qualities.

Marble at Harvard University (left) and sphinxstone at Mellon Auditorium (right) require different cleaning methods.

Assess the condition of the stone

Before cleaning historic stone, it is crucial to assess the condition of the stone and note particular conditions such as mineral staining or efflorescence, as each will require a unique cleaning method. This will help you determine the appropriate cleaning method to use. If the stone is in good condition, you may only need to clean it with water and a soft brush. However, if the stone is heavily soiled, you may need to use a more aggressive cleaning method. Etching, a condition in which the stone becomes dull or discolored, can occur naturally due to exposure to acidic substances (such as pollutants or rainwater) will require a specific cleaning method using a mild solution and physical abrasion. The stone may also be damaged and need to be repaired as part of the restoration process. Often, it may be necessary to repair the stone before beginning the cleaning process. Once such condition is sugaring, which is an instance where the stone’s surface is eroded, creating a “sugary” appearance and causes the stone to become brittle and break off or crumble. If the stone cannot be sourced or sourcing the correct stone to repair missing or damaged areas is too expensive, it may be possible for our expert craftspeople to replicate the stone in another material to simulate the appearance of the true stone. This can be done through faux stone painting techniques such as scagliola or marbleizing.

Stone dutchman repair completed then cleaned at Washington Union Station.

Test the cleaning method

Always test the cleaning method on a small, inconspicuous area of the stone before cleaning the entire surface. This will help you determine if the cleaning method is safe for the stone and if it will produce the desired results.

MIT Travertine Stone cleaning test

Cleaning test patch on travertine at the Massachusetts Institute of Technology.

Use a gentle cleaning method

When cleaning historic stone, it is important to use a gentle cleaning method to avoid damaging the stone’s surface. Avoid using harsh chemicals or abrasive materials that can scratch or etch the stone. Instead, use a mild detergent or a specialized stone cleaning product that is safe for historic stone. This step can also include the use of a brush to gently release and remove dirt and grime from the surface of historic stone. Latex can also be used as a low-impact, highly effective method to clean stone surfaces. The latex cleaner is applied then peeled away from the stone, taking with it even the heaviest of dirt, soot, and grime from the surface. Regardless of the final chosen method, each should be tested and determined to be the gentlest yet effective method for cleaning that particular type of stone.

Stone statue cleaning in progress using a sponge at St. Patrick’s Parish (left) and latex stone cleaning (right).

Avoid high-pressure cleaning

High-pressure cleaning can be effective for removing dirt and grime from stone surfaces, but it can also damage the historic stone. The high pressure can cause cracks and chips in the stone, which can lead to irreversible damage. Instead, use a low-pressure cleaning method, such as a gentle water wash or a soft-bristle brush.

Rinse thoroughly

After cleaning the stone, be sure to rinse it thoroughly with water to remove any cleaning residue. Residual cleaning agents can damage the stone’s surface over time, so it is important to remove all traces of the cleaning agent.

Dry the stone

After rinsing, use a clean, dry cloth to dry the stone thoroughly. Water can penetrate the stone’s surface and cause damage, so it is essential to dry the stone completely.

Consider hiring a professional

If you are unsure about how to clean historic stone or if the stone is particularly delicate or valuable, consider hiring a professional. A professional stone cleaner will have the expertise and equipment necessary to clean historic stone safely and effectively.

Cleaning historic stone requires care and attention to detail to avoid damaging the stone’s historic integrity. Always assess the condition of the stone and test the cleaning method before cleaning the entire surface. Use a gentle cleaning method, avoid high-pressure cleaning, and rinse and dry the stone thoroughly. If you are unsure about how to clean historic stone, do not hesitate to reach out to an experienced professional. John Canning & Co. has over 45 years of experience in restoring historic stone. For assistance with a historic stone restoration project, request a consultation to be connected with one of our knowledgeable experts who can guide you in the right direction.

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How to Write an Effective Historic Architectural Woodwork Specification

Historic architectural woodwork is an essential part of our cultural heritage, and it is critical to preserve it through proper maintenance and restoration. Writing an effective specification for historic architectural woodwork is a crucial step in ensuring the success of any restoration project. Historic architectural woodwork specifications require a thorough understanding of the project’s historical context, the available materials and techniques, and the desired outcome. A well-crafted specification provides clear guidance to contractors, ensuring that the project meets the client’s requirements, conforms to historic preservation standards, and preserves the unique character of the architectural woodwork. The steps for writing a functional specification should include the following and outline the key considerations that architects, contractors, and clients must know to achieve a successful restoration project.

