battersea historic house finishes analysis –d · 2009-10-19 · battersea historic house finishes...

BATTERSEA HISTORIC HOUSE FINISHES ANALYSIS –DRAFT

PREPARED FOR: BATTERSEA FOUNDATION

21 BOWLING BROOK STREET PETERSBURG, VA 23803

PREPARED BY: KIRSTEN TRAVERS, GRADUATE FELLOW

RICHARD WOLBERS, ASSOCIATE PROFESSOR WINTERTHUR/UNIVERSITY OF DELAWARE PROGRAM IN ART CONSERVATION

WINTERTHUR, DE 19735

SUBMITTED: OCTOBER 20, 2009

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BATTERSEA HISTORIC HOUSE FINISHES ANALYSIS – DRAFT

INTRODUCTION: This report summarizes the most up-to date findings of the paint study currently underway at Battersea historic house in Petersburg, VA. Thirty-eight small paint samples were collected by Richard Wolbers, Associate Professor at the Winterthur / University of Delaware Program in Art Conservation (WUDPAC) during a site visit in August 2009. The analysis was conducted by graduate fellow Kirsten Travers under the guidance of Professor Wolbers at the WUDPAC Paintings Conservation Laboratory in September and October 2009. The site was revisited on October 12, 2009, to conduct on-site paint excavations and collect additional samples for future analysis. The results contained herein were obtained using a combination of cross-section microscopy, laboratory analysis, historical research, and on-site investigation to understand and expose the historic colors and finishes extant in the building. The Historic American Buildings Survey (HABS) Battersea file (c. 1940) provided invaluable information including floor plans, photographs, and a summary of historic documents relating to Battersea’s history.1 This paint study is ongoing and these results are subject to change and reinterpretation, especially as on-site investigation and analysis continues.2 For additional information, please refer to the Appendix (included in CD format and submitted with this document) for all photomicrographs and analytical results in detail.

1 Historic American Buildings Survey (Library of Congress), Battersea file weblink: http://memory.loc.gov/cgi-bin/query/D?hh:1:./temp/~ammem_F65d::(Accessed October 19, 2009). 2 Samples for additional study were collected on October 12, 2009, and analytical results are forthcoming.

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BEDROOM A

BATTERSEA, FIRST FLOOR ELEVATION.

BEDROOM A INDICATED IN RED. BEDROOM A SAMPLE LOCATIONS

HABS NOTES: Room refinished c. 1820 SUMMARY: Fragmentary paint evidence on the walls suggests that the earliest plaster layer was painted blue. During the 19th-century renovation, these walls were replastered and whitewashed. The trim elements date to the early 19th-century and retain early off-white finishes. The cross-section examination suggests that the early decorative stratigraphy of the woodwork in this room is comparable with that of Bedroom B. TRIM: Paint evidence corresponds with HABS documentation which reports that this room was refinished c. 1820. Samples removed from the woodwork exhibit similar paint stratigraphies, suggesting that these elements received the same decorative treatment over time. The first generation finish is a grayish-white color, which is worn and deteriorated in cross-section, indicating that this surface was exposed for an extended period of time. This was followed by an oil bound, blue-gray paint. This color was also exposed for an extended period of time, and a layer of dirt is visible on its surface in cross-section. The next three generations are all 20th - century paints, including the current pink presentation surface. A clear coating was extant on the sample removed from the window molding. Additional sampling and on-site investigation should be carried out to determine whether the baseboards received a decorative finish independent of the trim to match the marble fireplace mantel, as seen in Bedroom B and the main parlor. WALLS: The walls of Bedroom A currently retain two plaster layers suggesting a period of renovation or extensive repair. The earliest consists of a coarse plaster, without a fine plaster finish coat. This coarse plaster was sized in preparation for a decorative coating, and accordingly painted with a blue emulsion paint. The fragmentary nature of this blue layer in cross-section suggests that the blue paint and plaster substrate were scraped down in preparation for a second plaster application. At this time, the walls were replastered with a coarse brown coat followed by a fine, white finish plaster layer, which was then whitewashed numerous times. These whitewashes were pigmented in muted shades of blue and gray. The multiple whitewash layers and the lack of dirt accumulation between them suggest that whitewash was repeatedly and regularly applied in this room. Eventually, wallpaper was applied over the whitewash layers. The current presentation surface in Bedroom A consists of a two-ply, early 20th century off-white paper with a blue floral pattern and romantic architectural vignettes in light gray.

