George Douglass House Paint Report

Historic Paint Finishes Study: The George Douglass House The original finishes of the First Floor Hall and Staircase Conducted at the Request of Mr. Laurence Ward, Preservation Project Coordinator 425 Museum Road West Reading, Pennsylvania 19611 By: Matthew J. Mosca Historic Paint Finishes Specialist Artifex, Ltd. 2641 North Charles Street Baltimore, Maryland 21218 Date: 15 May 2012 Table of Contents Introduction 3 Technical Program 4 Note regarding the printed photomicrographs 5 Locations of the Paint Samples 6 Examination of the Samples: photomicrographs 10 The First Finish: finishes of ca. 1765 29 View of the Continuous painted baseboard on the Staircase 33 The Continuous painted baseboard 36 The Second Finish Period 37 Exposure of Graining 38 The Second Finish Period (probably late 18th century) 40 Restoration painting: over-painting the second finish (Suggested system of painting to restore the first finish) 43 Recommended gloss level 43 Clear glazing 43 Color Standards: CIE Lab coordinates, Hunter Lab 44 Color Standards 46 Addendum: Second finish period graining Addendum: Note on the plaster: Suggested lime whitewash Introduction Samples were collected from the Hall (or Center Passage) of the George Douglass House, dating to ca. 1765. While the Douglass House has suffered some changes and damage over time, the remaining woodwork is outstanding, illustrating the boldness of the mid-eighteenth century finish carpentry. Most of the Hall is intact. The dado shows, in part, a curious layout of finishes: note the illustration below, of the staircase dado, with a graining finish on the panels, but also on the stiles, connecting the panels. This is part of the second finish period, which may date to the end of the eighteenth century. Stair Landing: The varnish coating on the "graining" has been recoated (late nineteenth century, or early twentieth century?) which was not well executed. The painted surfaces of the dado have been repainted repeatedly. The original finish, dating to the period of construction, is exceptionally compelling and instructive. The issue of showing some of the second finish, with its interesting graining will be a point of interpretation and decisions. Technical Program Note: The following is the procedure that is generally followed for museum quality paint finish examination. The identification of the pigment components is among the most important parts of the process. 1. Collection of Materials Samples were taken from the subject areas to determine the first and second finishes used on the woodwork of the specific sites. Two types of samples were sought: for stratigraphy (dating) purposes, and agglomerations of paints (drips) to aid in color and pigment identification. 2. Exposure of Finishes: Exposure of the early finishes proved to be very informative, particularly for the grained surfaces that date to the second finish period. The exposures were photographed and are shown in this study. 3. Stereoscopic and Polarized-light Microscopy, and Microchemistry All samples are examined in cross section and obliquely. When required, the sample may be mounted for thin cutting or polishing. These samples are mounted in Bio-plastic polymer resin, in most cases. The samples are ground and polished for examination using top lighting. Each significant layer of a sample was identified by comparison, for this study, to the Munsell Color System and Benjamin Moore Color Systems, comprising in total of over 7000 color standards, however, the color standards for this study were prepared in the laboratory specifically to match each noted finish. Exposure to full-spectrum or part-spectrum light is used to help reduce the yellowing of oil media. In this case, the original finish showed very advanced deterioration due to a number of factors. Initial stereomicroscopy is accomplished using an Olympus SZ-1145 microscope. Polarized-light microscopy, when necessary, is also undertaken, using the Olympus BMAX-50 microscope. Polarized-light microscopy identifies pigments and media according to the McCrone Research Institute system of particle identification. 4. Photomicrographs: A very important means of recording chromochronological data is photomicrography: print photographs taken through the Olympus BMAX-50 microscope of particularly informative samples. This allows for clear indications of the conditions seen under the microscope, and how the recommendations were achieved. The report includes photomicrographs that are annotated with information in the report. 