Research the historical context:

Before writing the specification, research the historical context of the building or structure. Beginning the process with research will help you understand the style and period of the architecture, the types of materials and techniques used at the time, and any specific features or details that are important to preserve.

Provide definitions:

Definitions for important woodworking and conservation terms should be provided in the specification. Doing so ensures that the specification is easy to read and understand. Many groups will be reading the specification, so all architects, contractors, and other workers must be aware of how you are defining key terms.

Define the scope of the work:

Clearly define the scope of work for the woodwork restoration or conservation project. The scope should include a list of all the elements that need attention, such as windows, doors, trim, and decorative features.

Specify the materials:

Specify the types of wood and other materials that will be used in the project. Consider the availability and sustainability of the materials, as well as their historical accuracy. The species, age, current and original finish, the presence of veneers, and the current condition of the wood are all vital to know prior to the restoration. Based on these factors, the materials needed to restore the woodwork to its historical appearance may vary. Make sure to do your research or consult with a preservation professional to ensure you have the correct tools, such as sanders, wood stripping tools, and staining tools, and materials, such as wood stain, to complete the project. These restoration materials and methods should be thoroughly outlined in the scope to be referenced during the project.

Mark Twain Mahogany

Mahogany wood after restoration at the Mark Twain House & Museum

Detail the techniques:

Detail the techniques that will be used in the woodwork restoration or conservation process. These techniques may include traditional joinery methods, finishes, and other decorative elements. Will the restoration process include using traditional materials and methods, or does it require a more modern approach? The answer to these questions should all be defined in detail to ensure everyone working on the project knows what tools and techniques must be used to complete the project.

Cosmos Club Floor Restoration

Original parquet floor during restoration at the Cosmos Club

Include standards and guidelines:

Incorporate industry standards and guidelines into the specification, such as those established by the National Park Service or the Secretary of the Interior. These standards can help ensure the work is historically accurate and meets modern safety and accessibility requirements.

Outline the quality expected:

The specification should include a dedicated section about the quality of work expected. The desired finish and appearance should be outlined, and it should note that the services performed on the woodwork should result in work that is consistent with the original design intent. Aggressive cleaning or sanding should not be acceptable and should be noted as such.

Request that tests and mockups be done:

The specification should request that comparative sample areas or mockups be done before beginning any official restoration work. The test areas should be reviewed and approved by the leading party before a method or material is chosen to complete the restoration. These tests can also help to identify or determine the original finishes. Knowing whether the original finish treatment included a stain or aniline dye, shellac and wax, or a vegetable varnish, such as dammar or copal will assist in the selection of the correct materials for the wood finish restoration project. This system will ensure that all work is done to the quality standards required by the specification and that the work will be consistent throughout the project.

Mark Twain Mahogany Test

Finishes testing process mockup on mahogany wood at the Mark Twain House & Museum

Define the necessary qualifications:

All work completed on historic woodwork should be done by experienced preservation professionals. The specification should include the exact qualifications desired of a contractor chosen to do the woodwork conservation, including their years of experience, relevant education and certifications, and demonstrated experience in historical preservation/conservation, surface preparation, and field application of the same type and scope specified.

Provide clear instructions:

Provide clear instructions for the contractors or craftspeople who will be completing the work. Instructions may include detailed drawings, measurements, and specifications for each element of the woodwork. This step should contain a clear, detailed description of wood conditions, as well as all steps in the treatment methods to be performed for each type of wood.

Consider maintenance:

Consider the long-term maintenance of the woodwork and include recommendations for ongoing care and preservation. A section of the specification should be dedicated to the ongoing upkeep of the restored woodwork. The steps noted here should be attainable for the client, and detailed enough to be understood by a future conservator or contractor.

By following these steps, you can create a successful historic architectural woodwork specification that accurately reflects the project’s historical context and helps ensure that the restoration work meets your desired outcome. Of course, we do not recommend going at this alone. Our team is comprised of qualified, experienced preservation professionals who know what to look for when writing an architectural woodwork specification. Request a consultation or contact us to be connected with one of our team members that will happily assist you and answer any questions about the specification writing process.