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BEDROOM A SAMPLES

SAMPLE NUMBER LOCATION IN ROOM VISIBLE LIGHT

PHOTOMICROGRAPH

B-1 NE CORNER, OLDEST PLASTER

SURFACE

B-2 NE CORNER, CURRENT PLASTER

SURFACE

B-3 NE CORNER, WALLPAPER

B-4 E ELEVATION, WINDOW MOLDING

B-5 E ELEVATION, WAINSCOT

Bedroom A, east wall, October 12, 2009 Bedroom A, north wall, October 12, 2009

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BEDROOM B

BATTERSEA, FIRST FLOOR ELEVATION. BEDROOM B INDICATED IN RED.

BEDROOM B SAMPLE LOCATIONS

HABS NOTES: Room refinished c. 1820 SUMMARY: The earliest decorative scheme for this room appears to be grayish-white trim with baseboards which received a faux marble finish to match the veined marble fireplace mantel. The earliest wall finishes appear to be white and gray limewashes, although the wall above the fireplace mantel was picked out in a tawny reddish-brown color. It is possible that these finishes date from the 19th-century renovation. The cross-section examination suggests that the early decorative stratigraphy of the woodwork in this room is comparable with that of Bedroom A. TRIM: Paint evidence corresponds with HABS documentation which reports that the room was refinished c. 1820. The first paint layer on the trim appears to be a warm gray priming layer, followed with a layer of white, allowing the gray undertone to show through. This was repainted later with another warm, blue- gray color. Both generations have accumulated dirt on the surface, suggesting that each finish was exposed for an extended period of time. The later two generations are modern, synthetic paints, including the current light blue presentation layer. On site investigation revealed an intact faux marble finish on the baseboards along the perimeter of the room (photo p.6). It appears that the baseboards were painted to match the veined marble of the fireplace mantel. It seems likely that this finish was applied when the fireplace mantel was installed at Battersea c. 1820. This finish was not found on any other trim element in the room. WALLS: Samples 8 & 9 were removed from the northeast corner where numerous alterations and repairs are visible. Consequently, there is a great deal of paint buildup (and decorative information) in this area. Sample B-8 contains the earliest material, suggesting that the original finish plaster was first sized and then painted with a light blue-gray paint. Eventually, the walls were wallpapered and repeatedly skim coated with plaster (without removing the wallpaper). The later generations are composed of 20th century paints in varying shades of blue and white. Above the fireplace mantel on the west wall, on site investigation revealed an early reddish brown color applied to the walls (photo p. 6). This color was not found elsewhere in the room, suggesting that the wall above the fireplace mantel received a decorative finish independent of the other walls.


BEDROOM B SAMPLES


PHOTOMICROGRAPH

6 NORTH ELEVATION, WINDOW

MOLDING

7 NORTH ELEVATION, WAINSCOT

8 EAST ELEVATION, OLDEST

PLASTER SURFACE

9 EAST ELEVATION, CURRENT

PLASTER SURFACE

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WEST ELEVATION, WALL ABOVE

FIREPLACE

Early reddish brown paint found on the west wall

above the fireplace mantel during on-site investigation, October 12, 2009.

Painted faux marble finish revealed on the baseboards during on-site investigation, October 12, 2009.

