Back
KSU Mural Paint Consolidation
Home | What's Going On | Blog

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.

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 murals.

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.
Home | What's Going On | Blog

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

Canning 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 Canning 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 Canning 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

Canning 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 Canning.

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 Canning can be of assistance.

Home | What's Going On | Blog

Pugin’s Lettering in Principle and in Practice at the Basilica of the Sacred Heart of Jesus

In 2023 Canning Liturgical Arts conserved and restored the interior decorative program of the Basilica of the Sacred Heart of Jesus in Hanover, PA. [See the Basilica’s portfolio and our three-part series on the history and artistic context of the Sacred Heart decorative program.] While this work was taking place, a sign board proclaiming the history of the building was found in a barn on the property. Despite sitting on a dirt floor for decades and its worn and damaged presentation, John Canning, founder of John Canning & Co., was immediately impressed by the skillful hand lettering of the unknown artisan. He was drawn in particular to the alphabet design, which he recognized as one advocated by the nineteenth-century English architect and theorist Augustus Welby Northmore Pugin (1812-1852). Canning appreciated this old sign as an important relic of the Basilica’s history and worthy of restoration to match the church interior.

Basilica Sign before restoration

Original Conewago Chapel Sign Board

Close-up of in-painting and reconstructing of faded and damaged lettering on Chapel Sign Board

Close-up of Jacqueline Canning Riccio in-painting and reconstructing of faded and damaged lettering on Chapel Sign Board

Measuring approximately 55” x 108”, the sign board is made of plywood and framed with a solid hardwood molding. It was originally primed, undercoated, and finished with linseed oil and lead paint in off-white. The lettering was hand-painted using a chisel-edged sable hair brush. A lead-based paint in black was used for the bulk of the text and three primary colors plus green for the initials. The presence of lead paint suggests that the sign board was made c. 1962-1970. Conservation treatment included repair to the frame, cleaning and repainting of the background, and in-painting and reconstructing of faded and damaged lettering.  Jacqueline Canning Riccio and Zoe Riccio, daughter and granddaughter of John Canning, were called upon for this task. Their expert brushmanship and attention to detail in the required conservation treatments are evident in the elegance and precision of the final presentation of the restored sign board.

 

Basilica Sign After Restoration

Conserved Original Conewago Chapel Sign Board -Present Day: Basilica of Sacred Heart of Jesus

 

Conewago Chapel Plaque

Basilica of Sacred Heart of Jesus Plaque

The inscription largely corresponds to that on a bronze plaque that is presently displayed on the church façade. It traces the history of Sacred Heart from the earliest Jesuit mission to the Conewago Valley in c. 1730; to the original log chapel built in 1741; to the present stone church built in 1787; and finally, to the conferral of the honor of minor basilica in 1962. Since much of the damage to the sign board suggests that it was exposed to the elements, it is very possible it once hung on the façade of the church and when it became too dilapidated for continued display, the brass plaque was installed to replace it.

Pugin’s alphabet

Pugin’s alphabet

The Gothic style of lettering used on the sign board is derived from an alphabet of letters used in the 13th and 14th centuries and published in Pugin’s Glossary of Ecclesiastical Ornament and Costume (1844). Intended as a sourcebook for artists and craftsmen, the Glossary included color plates for the express purpose of imitation by hand. (The alphabets published in the Glossary were never translated into a typeface for metal type reproduction.) With their gentle organic serifs and bold, flat colors, the lettering style expressed what Pugin had admired in medieval paving tiles and Turkish rugs: nature as an abstract play of pure forms. (See E.H. Gombrich, The Sense of Order: A Study of Psychology of Decorative Art, Cornell UP, 1984, p. 34-37.) Adopted by both the Anglican and Roman Catholic churches in their architectural ornamentation and decorative arts, variations of this alphabet can be found in monograms and inscriptions in polychrome plaster, wood, stone, metalwork, and embroidered fabrics. Indeed, Canning himself worked on restoring Pugin-inspired monograms here in Connecticut, including the ceiling bosses in the nave and aisles of St Patrick’s Cathedral Norwich (1871-1879), the Trinity Shield in the Our Mother of Perpetual Help Chapel at Thomas Aquinas College (1909), and the Trinity Shield in the Battell Chapel at Yale University (1874-76).

