Results of Paint Analysis

Sample from Observation Room

Sample from West Hallway

Sample from Dining Room

Sample from East Hallway

 

While taking cross section samples it became clear that there were two different substrates. 

A magnet was used to confirm the location of ferrous metal panels versus fiberboard. After plotting the location of metal versus fiberboard panels, the types of condition issues clearly correlated with the type of substrate as seen above in the diagram. 

Before Treatment image of 1963 restoration scheme. Vertical craquelure typical of fiberboard panels.

 

Extant Paint History on Panels

Based on elemental analysis, comparison to samples from other decorative elements in the car, and some documentary evidence of the car's ownership and maintenance the earliest layers preserved on the panels likely date to around 1916-1920. 

The turn of the 20th century marked a dramatic shift in interior design of private cars. The new stylistic trend moved away from the lavish decoration of the 19th century and embraced a more austere and minimalist interior. Through the majority of the 20th century ceiling panels were painted solid colors and often in neutral tones. 

Collaboration with the Paint Shop

 


Shelburne Museum painters, Brian Verville and Justin Mayo

The decision to repaint the majority of the decorative panels within the private car was made based on the evidence of previous repainting since acquisition, the lack of historic evidence supporting the current decorative scheme, and the deteriorating condition of the metal panels. In order to insure the best paint adhesion and stability of a new finish coat, all paint layers would be removed from the metal panels. The historical stratigraphy would still be well preserved on the fiberboard panels given the consistency of all of the cross section samples.  

The Grand Isle private car occupies a dynamic space in terms of stewardship at Shelburne Museum because it is firstly a historic structure, but also an accessioned object. The Preservation and Landscape department with its own paint shop is in charge of maintenance of buildings on the Museum campus. Collaborating with the Museum painters brought additional expertise on commercial products and working knowledge of application and stability within similar environments. Likewise, the Painters were able to learn about conservation varnishes and documentation. A fluid dialogue between conservation and paint shop continued throughout the aesthetic compensation treatment phase. 



 

Color Matching

Different methods are used to match a historic finish. Often paint analysts will "open a window" or create an "architectural reveal" like the one pictured on the left. This is done on-site and selectively removes paint in order to reveal some of each layer of the historic stratigraphy. While cross section samples are more comprehensive in terms of documenting even the thinnest coating or gilding layers, the samples are too small to accurately match colors of individual layers. 

The reveal is created with knowledge of the stratigraphy from cross section samples and provides a macroscopic area for color matching and interpretation. 

Often colorimeters are used to take numerical readings in a given color space (e.g. CIE L*a*b*) of each layer. For this project, color matching was done by eye to a Benjamin Moore swatch fan pack. The local commercial supplier is only able to match to the nearest Benjamin Moore color; true custom color mixing would not have been possible. 

Choosing a Color

 

The majority of the historic paint stratigraphy on the panels were similar colors: white, pinkish-white. Most of the layers did not contain evidence of any stencil decoration. 

The concept with choosing a color from the middle of the historic stratigraphy was that this color would be representative of the majority of the car's working life. The panels were likely painted a solid color for the majority of the car's use based on the samples and the 20th-century design trends.  Additionally a solid color provides a neutral canvas that does not conflict with the current presentation of the rest of the interior and remains flexible for future embellishment or adaptation as a new interpretive plan is developed.

Three potential matches of Benjamin Moore colors to historic layers were painted out onto flexible paperboards approximately 2ft X 2ft. These boards were able to follow the curve of the decorative panels and be viewed in the car. 

Curatorial Approval

As can be seen below, the colors look different depending on the lighting conditions, which is why final decisions should always be made in the historic interior. Four options were reviewed by staff of the Collections Department. The final choice between two colors was determined by a committee including Chip Stulen, head of Preservation and Landscape and acting curator for the private car, Tom Denenberg, Museum Director, and Nancie Ravenel, Object Conservator. 

The same three sample panels documented in daylight

Detail of form for final color choice for project

After Treatment

Using Format