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ENTRY HALL


ENTRY HALL INDICATED IN RED. ENTRY HALL SAMPLE LOCATIONS

HABS NOTES: Original dado, cornice, and Chinese Chippendale trellis stair rail. SUMMARY: The trim in the entry hall appears to have been painted with the olive-brown color seen on much of the woodwork throughout the house (including the main parlor). On site, this color was observed on the Chippendale staircase (with the exception of the fretwork), the wall trim, and the door below the staircase. By contrast, the earliest ceiling finish appears to be a reddish-brown, followed by two blue layers. The wall finish histories are uncertain at this time. TRIM: The sample removed from the ceiling cornice (B-38) retains an extensive stratigraphy of finishes from which historic decorative schemes can be postulated. In this sample, approximately twenty-five paint layers were visible. The earliest finish appears to be a hand-ground, dark red-brown paint with a second layer of lighter brown applied on its surface, suggesting that some type of glazing or decorative finish is extant. The next generation appears to consist of two layers of a hand-ground blue paint with a thin coating, possibly an oil based glaze, applied over the surface. This is also suggestive of an early glazed decorative finish. Following these distinctive early color schemes, the cornice was painted white repeatedly, and the current presentation finish is a light blue. On site investigation of the door beneath the stairwell revealed an early greenish-brown paint applied directly to the wood substrate, with traces of a black paint or glaze applied above (photo p.8). This paint is consistent with the early olive-brown color seen in the main parlor woodwork. However, the black paint or glaze over the olive-brown is inconsistent with findings elsewhere, and additional investigation is required to fully understand the nature of this finish. The Chinese Chippendale stairwell fretwork is currently painted white while the newel-posts and handrails are painted dark brown. A mahogany imitation wood graining layer is exposed where the brown paint is compromised and flaking. Where visible, the quality and appearance of this graining suggests that it could be a 20th-century finish. On site examination suggests that the railing fretwork and other carved woodwork in the stairwell did not receive this mahogany wood grain finish, but was painted repeatedly with white and off-white colors. Paint samples taken from the railing during the recent site visit may yield additional evidence regarding the decorative history of the stairwell (photo p.8). WALLS: The samples removed from the north wall appeared to retain only modern painted finishes and 20th-century wallpaper.

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The Chinese Chippendale stairwell at Battersea. Red

dot indicates paint sample location, taken October 12, 2009.

Detail of sample location (seen at left). The sample was removed from an extant area of loss.

The Chinese Chippendale Stairwell in the entry hall at

Battersea. The location of sample B-38 is shown above. This sample retains a complete decorative

stratigraphy of finishes.

Paint removal on the door beneath the stairwell (seen at left) executed October 12, 2009 revealed an early

greenish-brown color glazed with a black layer.

B 38


ENTRY HALL SAMPLES


PHOTOMICROGRAPH

B-10 NORTH ELEVATION, WALLPAPER

B-11 NORTH ELEVATION, PLASTER

SURFACE

B-12 NORTH ELEVATION, WAINSCOT

B-13B SOUTH ELEVATION, ENTRY DOOR

(ONLY THE TOP HALF OF THE

SAMPLE IS SHOWN)

B-14 NORTH ELEVATION, MOLDING ON

DOOR TO PARLOR

B-38 CEILING CORNICE

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MAIN PARLOR

BATTERSEA, FIRST FLOOR ELEVATION. MAIN PARLOR INDICATED IN RED.

MAIN PARLOR SAMPLE LOCATIONS

HABS NOTES: Original dado. Later window, north door, trim, plaster cornice and marble fireplace mantel. SUMMARY: the earliest finish in this room appears to consist of yellow ochre walls with and olive-brown trim. At the same time, the cabinet door on the east wall may have been faux mahogany grained. The walls were next painted blue and the trim repainted a green-gray. Following this decorative scheme, the walls were repainted a greenish-blue toned with a brown glaze, while the trim was painted gray. The baseboards were painted black to match the stone fireplace mantel at the time of its installation, c. 1820. TRIM: On site investigations which focused on west wall trim (photo, p.11) revealed what appear to be the first three historic finish generations beginning with the oil bound olive-brown which is consistent with the woodwork in the entry hall, stairwell, and possibly Bedroom D. This is followed by a second generation of a greenish-gray color. In the third generation, the wainscot was painted gray. The trim was then painted white repeatedly. The sample removed from the cabinet door exhibits two early layers of a hand-ground, dark red paint which are glazed with a dark, opaque layer. This could indicate some sort of decorative finish, possibly a wood graining. On site investigation did reveal that remnants of a decorative finish, possibly an imitation mahogany, were extant on the cabinet doors (photo, p.11). However, the fragmentary nature of this evidence made it difficult to determine the original appearance of this layer. The door was then painted white repeatedly. On-site investigation of the baseboard trim which runs along the perimeter of the room indicates that at one time this area was painted a solid black to match the black marble fireplace mantel (photo, p.11). To date, no other trim element exhibits a black paint layer, although black paint was found on various trim elements throughout the house (dining room, servant’s quarters, bedroom C). It seems likely that this black paint would date to the early 19th-century when the fireplace mantel was installed. WALLS: Yellow appears to have been a popular color choice for the main parlor walls. The first generation is a light yellow paint toned with a brown glaze. This finish was followed by a deep bluish-green, then repainted with a muted green-blue which was toned with a thin brown glaze. On-site investigation (photo, p.11) revealed these first three generations, from which more precise color

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matches were made than could otherwise be attempted in cross-section photomicrographs (see tables below). Following these finishes, wallpaper with a yellow pattern was applied. This was left in place and painted yellow twice including the current presentation surface.

