Presentation of Paint Analysis Results

Two buffet cabinets, Stenton, Philadelphia

The bigger context:

The director and curator for Stenton had already completed extensive research to compile comprehensive plans for interpretation and furnishing throughout the house. The goal of my project was to answer lingering questions about when these buffets may have been installed and how their decoration evolved throughout the established periods and generations of owners of the home. 


While cross section images and material analysis results are very interesting, it is challenging to present an overall context without overwhelming the audience with data. I chose to summarize my results visually using a to-scale AutoCAD elevation drawing of the two buffets (shown above). The colors were roughly matched by eye and Photoshop color-picker tool to give a general idea of how different elements were picked out in color throughout the generations, whose dates correspond to the period of ownership of Stenton for each descendent or steward. Dating of the color schemes is based on the presence of specific pigments determined through material analysis of cross section samples. 

 

n.b. samples from the sunrise arch and molding did not contain the full stratigraphy and therefore have been left uncolored prior to Deborah and George's campaign (beginning 1776). No samples were taken from the arch on the smaller buffet, and that feature has also been left uncolored. 

James Logan, 1723-1751

By the time Stenton was completed in 1730 James was already in poor health. This tan color was matched to the first paint layer applied to the wood and plaster substrates. It may have been a tinted lime wash. The dining room, analyzed previously by Peggy Olley, also has evidence of a light brown decoration applied during James Logan's occupancy. 



William Logan,

1751-1776

William likely wanted to redecorate to modernize the home and personalize it after his father's death.  Green decoration was also attributed to William Logan in the dining room. This layer was dated prior to 1814 based on the lack of chrome yellow used to make the green. 

Deborah and George, 1776-1839

This couple occupied Stenton the longest and likely repainted multiple times for maintenance as well as keeping up with new trends in style. 

c.1783

This is the earliest paint campaign present in samples from the arches. The use of barium sulfate or "constant white" to decorate the star motif dates this campaign to around 1783 when constant white was more readily available commercially. The blue decoration was identified as Prussian blue, a popular room color in the mid-18th century. 

1780s-1790s

From this point different elements on the buffets begin to be picked out in contrasting colors. The two buffets begin to be decorated differently. Similar pigments from the previous campaign continued to be used. The dates are roughly based on the understanding that repainting was likely to occur every five to ten years for maintenance. 

c.1814

Chrome yellow was found on samples from the sunrise arch corresponding to this campaign. Chrome yellow was only commercially available as an artist material after 1814. Deborah Logan also described "golden sunburst" decoration on the buffet in her diary, which she started keeping in 1815. Evidence of zinc white, first used in the 1790s was also found in the paint from the back of the buffets corresponding to this campaign. 

1814-1839

The green used for this campaign was found to be a mixture of Prussian blue and chrome yellow. Therefore, the earliest this could have been applied was 1814. Based on average maintenance schedules this campaign was likely completed by Deborah and George, but there were no other materials or characteristics that could further narrow the dates. 

1814-1839

It appears that the sunrise niche continued to receive fresh coats of chrome yellow paint while the rest of the buffet was repainted in different color schemes. The lead white applied to the rest of the buffet was likely completed by Deborah and George based on average maintenance schedules. 

Albanus Charles, 1839-1889

Albanus only used Stenton as his primary residence until 1878 at which time he began renting it out to tenants. It is unlikely that he redecorated during the tenant period. Primary documents from this time describe the interior as run-down and unkempt. 

1839-1878

This white paint may have been a priming layer in order to cover the previous decorative scheme. This white layer has a slightly different fluorescence and evidence of different binding medium from the previous white layer, which was likely painted during Deborah and George's occupancy.  It is still composed of lead white and therefore does not provide any further specific materials to help narrow the date of the campaign. 

1839-1878

Again, this grey-green color scheme was found mainly to be composed of lead-based pigment and therefore the date of this campaign could not be any more specific than during the time Albanus occupied Stenton. 

1839-1878

During this campaign the sunrise niche was "gilded" using a bronze leaf. Attributing this more ostentatious decoration to Albanus is consistent with findings in other rooms in the house. 

Colonial Dames, 1889-present

c.1914

Archival records demonstrate that the Colonial Dames only used white paint in the parlor. An archival photograph dated 1914 documents the above decorative scheme in black and white. Although the sunrise niche appears dark in the photo, there is suggestion of a reflective, metallic surface based on the lighting. 

1915-Present

Initially the Colonial Dames may not have wanted to paint over the more elaborate gilded surface. The bronze leaf was likely suffering from corrosion and poor condition may have eventually led to overpainting.  

Using Format