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John Canning & Co.’s Project at the New London City Hall Receives Preservation Connecticut 2023 Award of Merit

John Canning & Co.'s Project at the New London City Hall Receives Preservation Connecticut 2023 Award of Merit

2023 Connecticut Preservation Award Winner Banner

Cheshire CT, April 2023:

John Canning & Co.’s project at the New London City Hall has received a Preservation Connecticut 2023 Award of Merit. The project, which restored the original color scheme and historic plaster finishes in the Council Chambers and adjacent hallways, returned the historic chamber to its 1914 appearance.

Preservation Connecticut is a nonprofit organization with the mission of preserving, protecting, and promoting the buildings, sites, and landscapes that contribute to the heritage and vitality of Connecticut communities. Every year, Preservation CT awards architectural firms, preservation project teams, property owners, local governments, or individuals for their efforts that have protected and preserved Connecticut's archeological and architectural heritage.

New London City Hall was originally constructed in 1856 and substantially remodeled in 1912 to create a more imposing Municipal building. John Canning & Co. was contracted to perform the restoration of degrading plaster and fine art and decorative art conservation at the City Council Chamber 10 and 3rd FL Hall Way which was completed in 2020. The team’s efforts began with a historic paint investigation to uncover and determine the historical color scheme and palette. The final colors were selected to meet the 1914 palette and were presented to the owners in an on-site mock-up. These historical colors were then reinstated on the freshly repaired plaster walls of the council chambers, resulting in an incredible transformation of the historic space.

New London City Hall
New London City Hall Council Chambers

In the Council Chamber, the fabrication and installation of two name panels on canvas were also performed. The existing name panels in the Council Chamber were created in the mid-century. At that time, the room appeared to have been painted differently, which did not match the original color scheme. With the ongoing decorative paint restoration in the Council Chamber, the existing mid-century name plaque colors (backgrounds) were dis-coordinated with the color scheme. For the room to have a unified aesthetic, restored name plaques were executed by Canning in a similar appearance and color to complement the original scheme. Knowing that preserving the building's history as much as possible is essential, the existing name panels were encapsulated behind the new canvas name panels. These panels were installed in a manner that is reversible and will not damage the current mid-century version.

John Canning & Co. is honored to be receiving an award of merit for the project at New London City Hall and would like to thank all their hardworking team members, the City of New London, and Valley Restoration, LLC, for their contributions to the success of this project.

Located in Cheshire, CT., John Canning & Co. is one of the nation’s historic restoration, conservation, and preservation experts. John Canning & Co. offers services in various areas, including conservation, planning, designing, historic paint analysis, plaster condition surveys, restoration, decorative finishes and painting, budgeting, and consulting. With over 45 years of experience, John Canning & Co. has received numerous awards and has been entrusted with restoring state capitols, courthouses, churches, libraries, museums, theatres, educational establishments, and other historic buildings. In addition to this Preservation Connecticut Award, other Canning Projects that have been recognized include the 2022 Preservation Connecticut Award of Merit for the Dr. Martin Luther King Jr. Campus project in Hartford, Connecticut, the 2020 Preservation Connecticut Award of Merit for the work completed at the First Congregational Church of West Haven in Connecticut, the 2020 Preservation Connecticut Award of Merit for the work done at the Mark Twain House and Museum in Hartford Connecticut, and the 2014 Connecticut Preservation Award of Merit for The Cathedral of St. Patrick in Norwich Connecticut. Canning also received the 2021 Preservation Connecticut Janet Jainschigg Award for Preservation Professionals.

 

 
 
 

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How to Uncover Your Church’s Original Beauty with a Historic Paint Study

“So we are bound to beautify them with all the ornaments we possibly can…”

-A. Palladio, Architect

In any building, decoration is used to enhance and magnify the architecture which together serve the structure’s purpose. Theatres are grand and elaborate, residential buildings are simple and pleasing, civil buildings are sturdy and dignified– all are built and decorated according to their purpose. In the same way churches are built and decorated to serve their purpose, that is, to elevate hearts and minds to contemplate divine things. What better way to accomplish this than through beauty? Beautifying churches, therefore, is a noble task, whether it be through restoration, reparation, or new design.

Most churches built before 1950 were elaborately and beautifully decorated in harmony with the architecture employed. Since then, however, design schemes and colors have been painted over with grays, whites, beiges, and other muted tones. If your church was built before the 1950’s and its interior is a solid, plain color, there are probably decorative paint schemes under the whitewash, just waiting to be revealed.