St Patrick’s 2013 restoration, ceiling bosses

St Patrick’s Cathedral 2013 restoration, ceiling bosses
(Left) Yale University’s Battell Chapel 1987 restoration, Trinity Shield (Right) Thomas Aquinas College, Our Lady of Perpetual Help Chapel 2021 beautification, Trinity Shield

The influence of Pugin on the Basilica sign board was profoundly compelling to John Canning. As a young boy growing up in Glasgow, Scotland, Canning’s school, St Alphonsus, was designed by Pugin sometime in the 1840s, and his parish church, also St. Alphonsus, was designed by Pugin’s son Peter Paul Pugin in 1905. From the age of sixteen, Canning undertook a five-year apprenticeship as a church decorator. Sign writing was both a part of his training and a part of the cultural climate in which he worked and lived. Meticulous and beautiful hand-produced signs for shops and pubs and reverse glass painting on store front windows encouraged in Canning an appreciation for the craft and a fascination with the Victorian aesthetic that influenced these designs. Most importantly, he was attracted to the artistic principles of Pugin and his contemporaries that informed all the work he saw around him.

“That art has its fixed principles, any departure from which leads to inconsistency and unmeaning effect, is a truth never to be lost sight of.”

This foundational maxim published by Pugin in his Introduction to the Glossary became a guiding light for Canning and eventually for the business he built, John Canning & Co. In viewing the Basilica sign board, he could see the “fixed principles” of sign writing that he had learned in his apprentice days applied with elegant precision:

(1) Lettering should be easily read, devoid of embellishments that detract from its legibility;
(2) Lettering must be well-shaped, well-spaced, and have good tonal contrast to its background;
(3) There should be good layout of marginal space;
(4) Execution should be clean with sharp edges, the layout centered and well-balanced.

In adhering to these age-old principles, the unknown sign writer had produced a sign that in Canning’s estimation is both “appropriate and exquisite.”

However, before the meticulous craftsmanship and the thoughtful application of principled design, the Basilica sign writer made an important and seemingly unexpected aesthetic decision: to use Gothic lettering for a building that neither in its architecture nor its decoration has an affiliation with that style. Neither the Federalist exterior of restrained and largely unadorned red brick nor the interior decorated with a complete Italian Baroque-revival program evokes the Gothic. Yet this inconsistency of style is not problematic when considered in the context of the point and purposes of architectural inscriptions, specifically those adopted by Pugin.

In her article “Engaging the Mind’s Eye: The Use of Inscriptions in the Architecture of Owen Jones and A. W. N. Pugin (Journal of the Society of Architectural Historians, vol. 60, no. 2 (June 2002): p. 158-179), Carol Flores describes three functions of architectural inscription: the presentation of information about the building; the enhancement of the aesthetic impact of the building; and the evocation of particular associations. (Flores p. 158-159) The Basilica sign fulfills the first pragmatic function as its inscription is a summary of the history of the church, culminating with its distinction as a minor basilica in 1962. It also accomplishes the second aesthetic function by the controlled beauty of design and execution noted by Canning. Owen Jones (1809-1874), a contemporary of Pugin in architecture and design, noted how calligraphy in Islamic cultures was valued for the beauty of its form. (Flores p. 161) So too the Basilica sign with its delicate letterforms would have once served as a visual delight on the austere red brick façade of Sacred Heart. Finally, the Basilica sign achieves the third philosophical function as the use of Gothic lettering itself – before and separate from the meaning of the text – conveys the experience of sacredness in the eye of the viewer. (See Flores p. 176 for a discussion of perception and ornamental inscription as described in Oleg Grabar, The Mediation of Ornament, Princeton UP, 1992.)