5. Report: The report brings together all the aforementioned material in a comprehensible manner and includes color samples, photomicrographs, reconstructed finishes and any additional pertinent information, such as that from known documents. Spectrophotometric readings of color standards are also executed to render all standards into the CIE Lab and Munsell System of Color Notation and included in the report. In addition, suggestions for the restoration painting are included. 6. Additional examination Other procedures such as Scanning electron microscopy, Gas-chromatography, Fluorescent microscopy and FT-IR. (Fourier Transform Infrared Microspectroscopy for media examination) may be warranted at a subsequent stage in the examination of the finishes. Before any of these additional means of examination are undertaken, the process will be discussed with the client to determine if the additional cost is warranted. The report has provided the required information for the restoration. It is anticipated that the second floor hall will be examined at some time in the future. Respectfully submitted this date: 16 May 2012 Matthew John Mosca Historic Paint Finishes Specialist Artifex, Ltd. Note Regarding the printed photomicrographs Despite the advances in digital technology, the printed photomicrographs may not show colors accurately. Inevitably, there are color shifts with color photographs in the printing stage. The photomicrographs are excellent indications of the paint layers and other data, but the color standards provided are the accurate indication of the original paint finishes. Sample Locations: 1. Crown molding 2. Door Frame 3. Door, Hall Side Samples from the Dado: Schematic Drawing: Additional Sample: Location 7: Dado Stile, between the panels Location of Samples: Dado Samples from the Staircase Dado (Taken at the landing) Samples From the Stair case structure Other samples from the staircase construction 8. Stair bracket, (bottom) 9. Newel (lower part, painted black) 10. Newel 13. Handrail, lower part Examination of the Samples: Sample 1: Crown Molding Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 3x objective, with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly seen at the base of the sample. The first finish (1) is a combination of yellow ochre and lead white, and this is the best surviving example of this original finish. There is a thin clear coating, a natural resin varnish layer (A). The second finish appears to be made of two paint layers: lead white with prussian blue (2a, 2b). This finish is considerably deteriorated and the prussian blue layer shows fading. There is a third finish (3) a yellowish white. The later finishes are also visible. Sample 1: Crown Molding, Detail Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly seen at the base of the sample. The first finish (1) is a combination of yellow ochre and lead white, and this is the best surviving example of this original finish. There is a thin clear coating, a natural resin varnish layer (A). The second finish appears to be made of two paint layers: lead white with prussian blue (2a, 2b). Note the presence of prussian blue pigment particles (B) of various sizes. This finish is considerably deteriorated and the prussian blue layer shows fading. There is a third finish (3a, 3b) a yellowish white. Some of the later finishes are also visible. Sample 2: Door Frame Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 3x objective, (30x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is not present; the sample has delaminated from the substrate. The first finish (1) is a combination of yellow ochre and lead white, and this is one of the best surviving example of this original finish. There are two layers of the light yellow ochre (1a, 1b). There is a thin clear coating, a natural resin varnish layer (A). This sample shows two finishes of the prussian blue: layer 2 is a combination of lead white and prussian blue, with a thin clear coating (B). This finish of lead white and prussian blue is repeated (3,4). There is a sequence of yellowish white finishes (5, 6). The later finishes are also present. Sample 2: Door Frame Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is not present; the sample has delaminated from the substrate. The first finish (1a, 1b) is a combination of yellow ochre and lead white. The surface has a thin clear coating glaze. Note the two separate finishes of light prussian blue color (2, 3) and the oily coating finish layer (B) that is on the surface of layer 2. This sample