Historic Paint Study

How do you know if your church has a hidden design scheme? A historic paint study will help determine that. In a historic paint study, a number of methods are used to discover a church’s significant paint and design scheme– mechanical and chemical investigations will reveal hidden layers, scientific analysis will define original colors, and historical research of original documents will help confirm patterns that have been revealed.

Process

The process of discovering and replicating a historic paint design scheme can be completed in four rudimentary steps.

1) Archival Research

Archival research consists of investigating anything that will help determine the history of the church- how it was originally constructed and how it looked. This may consist of reviewing old news articles, photographs, bulletins, original work specifications of architectural features and design, and orchestrating interviews with eye-witnesses. This will help immensely in understanding the historical context of the paint.

2) Onsite Exposures & Samples

Next, paint exposures and samples are taken on-site from areas determined by the information retrieved through archival research. Paint exposures are performed using mechanical or chemical means to remove the top layer of paint or finish in order to reveal what is underneath. Paint samples are taken using a sharp blade that cuts a section of the paint layers and substrate from the church interior to bring to the lab for analysis. Sometimes a low power microscope is brought onsite to determine which samples are best to bring to the lab.

Paint Exposures at Saint Mary’s Church New Haven

3) Laboratory Analysis

After the samples have been collected, they are brought to the lab where they may undergo a number of operations.

Microscopy

With Microscopy, samples may be viewed under a microscope where each layer of paint is magnified and examined. A plethora of information relating to the makeup of the paints is obtained through this procedure which is necessary to move forward in a church’s historic paint study. Without attention to detail and the ability to deduce historic subtleties, the intention to restore historical integrity may never be achieved.

Reflected Light

The method of reflecting natural light onto the paint samples is very helpful in color matching. The conservator uses a system called the Munsell Color System which spans all color hues, saturations, and values in order to choose the exact color to match the sample. The Munsell Color System provides a three-dimensional space used to view and describe color based on how humans perceive color.

Ultraviolet Light

Ultraviolet light is perfect for identifying varnishes and staining used between the paint layers, layers which are invisible to reflected light.

Microscopy of paint sample

Microscopy of paint sample

4) Interpretation and Report

The last step in a historic paint study for a church interior is the interpretation of the information received and a concluding report. The report is a detailed summary of all the information obtained throughout the process, including the precondition report, treatment report, and final report. Such information includes the number of paint layers, the exact color match of each layer both on the Munsell Scale and a commercial color, and the date, time, and location of each sample extracted and examined. Other important information to include is the original substrate, the most significant paint campaign, and the earliest date of the original decoration. Since this information is not easily obtained, prudent interpretation by an expert is required for the success of the investigation. Lastly, the report should also include recommended next steps for going forward in the project.

Thus, a historic paint study will not fail to uncover the original, magnificent beauty of any church, bringing new life and vibrancy to the community and strengthening the faith of the congregation by understanding the original methods of decorative paint execution.

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10 Tips for Maintaining Historic Churches and Chapels

Variables in the structure of historic churches and chapels such as materials and age will inform you how and where to focus your attention to best maintain or restore the building. Sensitivity to architectural detailed maintenance will lead to a healthy sense of community and respectful worship. These are 10 tips for maintaining and enhancing the overall beauty and stamina of a church or chapel.

1) Examine for Possible Water Leaks

Exposure to moisture for many materials is the number one cause for large, wide-spread damage. If a leakage is not prevented, restoration costs will rise exponentially. Water leaks can cause issues to plaster and other components. It is important to check up on windows and possible cracks throughout the building to make sure they are properly sealed from rain and harsh weather. Checking the attic for leaks from the roof is very important, especially since it could cause issues with plaster ceilings and be a potential safety issue. Attic visits should be scheduled at least a few times throughout a year.

2) Preserving Stone Interior Walls and Flooring

The level of maintenance required for stone depends on the porosity of the material. Granite rock has little to no porosity and can therefore keep out oils and salt which would corrode the surface. Sedimentary rock and brick however are more vulnerable and need consistent cleaning and treatment. Stone flooring is usually durable and self-sustaining if it is cleaned. However, any issues that occur will most likely need professional care. Issues such as cracks and discoloration require the stone to be ground down and re-varnished with wax or a sealer. Besides floors its common to find walls, columns, statues, or other features made of stone or marble in a church or chapel. Often from age or other external elements these features will require a conservation cleaning to maintain the original appearance and color. These features may also need repairing of chips or cracks. All these treatments are difficult to do on one’s own, so it is best to call in support of a specialist. Once a professional has performed conservation cleaning and repairs, they can provide a maintenance plan that a facilities manager can implement to help preserve the lasting beauty.