The notion that “Gothic is Christian” was vehemently asserted by Pugin. Having entered the Catholic Church in 1835 at the age of 22, he promoted artistic theories marked by the passion of the convert. In his deeply polemical work Contrasts (1836), the medieval period, stood as the ideal model of an age of good design resting on a foundation of religious feeling. He argued that the age of the Reformation, by contrast, brought about a decline in the arts as a result of a general societal spiritual decline. Styles that were expressive of what he called “paganism” or “Italian paganism” were deemed unsuitable for Christian art and architecture, and to favor Gothic was a “principled choice” that arose from true Catholic feeling. (Phoebe Stanton, Pugin, Thames and Hudson, 1971, p. 92.) Indeed, as Cardinal John Henry Newman (1801-90) reacted to Pugin’s intolerance to any style other Gothic: “The Canons of Gothic architecture are to him points of faith, and everyone is a heretic who would venture to question them.” (Quoted by Nikolaus Pevsner, Preface to Stanton, p. 7.)

Since the publication of Contrasts, Gothic has been firmly identified with Christianity. (Gombrich, p. 216) The Basilica sign writer, in choosing Gothic lettering, made that association visually apparent. Even before reading the content of the inscription, the viewer is put in mind of the sacred and of the deep history of the Church, a history that can be traced centuries earlier than the first mission to Conewago. And so despite – or in spite, as Pugin might have had it – the “pagan” Roman interior and the Federalist exterior of the Basilica of the Sacred Heart, the Gothic style employed on the sign board is, in fact, remarkably appropriate.

With the rapid technological transformations of the graphic design industry, sign writing as an art has largely been lost in the last 40-50 years. The Basilica sign board is, therefore, not only an artifact of the church it celebrates but also a testament to the skills and expertise of craftsmen of a bygone era. Thanks to John Canning’s discerning eye and passion for restoration, the Basilica sign board has been rescued from neglect and its place in the history of Catholic Conewago as well as the history of design is preserved for generations to come.

Written By Amy Marie Zucca, Ph.D.

Art Historian

Amy Zucca is the resident art historian for John Canning & Co. and Canning Liturgical Arts. With a doctorate in art history and a specialization in the Italian Renaissance, Amy brings historic insight to our projects, new art commissions and design work for the company.  If you have a painting you’d like to have evaluated for its historic significance or are interested in commissioning artwork for your sacred space, please contact Amy directly at amy@johncanningco.com.

Home | What's Going On | Blog

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.

Home | What's Going On | Blog

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.

Home | What's Going On | Blog

The Objectivity or Subjectivity of Beauty

The question of whether beauty is objective or subjective remains a contentious and deeply personal debate. The words truth and goodness are often paraded along with beauty to affirm its place among the objective. While the subjective approach finds public life, experience, and taste are far too diverse to settle on a single “correct” version of beauty and therefore, surely its definition belongs to the eye of the beholder. In the world of art and architecture, the controversy relating to this question rests not only in the argument itself, but even more sensitively on the very definition of art. What makes something art? Can anything be art?

The ancient Greeks understood beauty as a kind of spiritual entity that indicated a higher order. According to Plato, beauty played an active role in the development of the human spirit and in making an ideal real. He writes in the Symposium, “Beholding beauty with the eye of the mind, he will be enabled to bring forth, not images of beauty, but realities, and bringing forth and nourishing true virtue to become the friend of God and be immortal, if mortal man may.” Beauty retained a spiritual approach from the birth of philosophy in ancient Greece until the age of the Scientific Revolution and the Age of Enlightenment.