retains some of the original character of the paint. Layer 4 appears to be a thin oily finish, made with the same prussian blue coating, but more discolored due to the higher oil content. Sample 3: Door (Hall side) Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly seen at the base of the sample (note the cell structure seen in cross section). The first finish, the light yellow ochre color (1) is clearly seen, as is the clear coating (A). The second finish is the graining finish, which is comprised of a yellow ochre ground (2), the red ochre grain layer (3) and the clear varnish coating (4). A later grayish blue layer (5) appears to have been made with artificial ultramarine blue, which was not produced until 1826 (in France). Sample 4: Dado, Cap (Dado Location 1) Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is not present: the sample has delaminated from the substrate. This is an odd sample, in that it is not consistent with the other samples in that there is evidence of an earlier paint (A) a light pinkish color that is trapped below a thin layer of resin varnish. This has to be considered an aberration as it is not seen on other samples and in this sample the first finish seen on the other samples follows it! The light yellow first layer (1) is followed by the red ochre (2). There is a very thin clear resin varnish layer is seen on the surface (A). There are two applications of the prussian blue color, both of which appear faded. Later white finishes are also visible. Sample 5: Dado Panel (Dado Location 5) Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly seen at the base of the sample. This sample illustrates the typical paint layering: the first finish is comprised of two applications of paint (1a, 1b). There is a thin clear natural resin coating (A) and surface particulate (B). The second finish is composed of a yellow ochre ground coat (2), which is the undercoating for the red ochre (3) and (4) a brownish clear coating. Note the cracks in the paint sequence filled with the subsequent paint (C). Illustration: The present layout of finishes on the staircase dado, at the landing as seen in April 2012. This unusual painting pattern dates to the second finish period, probably from the early nineteenth century. Note; The stiles between the panels were painted to suggest red graining, connecting the panels, creating this striped condition. This may be a unique example. Sample 6: Dado, Stile, (Dado Location 7) Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly present (note the fibers). The first finish is the yellow ochre finish (1), which is followed by the protective layer of the clear natural resin coating (2). The second finish is the graining finish: made with a yellow ochre ground coat (3), the red ochre finish (4) and the brownish clear resin coating (5). This was exposed until over painted with the last layer (6). Note: This is the style between the panels that were grained in the same manner as the panels. This unusual treatment, which is inconsistent with the architecture of the dado, is seen on the staircase dado at present. Sample 7: Dado, Base rail, (Dado Location 6) Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is seen at the base of the sample: note the first layer is the light yellow ochre color (1), which in this location is finished with the black finish paint (2, prepared with lamp black). Note the yellow ochre ground coat and the red ochre finish (3, 4) of the second finish period. This is not consistent, but may indicate a test of painting the entire dado as red graining. The base rail was finished with a second black finish (5); there is a clear resin coating on the surface that may have been added later. Samples from the Staircase Sample 8: Staircase: Bracket, Location 1 Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly seen at the base of the sample. This sample shows the remarkable finish of the staircase: a red ochre (1), which was coated with clear resin varnish (a thicker application). Note the surface particulate (A). There is one layer of the second finish (3). The later finishes are also visible (4, 5, 6 yellowish whites) The later white (7, note the heavy surface particulate at B) and the present light brown (8 or tan). Sample 9: Staircase: Construction, Location 5 Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is not present; the sample has delaminated from the substrate. The first finish yellow ochre is clearly seen (1) with the clear resin coating). There is one very faded example of the second finish (3). Layers 4 