St. Patrick's Stone Cleaning

Conservation cleaning in progress of the marble sculptures at St. Patrick’s Parish in Lowell, Massachusetts

3) Preserving Wood Interior Walls & Features

For wooden walls or features, it is necessary to do monthly check-ups to make sure the wood is not drying out, decaying, warping, splitting, fading or other damage is occurring. This is especially the case with older wood in historic churches and chapels. Wood is an organic material, susceptible to a variety of damage. Restoring and repairing historic wooden elements and structures back to their previous glory need special attention and care. If this is something you are going to tackle internally, make sure you understand what needs to be done. From gentle but thorough cleaning to the application of compatible (but reversible) coatings and finishes to repair and even full replication of components is usually best done by highly skilled crafts people. When trying to tackle yourself, the easiest way to tell if wood needs maintenance is to feel whether it is dry. If there is no serious decay but it needs attention, then you can clean and varnish it yourself with tung or linseed oil. When varnishing wood, it is necessary to first remove all dust from the surfaces. The area being varnished must be sanded as well to remove any previous coats. It is important to keep the interior of the building at a moderate temperature with little humidity to avoid any blemishes forming while the finish dries. When these prerequisites are complete, it is then time to start laying on thin layers of varnish. If the coats are too thick, then there will be uneven drying, so it is better to lay down multiple thin layers than applying one.

St. Mary's Chapel BC Wood Cleaning

Wood cleaning test patch in St. Mary’s Chapel at Boston College

4) Preserving Wood Flooring

Maintaining wood floors in a historic church is arguably the most difficult task. Whether it is the constant foot traffic, or debris being tracked into the building, an old wood floor is vulnerable and can be greatly affected by the smallest abrasion. There are more common tactics to combat these issues like using floor mats to avoid unnecessary moisture on shoes and consistently vacuuming. No matter how diligent you are with these methods however, an old wood floor will inevitably need special treatment. Every other year it is necessary to both buffer and re-coat the floor with polyurethane. Buffering smaller wooden fixtures such as pews and tables can be done by hand-sanding. Buffering a floor however, especially of a historic church, requires a sanding screen and machine. These machines can be used by non-professionals and sanding the floor is relatively simple. Once the floor is buffed, polyurethane, a protective finish, can be laid down in a thin layer to save the floor from minor blemishes such as dents from high heels or chair legs. This method can be done without needing professional assistance and can make your floor’s lifespan increase dramatically.

5) Analyze the Roof of the Church

The main way to sustain a church’s roof is to keep it dry. Having a strict cleaning schedule will prevent still water forming on the roof which causes molding and decay. A roof will need different amounts of care seasonally. In the winter and fall months it requires more maintenance due to snow and wet leaves which could cause rot. To make sure the roof stays dry, it is necessary to eliminate objects around the building which could block the sun. Wood roof sheathing which is common in historic buildings needs unique care to keep its structural integrity. You can check the condition of the roof by going into the attic and looking for moisture. If there is moisture, then you either have a ventilation issue or there is ice forming on the roof which is melting into the sheaths. Installing a ventilator in the attic provides an easier and cheaper method to restoring the roof itself then would bringing in a contractor and, if done quick enough, can prevent mold. Similarly, consistent roof care during the winter months can prevent ice from forming on the exterior of the roof. Roof leaks can lead to water damage of plaster or other elements so the proper maintenance can avoid this. Another feature common to a church or chapel is a dome. Domes, especially of sacred buildings, are often gilded in gold leaf. If this is the case for your church, it is important to monitor the condition of the dome so that when the gold leaf starts to peel, it can be replaced to not detract from the aesthetic of the church. Gilding is a specialty skill and needs to be implemented by professional hands.