 

Aphrodite Head, 3rd Century         The Birth of Venus, Botticelli, 1485-86       Venus and Cupid, The Honey Thief, Picasso, 1960

Between a scientific rationalization of the natural world and the elevation of human emotion during the Romantic Period, a manifestation of Enlightenment ideology, art began to shift from aesthetic beauty to the purity of individual expression and emotion. This change reversed the relationship between art and beauty. Art, once a skill in service to beauty utilized to unlock the transcending graces of a higher realm, became a thing unto itself, unbeholden to beauty. Today even skill is unnecessary to the creation of art, only expression is required. This approach to art focuses on the randomness of life. It insults human ability and creativity by requiring none. It abandons the human soul and imagination in preferring ugliness and monotony to the sacred existence of beauty. Art of this kind is only diverse in so far as it refuses to give merit to its creation.

Franz West Exhibition, 2019, Tate Modern, London

The Romantic Movement reduced the concept of art to expression and the modernists collectively distilled it into anything and nothing at all. This approach has deliberately attempted to do away with the ancient understanding of art, the way many have done with religion, as explained by Marcel Duchamp in a 1968 BBC interview. The champions of modernism may believe this approach has conquered beauty, but it is exactly there where the answer to the folly may be found. These artistic movements of the late millennium have only been successful in redefining the meaning of art by deterring creativity.

The Visionary Ecstasy of Death, Bernini, 1674 Fountain, Marcel Duchamp, 1917

Perhaps as a result of our highly scientific culture, all things have come to demand a kind of material means of measurement. Unlike the cultures of the past, the wondrous and indescribable, previously attributed to the divine, are now inferior to that which may be proven in a laboratory or by a research panel. So, when a thing cannot be measured scientifically or reproduced by a formula, it is found to be subjective. It is impossible to prove or determine the limitations of beauty by a standard of measurement. As a result, beauty has been deposed by the sterility of technicalities and reclassified into oblivion by relativism.

But maybe the whole argument of whether beauty is either objective or subjective is wrong altogether. It would seem that beauty is neither free from the opinions and feelings of humanity nor wholly dependent upon them. Truely beauty cannot be contained, formulated, or defined. So the real question is, does it exist? Is it even real? I dare say it does and I believe most all would agree, for all have encountered beauty in one way or another. The vastness of the experience of beauty ranges from a summer storm and the spires of a cathedral, to the touch of a baby’s hand and the sorrow of a funeral march. It captures the heart and mind in perfect contentment. Beauty is to be found in hope and love, pain and loss. Experiences of beauty are extremely varied and diverse, but consistent in the majesty, wonder, and peace blessed upon the individual. In beauty there is confirmation in sorrow and affirmation in joy. These encounters with beauty make individual experience relatable to others and life itself, worthwhile. Perhaps most importantly, when something is beautiful it elevates human existence to a higher good.

Perfect beauty is unwanting; requiring neither addition nor subtraction to improve. And though there is no formula for the creation of the beautiful, those things designed with fitness, proportion, and harmony result in a state of repose (Owen Jones, Grammar of Ornament, Proposition 3). An impressive guide to architecture and decoration was written by 18th century architect and designer, Owen Jones. His book, The Grammar of Ornament, contains 37 propositions for the construction of architecture and ornament as well as various styles of decoration. The origin of these proportions is found in the natural world and historically, the building materials were also familiar to the region. In this way, construction and artistic expression are manifestations of observations made in the natural world, glorified by human creativity, and designed to inspire.

Created things must be proportional to that which they represent, therefore a church, destined from conception as a sacred monument, must be a material expression of the beauty it aims to impart in the teachings of tradition and faith. For this reason, beautiful and cool are not interchangeable since cool is lacking in the sacred mystery bound up in the beautiful. “Hence beauty consists in due proportion; for the senses delight in things duly proportioned, as in what is after their own kind—because even sense is a sort of reason, just as is every cognitive faculty. Now since knowledge is by assimilation, and similarity relates to form, beauty properly belongs to the nature of a formal cause.” (Thomas Aquinas, Summa Theologica I, Q. 5, Art. 4)