through 7 appear to be yellowish white finishes. The later white enamel (8), distinguished by the heavy surface particulate (B) and the most recent light brown (tan) (9). Sample 10: Staircase: Bracket, Location 8 (bottom bracket) Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly seen at the base of the sample. This lowest bracket was painted with the same black as seen on the base rail. Note that the first layer (1) is the red ochre, which was uniformly applied to the staircase construction. The finish is the lamp black (2), which later received a layer of a clear resin coating (3). The white undercoat (4) supports the second dark finish (black 5). A later black finish is also visible (6) and a varnish coating (7). Sample 11: Staircase, Newel (Staircase Location 10) Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly seen at the base of the sample. The first finish is clearly seen (1) made with the red ochre. The final layer (2) of the first finish is prepared with red ochre, in the oil/varnish medium, providing a glossy finish (2). The second finish is the light blue finish (3). The later yellowish white finishes (4, 5, 6) are visible and the later white finish (7) is also visible. ? Sample 12: Staircase: Tread Location 15 Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly seen at the base of the sample. The first finish is the red ochre finish (1a, 1b). The treads may have retained the red ochre finish for a longer period, through the second finish period. The later white finishes (note that they are whiter than some of the other samples, Layers 3, 4). The later white (5, which is layer 7 on most of the samples) is clearly seen followed by the present tan (light brown). Note that there is a clear varnish coating (7). Staircase, dado: Cross section with sample Sample 13: Staircase Dado, (Location 1, Cap of the dado rail) Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly seen at the base of the sample. The first finish shows the typical paint layering: the light yellow ochre finish paint, used here as the undercoat/primer (1). The red ochre (2) is the finish layer and there is a thin clear resin coating (3). The white layer (4) is the undercoat for the second finish. The second finish is made with a yellow ochre (5) ground layer, a red ochre layer (6) and the brownish clear coating. Sample 14: Staircase Dado, Location 3: panel reveal molding Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly seen at the base of the sample. This sample is consistent with the panels of the dado: The first finish is the light yellow ochre color (1), protected by a layer of clear natural resin varnish (2). The second finish begins with the yellow ochre ground coat (3). The red ochre (4) is the finish layer. The brown clear coating (5) is largely of a later date, and poorly executed. ? Sample 15: Staircase Dado, Location 4, Lower rail Photomicrograph: Mounted sample, Olympus BMAX-50 polarized light microscope/ 10x objective, (100x total microscopic magnification) with Nikon D70 digital camera body Lexar Media 1GB flash card Dolan Jenner Fiber optics illuminator, daylight filtering Note: The sample has been mounted in polymer resin, cut and polished to 8000-micron grit polishing cloth for additional examination. The wood substrate is clearly seen at the base of the sample. This is the lower rail, and shows a wide overlay of the red ochre layer of the second finish period. This sample is consistent with the panels of the dado: The first finish is the light yellow ochre color (1), protected by a layer of clear natural resin varnish (2). The second finish begins with the yellow ochre ground coat (3). The red ochre (4) is the finish layer, but the actual finish is the pale blue finish layer (5). ? The First Finish: finishes of ca. 1765 The first finishes of the Hall are very typical of the mid eighteenth century and illustrate the boldness that is seen in the remarkable woodwork. The paint finishes were made with natural ochres of good quality, but not as intense as some examples. These colors were prepared in the laboratory and are special finishes for this project. Douglass Hall Red ochre color Douglass Hall Yellow ochre color Douglass Hall Black All of the finishes, except for the black (continuous baseboard) will be given a coating of a clear glaze, using a non-yellowing acrylic glaze material. 