A “reveal” executed on the main parlor west wall wainscot October 12, 2009. Part of the area is blocked off with blue painter’s tape. “G1” is the first generation olive-brown finish. “G2” is the second generation greenish-gray. “G3” is the third generation gray.

The “reveal” executed on the main parlor west wall October 12, 2009. The area is blocked off with blue painter’s tape. “G1” is the first generation glazed yellow finish. “G2” is the blue-green color. “G3” is the glazed green finish.

G1 G2 G3

G1 G2 G3

EARLY WALL

GENERATION DESCRIPTION MUNSELL COLOR3 CIE L*A*B*

COLOR4 CLOSEST COMMERCIAL

COLOR MATCH5

3 Green with brown

glaze 6.2 GY 5.7/1.9 L* 58.27 a* -8.16 b* 11.26

Colonial Williamsburg Color- Ludwell Tenement Sage CW417

2 Blue-green 6.6 B 6.5/3.7 L* 60.0 a* -10.3 b* -13.17

Martin Senour Paint- between 1082-B and 1082-C

1 Yellow with brown

glaze 3.5 Y 7.3/5.1 L* 74.05 a* -0.46 b* 35.98

Colonial Williamsburg Color – Wythe House Gold Medium CW310

substrate plaster - - -

EARLY WAINSCOT

GENERATION DESCRIPTION MUNSELL COLOR CIE L*A*B*

COLOR CLOSEST COMMERCIAL

COLOR MATCH

3 Gray 5.9GY 6.8/0.3 L* 69.25 a* -1.23 b* 1.85

Martin Senour Paint – Barnwood Gray MST 15E

2 Green-gray 3.7Y 6.6/1.9 L* 68.04 a* -0.83 b* 10.18

Colonial Williamsburg Color- Red Lion Inn Gray CW702

1 Olive-Brown 4.2Y 4.7/1.4 L* 48.54 a* -0.51 b* 10.18

Colonial Williamsburg Color- Purdie House Gray Slate CW810

substrate wood - - -

3 Minolta Chroma Meter CR-400 measured from commercial paint chip matched to color on-site 4 Minolta Chroma Meter CR-400 measured from commercial paint chip matched to color on-site 5 Colors matched on-site from paint reveal in main parlor. Matches are approximate and subject to change. Actual colors will vary throughout the house as a result of light, heat, age, moisture, and other agents of deterioration. Additional investigation and analysis is recommended to reach more definite conclusions regarding paint colors used at Battersea. The matches here serve as a preliminary guide and should not be interpreted as the final color match.

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A reveal executed on the east cabinet door October 12, 2009. Part of the area is blocked off with blue painter’s tape. Remnants of a possible wood grain

finish were visible.

Reveal executed on the main parlor baseboard, east wall October 12, 2009. The black paint is visible. This color was not seen on any of the other trim elements.

Main Parlor, east wall, October 12, 2009. Main parlor, south wall, October 12, 2009.


ENTRY HALL SAMPLES


PHOTOMICROGRAPH

B-15 SOUTH ELEVATION, WALL

PLASTER SURFACE

B-16 WEST ELEVATION, WAINSCOT

B-17 EAST ELEVATION, EXTERIOR

CABINET DOOR

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DINING ROOM


DINING ROOM INDICATED IN RED. DINING ROOM SAMPLE LOCATIONS

HABS NOTES: Original painted dado, doors, and trim. Fireplace mantel and window trim later. SUMMARY: The earliest decorative finish for this room may have been blue trim with whitewashed walls. At the time the fireplace mantel was installed, the window and cabinet door were all repainted with a warm gray color. The fireplace mantel may have received a faux stone finish at the time of its installation. TRIM: The first paint generation on the fireplace mantel is composed of three layers (a white primer followed by two gray layers) which suggest a historic decorative finish, possibly a faux marble or stone. Additional on site investigation is required to expose this finish. The fireplace mantel was next painted black, although no other trim in the room shows any evidence of black paint. The black is followed by a third generation cream color (also seen on the cabinet and window molding, samples B-20 and B-21), which suggests that all trim was eventually painted the same color. The fourth generation and current presentation surface on the fireplace mantel is a modern, synthetic paint. The cabinet molding cross-section shows an early blue layer, coated with an oil glaze and varnish, which is deeply embedded in the wood fibers. This is possibly a first generation decorative finish which has been scraped or sanded down to prepare the area for successive layers. (note: this blue layer is similar to the early blue paint found on the walls in Bedroom A, which were also scraped down). This blue layer was not found in any of the other samples removed from this room, suggesting that the cabinet molding is one of the earliest elements in this room. The window molding exhibits a similar stratigraphy to the cabinet molding without the early blue layer. This confirms the HABS notations which purport the window trim to be a later addition. WALLS: The walls display a series of whitewashes followed by a layer of wallpaper which has been painted over numerous times with what appear to be late 19th c. and 20th c. paints.