St. Francis de Sales, North Shores, MI, Marcel Breuer, 1950  St. Mary Church, Boston, MA, Patrick Keely, 1882

As an example, the two churches featured here depict interiors with high ceilings, relatively simple color palette, and a feeling of magnitude. There are many differences but perhaps the most overwhelming is the direction of the energy in the architecture and decoration. The attenuating forms at St. Mary Church draw the eye upward in comparison to the downward direction in the design of St. Francis de Sales. The heavy manner and ordinary material of the modern church offer little redemption for the soul of humanity. While St. Mary takes the ordinary, wood, plaster, stone and glass, and transforms them into something extraordinary. The warmth of the carved wood, the soft light of the palette, and the stories illustrated in the windows, not only satisfy curious eyes but also creates a place in the world that both literally and figuratively represents a higher good. St. Mary’s appeals to the intellect, the heart, and curiosity subsequently providing the human being with a sense of belonging.

No quantifiable proof of beauty is required to know that it exists everywhere: in everyday life, the faces of those we love, in awe of great art, even in tears. Humanity yearns for the extraordinary and finds peace in wonder. Beauty makes us come alive, it dignifies humanity beyond the physicality of nature and gives purpose to life through inspiration and redemption. In this way, beauty is transcendent, as if emitting golden rays of warm sunlight from moments, objects, persons, and beliefs. It is therefore impossible to avoid the spiritual existence of beauty, as described by the ancients, since it is evident yet intangible.

Home | What's Going On | Blog

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.

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.

Hamilton smith - flaking

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.

fineart-conservator

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.

Home | What's Going On | Blog

7 Painting Techniques Leveraged in American Historic Buildings

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.

Canning regularly leverages these seven decorative painting techniques in American historic buildings:

1) Stenciling

Formed from paper, mylar, or lead foil, a stencil consists of a cut-out pattern or pierced design that is used to replicate a design or pattern. This decorative painting technique creates a superimposed painted image or pattern to reach specific areas determined by the stencil. Artwork in stencils can range from simple lettering and patterning to very ornate and complex designs. Stenciling is a practical technique for producing elegant designs to help reinstate and create decoration for historic buildings.

Courthouse restoration

Theodore Levin Court House – Detroit, Michigan

2) Trompe L’oeil (aka Illusionistic Painting)

Typically, the use of decorative painting within historic building interiors is found on ceilings and walls. Many trompe l’oeil decorative designs are placed on ceilings to give a continued vertical appearance within a building. This illusionistic style draws the eye seemingly beyond the limits of the physical building. Trompe l’oeil, French for “trick the eye”, creates an illusion of depth and dimension through shadowing. Grisaille, a type of trompe l’oeil, uses a monochrome shading technique to create decorative effects.

Basilica of St. John the Evangelist

Basilica of St. John the Evangelist – Stamford, Connecticut

3) Striping

Whether part of an original design or integrated into a design project due to the undiscoverable historical paint, striping is a decorative painting technique where straight painted lines are laid using a beveled edge and rigid striping brush. These tools prevent raised edges and dripping, granting the artisan fluidity in making long, straight lines. When restoring the Central Tower within Trinity Church some decorative artwork was beyond conservation, so Canning reinstated it with stenciling, striping, lettering, and gold leafing.

Trinity Church

Trinity Church – Boston, Massachusetts

4) Marbleizing

Commonly known as simulated stone, marbleizing is the decorative painting technique considered when original stone cannot be sourced due to cost, availability, or unsupported structural design within the building interior. This technique can be applied to a variety of substrates. During this multi-step process, a variety of finishes get applied to the substrate by a craftsperson educated in the nature of the stone to produce the desired results. Another faux marbling technique, scagliola is a complex process that is used to imitate marble through attentive craftsmanship and skill. An artisan can beautifully mimic the look of fine marble and stone by layering pigmented layers of plaster.