1. Crown Molding: All surfaces: Douglass Hall Yellow ochre Color Clear glaze 2. Door Frame: All surfaces (except for continuous painted baseboard, as noted below) Douglass Hall Yellow ochre Color Clear glaze 3. Door: All surfaces (except for continuous painted baseboard, as noted below) Douglass Hall Yellow ochre Color Clear glaze Dado: Refer to cross section for cut lines 1. Cap; Douglass Hall Red ochre color Clear glaze 2. Moldings: Douglass Hall Yellow ochre Color Clear glaze 3. Rail (typical): Douglass Hall Yellow ochre Color Clear glaze 4. Panel, reveal (typical): Douglass Hall Yellow ochre Color Clear glaze 5. Panel (typical): Douglass Hall Yellow ochre Color Clear glaze 6. Bottom rail; (Continuous painted baseboard): Douglass Hall Black semi-gloss finish Dado: Cross section with color indication Staircase: Staircase Location 1: Bracket Douglass Hall Red ochre Color Clear glaze Location 2: Side nosing Douglass Hall Red ochre Color Clear glaze Location 3: Carriage Douglass Hall Red ochre Color Clear glaze Location 4: Carriage, lower rail Douglass Hall Red ochre Color Clear glaze Location 5: Panel construction Douglass Hall Yellow ochre Color Clear glaze Location 6: Panel Douglass Hall Yellow ochre Color Clear glaze Location 7: Bottom rail (Continuous painted baseboard): Douglass Hall Black gloss finish Location 8: Lowest bracket: Note this element is painted as part of the continuous painted baseboard: Douglass Hall Black, gloss finish Location 9: Newel: Lower part: this is painted as part of the continuous painted baseboard: Douglass Hall Black, gloss finish Location 10: Newel: Douglass Hall Red ochre Color Clear glaze Location 11: Riser, Douglass Hall Black, (semi-gloss finish) Location 12: Tread, front nosing and molding under the tread Douglass Hall Red ochre Color Clear glaze Note: Refer to illustration below, Riser molding detail Location 13: Handrail (upper part, not painted) lower part Douglass Hall Red ochre Color Clear glaze Location 14: Baluster Douglass Hall Red ochre Color Clear glaze Location 15: Tread Douglass Hall Red ochre Color Clear glaze View of the Continuous painted baseboard on the Staircase Note: The original finish would have followed the same cut line between the paint finishes as seen below. ? Staircase Dado, Cross section with colors: Staircase Dado: Location 1: Cap of Dado Douglass Hall Red ochre Color Clear glaze Location 2: Molding, rail Douglass Hall Yellow ochre Color Clear glaze Location 3: Panel, reveal Douglass Hall Yellow ochre Color Clear glaze Location 4: Lower rail Location 5: Lower rail Douglass Hall Yellow ochre Color Clear glaze Location 6: Base Molding Location 7: Base Fascia Douglass Hall Black, (semi-gloss) The Continuous painted baseboard The Douglass House Hall retained the use of a continuous painted baseboard, in black during the first and second finish period, as well as later in the paint sequence. Some of the later black baseboard finishes are still exposed. The continuous painted base continues at the height of the bottom rail (4 ¾" approx.) going across the door frames and the lower rail of the door. The Second Finish Period As seen in the cross section examination, the second finish was the period when the rudimentary graining was executed. Much of this graining has been covered with a sequence of a dark resin varnish layer, most recently poorly applied. This over-coating is relatively easily removed disclosing the original surface. Note that the graining is seen on the Doors (Hall side) and on the Dado. It would be possible to devise a system to show some of this finish period as well as the first finish period (i.e. one door and some of the dado above the first landing of the staircase). The other woodwork finish was a light prussian blue color, and a lamp black color, virtually identical to the first finish Douglass Hall Black. Note: the cap, panel and stile between the panels show the red "graining" finish. The surfaces that at present appear tan were painted a light prussian blue color. The base fascia was painted black. The Second Finish Period: Exposure of the graining The graining is a rudimentary type, showing a red layer that is nearly opaque and the "inlay line" seen on the panel of the Door, below. ? Second finish Exposure on the landing Note: The exposure, A shows opaque paint (the first finish, the light yellow ochre is most clearly seen), during the second finish period this was a light prussian blue color (very faded). Exposures B show the red graining and the "inlay line effect." Second Finish Period: (probably late 18th century) Crown Molding: Douglass Hall Light Prussian blue Clear glaze Door Frame: Douglass Hall Light Prussian blue Clear glaze Door: Red graining with "inlay line" refer to on site exposures