DINING ROOM SAMPLES


PHOTOMICROGRAPH

B-18 EAST ELEVATION, FIREPLACE

MANTEL

B-19A WEST ELEVATION, WALL PLASTER

SUBSTRATE

B-19B WEST ELEVATION, WALL PLASTER

SUBSTRATE

B-20 EAST ELEVATION, INSET CABINET

CASING MOLDING

B-21 SOUTH ELEVATION, WINDOW

MOLDING

Dining Room, east wall, October 12, 2009. Dining Room, east wall, October 12, 2009.

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KITCHEN

BATTERSEA, FIRST FLOOR ELEVATION. KITCHEN INDICATED IN RED.

KITCHEN SAMPLE LOCATIONS

HABS NOTES: Original doors and trim. Stair and front window later. SUMMARY: The earliest decorative scheme for this room may have been white trim with whitewashed walls. The trim was eventually painted blue-gray. TRIM: Most of the trim in the kitchen has been stripped, removing a great deal of paint evidence. The sample removed from the west wainscot reveals approximately 4 layers. The first two layers appear to be a white paint, followed by a blue/gray paint. Additional sampling is required to understand the decorative history of the kitchen trim. WALLS: This sample removed from the plaster wall shows a number of autofluorescent layers applied directly to the finish plaster which may represent whitewashes and/or early clear coats applied to the plaster substrate. Two distinct carbon deposits in this paint sample may be evidence of two separate fires which occurred in the kitchen, many years (and paint layers) apart. All paint evidence suggests that whitewashes and flat paint colors such as white, cream, gray and yellow were used in the kitchen.

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KITCHEN SAMPLES


PHOTOMICROGRAPH

B-22A WEST ELEVATION, WALL PLASTER

SUBSTRATE

B-22B WEST ELEVATION, WALL PLASTER

SUBSTRATE

B-23 WEST ELEVATION, WAINSCOT

B-24 WEST ELEVATION, WALL PLASTER

EXPOSED AFTER CLOSET

REMOVED NW CORNER

Kitchen, northeast corner, October 12, 2009. Kitchen, west wall, October 12, 2009.

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ROOM C

BATTERSEA, SECOND FLOOR ELEVATION.

ROOM C INDICATED IN RED. ROOM C SAMPLE LOCATIONS

HABS NOTES: n/a SUMMARY: the earliest decorative scheme in this room may have been blue trim with whitewashed walls. At some point, the walls below the chair rail were painted yellow, while the walls above the chair rail remained white. The wainscot and fireplace mantel were later painted black, and the window molding was a bright blue-green. TRIM: The sample removed from the window molding suggests that this area was first primed white and painted blue. This blue appears to be hand-ground and must relate to the early history of the room. This was followed by a white finish, and later repainted with a bright blue-green. It is difficult to date this blue-green, but no hand-ground pigments are visible, so it likely a later 19th century coating. The window molding was then painted white repeatedly with modern, synthetic paints. On site investigation found a similar dark green-blue paint on the wainscot and fireplace mantel, which was followed by a black paint, suggesting that the wainscot, fireplace mantel, baseboards and chair rail were painted black at some point in the early history of the room. However, black paint was not seen in the window molding sample. WALLS: Below the chair rail, the walls retain early whitewashes and an early yellow layer, possibly a limewash. By contrast, the sample from above the chair rail retains early whitewashes but no evidence of yellow. On site investigation confirmed this observation. This suggests that at some point early in the history of the room, the walls above the chair rail were white, while those beneath the chair rail were yellow. The areas above and below the chair rail were later wallpapered, and this wallpaper was painted over with modern, synthetic 20th-century paints.