Yale Divinity School Dome Gilding

Architectural exterior gilding of the dome on the Yale Divinity School Quadrangle Chapel at Yale University

6) Everything Plaster

Ornamental plaster is common in historic interiors. While able to add beauty to the building, can also detract from the aesthetic if left uncared for. Major contributors to the deterioration and eventual cracks in the material are the excess of moisture and heat inside the building. The first step to maintaining the elegance of ornamental plaster is keeping a dehumidifier inside the church as well as maintaining consistent air conditioning. Ornamental plaster, once cracked, needs to be removed and replaced which requires professional help. Cracked flat plaster walls can be preserved and restored more easily and without outside assistance. Cracks can be filled in with siliconized latex and peeling plaster can be re-applied with special screws. Often in historic buildings there will be laths from which the plaster is hanging. If there are cracks or crevices in the flat plaster which cannot be masked with siliconized latex, then it is necessary to replace the laths in the problematic area which requires a restoration team. Cracking flat plaster ceilings pose a safety issue and need to be treated professionally as well. The underlying issues need to be assessed and address appropriately.

Wood lath & plaster ceilings function as a suspended system. In the construction of the ceiling, a wooden board or towel is used to force the wet plaster through the gaps between strips of lath, so that the plaster “slumps” over the back of the lath to form a “key & lug.” This acts as a hook to hold the ceiling in suspension. The security of this suspended system depends on the integrity of the plaster keys & lugs. John Canning & Co. is one of the few companies to use Historic Plaster Conservation Services (HPCS) which allows for an efficient and successful consolidation process when it comes to these situations. John Canning & Co. will conduct all services from a plaster conditions survey to ornamental and flat plaster restoration, repair and re-application as well consolidation and stabilization.

HPCS in progress

Historic plaster conservation on wood lath in progress

7) Decorative Painting and Artwork Maintenance

Decorative painting, artwork and murals are common in historic churches and chapels. Over time, the paint encounters issues including flaking, delaminating, staining, efflorescence or water damage. The original design might also get covered by layers of paint to refresh the image or decoration, however, the beauty of the mural or décor is gradually diminished. It is necessary to maintain the intended design and historic significance; therefore, important to unearth the original work which was painted when the church was built or period of greatest significance. No matter the issue, the restoration/conservation is a multi-step process which requires first, a conditions assessment and an investigation of the Church’s original intended design of the mural or decoration in question. Depending on the condition, varnish removal, paint stabilization or consolidation as well as inpainting and infilling may be required. The assessment will also determine whether the integrity of the underlying structure has been undermined and whether that is something that needs to be addressed.

Battell Chapel Paint Restoration

Historic paint restoration in progress in Battell Chapel at Yale University

8) Interior Gilding

Interior gilding is common in historic churches and chapels. Whether the gilding highlights the architecture, woodwork, decoration, framing etc., gold elevates the over-all appearance of the building. However, when left uncared for, the gold leaves can peel and fade, making it necessary to call in professional service for replication. There are proper maintenance habits which one can employ to avoid such issues. Cleaning the gilded surface with a dry and non-abrasive towel is key to keeping the gold leaf whole and bright. Abrasions are one of the most common issues with gilding, so it is important to keep the gold away from possible contact. If the object is water gilded, it is imperative that no moisture comes in contact with the surface because the leaves are easily rubbed off when moist. If there are issues with ceiling gilding or if gold leaf starts to peel, then it is necessary to seek help as the building may have substrate related issues or simply require repair due to old age.

St. Mary's Chapel BC

Interior gilding on the alter in St. Mary’s Chapel at Boston College

9) Helpful General Maintenance and Safety Tips

Besides taking steps in response to specific issues in a church, it is also important to observe proper upkeep in more general terms like cleaning and consistent check-ups. The best mode of managing facilities is to prevent an issue from taking place rather than dealing with it once it does. You can prevent most common structural and decorative issues through monthly monitoring and regular maintenance. This can also prevent safety issues from forming such as loose ceiling plaster or an unstable roof. Although maintaining the beauty of a church is crucial to a proper liturgy, keeping the church attendants safe is the greatest priority for a facilities manager. The key things to remember when it comes to maintaining any historic building is that the process involves periodic checkups and assessments as well as proper upkeep. Routine cleanings, regular walkthroughs/inspections, historic building assessments and stabilizing potential issues are all important when it comes to maintenance and preventing deterioration of the historic fabric.

10) When to Call in Professional Help

There is a point where professional help is necessary to the restoration and preservation of any historic building. But if there is any doubt it is also good to bring in a professional to help in guiding you through the process. A professional can provide maintenance recommendations as well as guide you through any possible restorations that may be needed. Some examples of historic Church and Chapel needs which require professional service include wood restoration, plaster conservation, decorative paint & finishes restoration, and mural, stone, and gilding restoration. More extensive issues such as the ones above need professional and experienced care. For guidance on getting a fair quote, contact us or request a consultation to be connected with one of our knowledgeable staff members.