Dado Cap: Douglass Hall Light Prussian blue Clear glaze Dado Panel, Dado stile, between panels: Red graining with "inlay line" refer to on site exposures Dado: Base rail: Douglass Hall Black, semi-gloss (continuous painted baseboard) Staircase: Location 1: Bracket Douglass Hall Light Prussian blue Clear glaze Location 2: Side nosing Douglass Hall Light Prussian blue Clear glaze Location 3: Carriage Douglass Hall Light Prussian blue Clear glaze Location 4: Carriage, lower rail Douglass Hall Light Prussian blue Clear glaze Location 5: Panel construction Douglass Hall Light Prussian blue Clear glaze Location 6: Panel Douglass Hall Light Prussian blue Clear glaze Location 7: Bottom rail (Continuous painted baseboard): Douglass Hall Black semi-gloss finish Location 8: Lowest bracket: Note this element is painted as part of the continuous painted baseboard: Douglass Hall Black, (semi-gloss finish) Location 9: Newel: Lower part: this is painted as part of the continuous painted baseboard: Douglass Hall Black, (semi-gloss finish) Location 10: Newel: Douglass Hall Light Prussian blue Clear glaze Location 11: Riser Douglass Hall Light Prussian blue Clear glaze Location 12: Molding under the tread Douglass Hall Light Prussian blue Clear glaze Location 13: Handrail (upper part, not painted) lower part Douglass Hall Light Prussian blue Clear glaze Location 14: Baluster Douglass Hall Light Prussian blue Clear glaze Location 15: Tread: no second finish present, possibly indicating carpet runner Staircase Dado: Location 1: Cap of Dado: Note the dado cap is finished with the red graining. This is not the same as the dado cap in the Hall, which was painted the light prussian blue color Red graining with "inlay line" refer to on site exposures Location 2: Molding, rail Douglass Hall Light Prussian blue Clear glaze Location 3: Panel, reveal, Panel Red graining with "inlay line" refer to on site exposures Location 4: Lower rail Location 5: Lower rail Douglass Hall Light Prussian blue Clear glaze Location 6: Base Molding Douglass Hall Light Prussian blue Clear glaze Location 7: Base Fascia Douglass Hall Black, (semi-gloss) ? Restoration painting: Overpainting of the second finish Note: Since the first finish is likely to be the principal finish for restoration, the majority of the second finish this can be accomplished while protecting the graining by using an intermediate separation layer: Soluvar conservation varnish. This can be applied and then an entirely latex acrylic paint system (primers and finishes) would be applied to the surface in the first finish color. All of the new paint that is applied should be latex-acrylic based paint. The primer should be a type of acrylic primer that is designed to be applied over oil based paints. The attraction of the acrylic paints is that they are more easily removed. All of the paint finishes should be matched to the Special color standards that are provided. One of the two sets of the color standards may be taken to a premium paint supplier and matched to their paint. All of the paints should be examined in natural light (dry to dry). Recommended gloss level: Black finish: Suggested finish, semi-gloss All other paint finishes: Eggshell finish The first finish showed the use of a separate clear glaze. This may be replicated as follows: Clear glazing: In order to replicate the clear natural resin varnish used in the eighteenth century, a layer of a modern acrylic full gloss glaze may be applied. The acrylic material that is suggested is Liquitex Gloss Medium and Varnish (acrylic polymer emulsion), in a 1:1 combination with distilled water. The result is an excellent replication of a clear natural resin varnish. The clear glaze should be applied with natural bristle flat brushes. Flat brushes were used historically for varnishing, round brushes for painting. All of the first finish paints were coated with the clear glaze, except for the black of the continuous baseboard. This finish had sufficient oil/varnish content to create a glossy surface (Suggested modern finish: Semi-gloss). Color standards: CIE Lab coordinates, Hunter Lab CIE is the abbreviation for the Commission Internationale de l'Eclairage the French title for the International Commission on Illumination, which devised the CIE Lab system in 1931. It is devoted to standardization in illumination and related areas that include color. The spectrophotometer registers color standards into a system of measuring color devised in 1931 known as CIE Lab (pronounced See-lab). CIE Lab is a uniform (opponent color