An example of the marbleizing technique can be seen in Canning’s work at the National Building Museum in Washington D.C. These 75-foot columns were built with 70,000 bricks, framed, and covered with smooth plaster and painted to resemble marble in 1895. After preparing mock-ups to develop color, vein and historic accuracy of the marble, Canning carried out a five-step process to marbleize these columns. The process included application of primer, application of a ground coat, application of a semitransparent glaze, large scale & detailed veining, and an application of semi-gloss varnish.

National Building Museum

National Building Museum – Washington, D.C.

5) Glazing

This decorative paint technique not only helps preserve layers of paint, it allows for paint layers to radiate with more detail. The technique of glazing is used to deepen the pigment color creating warm or cool hues in a controlled application. This application can range from three to thirty coats depending on desired finish. A decorative technique of glazing called strié mimics aged paint altered by dust and sun, creating a stripe and plaid effect.

Another technique that uses both glazing and scumble is faux Gustavino tile. This tile system technique is formed by architecturally vaulted, self-supporting layers of terra cotta tile, mortared in a herringbone pattern. Scumble uses thinned opaque paints over an opaque paint basecoat to enhance aesthetic unity, using light and shade within a space. To achieve the faux Gustavino tile within projects like Boston Public Library, the tiles were finished with scumble, glaze, and crazing varnish.

Mohegan Sun

Mohegan Sun Casino – Uncasville, Connecticut

Boston Public Library

Boston Public Library – Boston, Massachusetts

6) Faux Bois / Woodgraining

This cost-effective decorative painting technique 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 Canning has successfully crafted from our archives.

Michigan State Capitol

Michigan State Capitol – Lansing, Michigan

7) Simulated Mosaic

Some architectural designs use a multitude of decorative painting techniques in the process of restoration, conservation, and preservation. Simulated mosaic is skillfully crafted using paint shadowing to create an illusion of small stone pieces. This work is then finished using glazing, gilding, and stenciling to reach the desired outcome.

First Church of Christ Scientist

First Church of Christ Scientist – Boston, Massachusetts

Choosing the Correct Paint Technique

Before determining which decorative painting technique to use in a historic building restoration, preservation, or conservation opportunity,  Canning performs a paint investigation inclusive of a historical paint analysis. Historical paint analyses can range from a single layer paint exposure to a multi-layer paint sample. Any form of paint removal should always be done by hand to mitigate risk of removing more than desired when determining the next steps in the restoration, preservation, or conservation opportunity. Paint exposures require very delicate handling as multiple historic paint designs may lie beneath. Paint exposures are used to reveal the hand of the artist and what decorative paint techniques might have been used. Collecting a paint sample entails removing multiple layers of paint including the substrate the paint has been applied to. These layers are then assessed under intense microscopy – optical, fluorescent, polarized – or spectrometry magnification to determine the different paint layers, pigments, and compounds within the historical paint. The paint analysis process involves historic materials archival research, on-site investigation, scientific analysis, and a final interpretation report.

Conclusion

Paint color is a simple, direct expression of specific time, taste, values, and mood. To consider paint only as a protective coating is to misunderstand its meaning as an important aspect of America’s heritage.  Canning’s artisans have decades of collective experience and expertise to deliver the highest quality craftsmanship when it comes to decorative painting and finishes restoration. Through the use of traditional methods and materials, Canning is carrying forward the painting techniques of the past. Often building owners are unaware of the original decorative paint designs that exist within their structures until a historic paint and finishes analysis is completed. Plan the next restoration, preservation, conservation project with Canning. We pride ourselves on Perfecting Preservation.

Home | What's Going On | Blog

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.

Home | What's Going On | Blog

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.

 

500 BLOG 7 Types Paint Failure RL Plgrm Hall Museum

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.

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. 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 o 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. - Crazing o 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 o 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 o 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 o 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 o 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 o 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.

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

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.

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.

December 05, 2023

Featured Projects

Virginia State Capitol

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

Canning Liturgical Arts Guide

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.

Download The Guide