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The Importance of Paint Restoration for Your Historic Building

Historic buildings are an essential part of our cultural heritage and serve as symbols of the history and culture of a place. They also provide economic benefits by attracting tourists and investors, enhancing the image of the community, and contributing to the local economy. However, preserving these buildings can be a challenge, as they require special care and attention to maintain their historical significance and aesthetic appeal. One of the critical aspects of maintaining the historical value of a building is paint restoration.

Over time, the original colors and designs of a building’s interior or exterior may fade, peel, chip away, or even be painted over. A historic paint investigation is a natural and early step in the overall restoration, and though they can be costly, they are a necessary step that will bring tremendous value and information to a restoration project. Historic paint analysis and exposures, along with research, can help to uncover incredible original color schemes and decorative designs. Paint restoration can help to return the original color and appearance of a building, which is an essential part of preserving its historical character. By uncovering and restoring these colors and designs, we can honor the architectural style and design of the past and maintain the building’s cultural value.

St. Patrick’s Cathedral before (left) and after (right) restoration of the original paint color scheme.

Apart from the aesthetic benefits, paint restoration can also help to protect and preserve the building’s structure. Environmental factors such as weather and moisture can cause damage to the building’s exterior and interior. These areas of failure can vary in severity, and can include such issues as flaking paint, craquelure, canvas tears or delamination, staining, efflorescence or water damage. Water damage specifically can cause major problems for not only the paint layers, but also the underlying structure. Catching these issued early can help prevent extensive damage, and paint restoration can help to repair and prevent such damage, protecting the building’s structure and extending its lifespan.

Senate Paint delamination in need of Paint Restoration

Paint delamination at the Virginia State Capitol

Historic buildings also provide economic benefits to the community. Maintaining and restoring them can attract tourists, investors, and donors, contributing to the local economy’s growth. A well-maintained building also sends a positive message to the community, creating a sense of pride and admiration. It also improves the overall image of the organization or business that the building represents, showing that it cares about its heritage and the community’s development and cultural environment. Different types of buildings can benefit from paint restoration in their own ways. Paint restoration in religious establishments, educational institutions, and civic buildings can provide a renewed sense of history and heritage, and help to connect the people who live and work there to the historical importance of the structure.

Paint exposures (left) and the restored original paint scheme and designs (right) at the Grant County Courthouse.

For building owners, maintaining the historical charm and beauty of their property is no easy feat. However, paint restoration is a simple yet powerful way to preserve their building’s history and appeal. By using high-quality materials and techniques such as traditional paint coatings and techniques, paint restoration can be an effective and long-lasting way to maintain the building’s historic charm for future generations. Furthermore, paint restoration can attract people who appreciate history and architecture, increase donor contributions, and boost business for properties with commercial intent. A restored exterior or interior can help attract customers and make an excellent first impression if the building is used for commercial purposes. Similarly, it can also attract new tenants and enhance the overall value of the property.

If you are the owner of a historic building, you know that starting the preservation journey can be difficult and feel daunting when attempted alone. That is why we always recommend contacting an experienced conservator to perform the appropriate tests and repairs to ensure the highest quality work is completed and the building’s historical integrity is maintained. Our team consists of highly skilled conservators that are knowledgeable about the entire paint restoration process. If you or someone you know is in need of paint restoration services for their historic building but does not know where to start, please reach out or request a consultation to be connected with one of our knowledgeable preservation professionals.

Canning C

March 09, 2023

Featured Projects

Virginia State Capitol Restoration

Our artisans were entrusted with the restoration and conservation of historic decorative painting and gilding originally designed by Thomas Jefferson.

Cathedral of St Patrick after restoration

Cathedral of St. Patrick

Historic paint analysis uncovered the original church decoration which was restored for 22 fine art murals and a series of simulated stained glass windows.

Grant County Courthouse

Grant County Courthouse

Through a competitive bid process, John Canning & Co. was selected by Miller Dunwiddie and Grant County to complete the preservation and restoration of interior decorative elements on the second floor of the Grant County Courthouse.

Historic Paint Investigation Guide
John Canning & Co. Resources

As a conservation studio and restoration contractor, our team of highly skilled craftsmen, artisans, and conservators are experienced in the use of traditional methods and materials. We understand the importance in sharing our expertise and knowledge in our field.

Check Out Our Historic Paint Investigation Guide