scale) color space in which colors are located within a three dimensional rectangular coordinate system. The three dimensions are Lightness (L*), redness/greenness (a*) and yellowness/blueness (b*). CIE Lab is part of current CIE recommendations. In addition to the CIE Lab coordinates, the Hunter Lab numbers are also provided. These are based on developments undertaken by Richard Sewall Hunter (1909-1991) who developed a different means of identifying color. The Hunter color space was an effort to regularize the color space: the L axis represents lightness/darkness, with absolute white at 100 and absolute black at 0. Note the drawing below that shows the means of locating any color within the Hunter color space. On the L* a* b* color model, where a* and b* are zero (point where the axes cross), the color is gray. Gray is without chroma (i.e.: saturation of color) and has undefined hue. Moving out from gray in any direction, the color increases in chromatic strength. Hue becomes defined by the angle of departure, as noted below, from a+ that is set at 0 degrees. The distance moving out from the L axis is C* ; the angle of departure is h degrees. All of the Spectrophotometric readings are done with the X-Rite SP-62 Sphere Spectrophotometer, Designated observer 2 degrees, Illuminant C. Illuminant C is a mathematical representation of filtered tungsten halogen (daylight). The color temperature is 6770K, simulating CIE average daylight. ? Color Standards In the best of all worlds, all of the color standards would have come from one source. Unfortunately, since there are approximately ten million colors that can be distinguished by the human eye this is not always possible. Because of the X-Rite SP-62 Sphere Spectrophotometer, it is possible to use all sources of color standards and to read these into the CIE Lab, Hunter Lab and Munsell Color Systems. As it turned out, the color standards were made from stable acrylic materials in the laboratory. Two sets of the color standards are provided: one set should be retained in the report, and should remain in the offices of the Historic Preservation Trust of Berks County. Color Standards: George Douglass Mansion First Finish Ca. 1763-1765 paint finish Special Standard: Douglass Hall Yellow ochre color CIE Lab coordinates Designated observer 2 degrees Illuminant C L* = 62.54 a* = 5.87 b* = 21.08 Hunter Lab: L* = 62.54 C*= 21.88 h degrees = 74.45 Munsell Conversion Number: 8.81YR6.08/3.51 Color Standards: George Douglass Mansion First Finish Ca. 1763-1765 paint finish Special Standard: Douglass Hall Red ochre color CIE Lab coordinates Designated observer 2 degrees Illuminant C L* = 37.88 a* = 9.89 b* = 7.82 Hunter Lab: L* = 37.88 C*= 12.61 h degrees = 38.33 Munsell Conversion Number: 0.02YR3.68/2.23 Color Standards: George Douglass Mansion First Finish (and Second Finish) Ca. 1763-1765 paint finish Special Standard: Douglass Hall Black Suggested gloss level: Modern semi-gloss CIE Lab coordinates Designated observer 2 degrees Illuminant C L* = 25.23 a* = -0.41 b* = -1.18 Hunter Lab: L* = 25.23 C*= 1.25 h degrees = 251.01 Munsell Conversion Number: 8.64B2.46/0.28 Color Standards: George Douglass Mansion Second Finish Period Special Standard: Douglass Hall Second Finish Light prussian blue color CIE Lab coordinates Designated observer 2 degrees Illuminant C L* = 63.23 a* = -5.67 b* = -10.16 Hunter Lab: L* = 63.23 C*= 11.64 h degrees = 240.83 Munsell Conversion Number: 8.89B6.15/3.04 ? Addendum: Second finish period graining The graining exposures in the Hall show a simple red ochre layer applied over a yellow ochre ground coat. The simplicity of the graining contrasts with a very elaborate and expert example of graining that appears to date to the early nineteenth century on the second floor. Usually, the best graining is done in the most public space. This conundrum may become more clear with additional examination of the interior finishes. Examples: Hall: Second finish period graining exposure, first floor (south west) Door, Original Hall side Second Floor: North west Door, Room Side Note the complicated and expert execution of this graining. Second Floor: North West Room, Door, room side: detail ? Addendum: Note on the plaster: Suggested lime whitewash The plaster ceiling and walls were finished with lime whitewash, applied carefully in a thin application. It is suggested that a lime whitewash be used: A natural hydraulic lime whitewash should be used. An example is: St. Astier "Natural" The recommended source is: Limeworks.us 215-536-6706 www.limeworks.us