ROOM C SAMPLES


PHOTOMICROGRAPH

B-25 WEST ELEVATION, WALLPAPER

B-26 NORTH ELEVATION, WINDOW

MOLDING

B-27 WEST (?) ELEVATION, WALL

SUBSTRATE PLASTER

B-28 SOUTH ELEVATION, WALL

BENEATH CHAIR RAIL

Bedroom C, second floor, west wall,

October 12, 2009. Bedroom C, east wainscot paint investigation exposed black paint and

green-blue color beneath. October 12, 2009.

yellow

Green-blue Black

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ROOM D

BATTERSEA, SECOND FLOOR ELEVATION.

ROOM D INDICATED IN RED. ROOM D SAMPLE LOCATIONS

HABS NOTES: n/a SUMMARY: The earliest decorative scheme for this room appears to have been olive-brown trim (also seen in the entry hall and main parlor trim) with whitewashed walls. At some point, the walls below the chair rail were painted yellow, while the walls above remained white. TRIM: The samples removed from the wall paneling and chair rail indicate that similar historic finishes were applied to the trim in this room. Both samples exhibit a primary layer of an olive-brown, hand-ground paint followed a layer of white, and then a reddish-yellow color. The trim was then painted white repeatedly with modern, synthetic paints. The early layers are visible where the modern paint has flaked away. WALLS: The two wall samples from above the chair rail retain early whitewashes followed by wallpaper and modern, synthetic paints. On site investigation found that the walls below the chair rail exhibited the same yellow color as seen in the adjacent Bedroom C. This suggests that at some point early in the history of the room, the walls above the chair rail were white, while those beneath the chair rail were yellow. The areas above and below the chair rail were later wallpapered, and this wallpaper was painted over with modern, synthetic 20th-century paints


ROOM D SAMPLES


PHOTOMICROGRAPH

B-29 EAST ELEVATION, WOODEN WALL

PANELLING

B-30 NORTH ELEVATION, WALL

BETWEEN WINDOWS

B-31 NORTH ELEVATION, CHAIR RAIL

B-32 SOUTH ELEVATION,

ABOVE THE WAINSCOT

Bedroom D, second floor, east wall,

October 12, 2009.

Bedroom D, second floor, east wall, detail photo of flaking paint which has exposed early colors.

October 12, 2009.

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SERVANT’S QUARTERS

BATTERSEA, SECOND FLOOR ELEVATION. SERVANT’S QUARTERS INDICATED IN RED.

SERVANT’S QUARTERS SAMPLE LOCATIONS

HABS notes: n/a SUMMARY: The earliest decorative scheme for this room may have been a blue-gray trim with whitewashed walls. The fireplace mantel exhibits an unexpected number of early decorative finishes independent of the rest of the room, although the nature of these finishes is not yet fully understood. TRIM: The fireplace mantel sample contains far more paint evidence than that removed from the window molding, suggesting the latter to be a later addition. The fireplace mantel retains at least three early finish generations in which hand-ground pigment particles are visible. These early finishes appear to be varying shades of green, toned with oil glazes. This was followed by a cream color, and the fireplace mantel was eventually painted black. The first finish on the window molding appears to be a dark blue/gray paint with a second white paint worked into the first layer in what appears to be some sort of “wet into wet” technique. This could indicate some type of stone / marble faux finish, although no evidence for this type of finish was seen during the on-site investigation. Following this finish, the window molding was painted black, presumably at the same time as the fireplace mantel. Both the fireplace mantel and the window moldings were eventually painted white with modern, synthetic paints. WALLS: The earliest layers on the plaster walls appear to be whitewashes. These are followed by a few light gray washes. The walls appear to have been skim coated with a thin plaster layer (seen at the bottom of wallpaper sample 34), and painted yellow. After an unknown period of time had passed, the yellow walls were wallpapered with a floral motif paper on a white background. This is the current presentation layer.

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SERVANT’S QUARTERS SAMPLES


PHOTOMICROGRAPH

B-33 WEST ELEVATION, WALL PLASTER

SUBSTRATE

B-34 WEST ELEVATION, WALLPAPER

B-35 WEST ELEVATION, WINDOW

MOLDING

B-36 NORTH ELEVATION, FIREPLACE

MANTEL

Servants Quarters, second floor, northeast corner,

October 12, 2009. Servants Quarters, fireplace mantel, on-site

investigation October 12, 2009 revealed an early green layer.

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battersea historic house finishes analysis –d · 2009-10-19 · battersea historic house finishes...

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