Luckily I haven’t made too many mistakes in 50 years as an art conservator. Very Lucky. But here’s a big one and the lessons I learned. Enjoy!
A Failure Shared Is Not – Learning From Mistakes
Saving the Hippos
The latest project is the restoration of a granite sculpture of two hippos beloved in the little village of Brookfield, Vermont. They stand next to Brookfield’s famous ‘Floating Bridge’ in a very popular park overlooking picturesque Sunset Lake.
It is the earliest stone sculpture by renowned artist Jim Sardonis created in 1981. Here is a short video of Jim sculpting them.
And here’s more about Jim:
In 2024 they split apart! A thin fissure in the stone which Jim noticed in the original granite block, but judged too small to ever be a problem, finally gave way to age and weather. The sculpture suddenly had a 1” crack.
I filled it with concrete, textured the surface to match the surrounding granite, and colored it with silicate pigments to match the surrounding granite. I used the same pigments recently for the restoration project of Vermont’s national treasure 'Sculpture on the Highway’.
The next year the crack returned and this time even wider pointing to a new problem. First, it was a stone fissure. Now it was the foundation.
I informed Betty Lord, local resident, and benevolent overseer of the hippos and Hippo Park. I explained that further filling of the crack would be for nought since the sculpture was likely to keep settling on its old foundation of sauna tubes. The hippos needed a new foundation, and that required a thick concrete or stone slab, and lifting the 4 ton sculpture onto its new foundation – about a $10,000 project. I would remain pro bono to oversee the project and carry out the final step of filling the crack and making it disappear.
Betty quickly got to work raising the funds. Meanwhile another resident, retired from the local Dept. of Pubic Works, volunteered to fabricate a 10” thick reinforced concrete slab, perfect for the weight of the hippos. He also volunteered to place it in the park at ground level so we could eventually cover it with crushed stone. That reduced the cost to 7K. the funds were soon raised and restoration began.
Related Projects:
- Restoration of Maya Lin Sculptures in Istanbul
- Dusting the Largest Wood Buddha in the World
- Sculpture Restoration in London
- Graffiti Removal in Vermont
- Fountain Restoration in Lisbon
- Restoring a Priceless Artwork in the Philippines
The exceptional folks at the Granite Corp of Barre (GCB) with generations of experience moving art and monuments lifted the sculpture, placed it on its new foundation, and secured it with stone shims and epoxy around the base. Jim went to work smoothing a
couple of granite edges that didn’t quite line up after GCB squeezed the two immense pieces of broken stone together using straps.
Mat Calcagni (operating the crane), Ethan Codling, and Nick Kilkenny of GCB
The sculptor Jim Sardonis at work
Just a thin crack remained which I filled with epoxy. I slighty darkened the epoxy as I mixed its two parts to better match the off-white of the ‘Barre Gray’ granite originally quarried from my home town of Barre, VT.
Jim and I surrounded the sculpture with crushed stone. And another voluteer pressure washed the hippos with water and applied an acid bath that removed stains and brightened the granite.
Bob and Jim at work
Finally, with the cleanest color of the hippos achieved I went to work matching the texture and color of the epoxy that filled the crack with the surrounding granite – essentially trying to make the crack disappear. A neighbor donated their outdoor spigot and electricity for the 2-day project. Jim donated the gravel, and I donated the border.
The hippos had a nice dip in the pond when floodwaters rose on July 10, 2024!
Best Bronze Protection
‘Whale Dance’ by Jim Sardonis, July 2019, bronze with dark patina, 16’ x 12’, Randolph, VT. Photo by Lelonie Oatway.
Why Coat Bronze
Don't use wax on outdoor sculpture. And here's the research-based reasons why. I list the research at the end of this article, and full disclosure: I receive no remuneration whatsoever for any products referenced in this article.
First a little history. The use of wax with bronze has a long tradition. Archaeological evidence of the 'hot-wax' technique for creating bronze jewelry dates back as far as the first evidence of bronze itself - around 3500 BC. So I imagine that it wasn't too long before someone noticed how nice a bronze statue or pendant looks when polished with wax, and how it protects against fingerprints and weather. This is just a theory, but regardless of how it started, the use of wax to coat metal sculpture, particularly bronze, started long ago and continues today.
The Trouble With Wax
I've used wax myself on sculptures, such as traditional hot wax coating for outdoor bronze, and Renaissance Wax for indoor sculpture. Since most of my work involves outdoor sculpture, I wanted to know just how durable wax is. To my surprise research shows that wax lasts only a few months on outdoor sculpture. Furthermore, the development of new bronze coatings such as polymers protect longer, are easier to apply, and dramatically reduce the cost of maintenance.
So about 10 years ago and after thorough research I began using a polymer known as Everbrite. Though it's a proprietary blend, its ingredients include polymers which seem to me to be similar, if not identical, to Paraloid B44 which has extensive research. We also know that Everbrite has UV-protecting ingredients and a low VOC. After 10 years of use, I continue to find advanced polymers such as Everbrite the best choice for outdoor bronze protection. Here's why.
The Advantage of Polymer
First, let's talk about application. Polymers are much easier to apply. Simply brush it on, and anyone can do it with careful attention to temperature, drippiness, and a very clean surface. If the bronze surface is too hot the polymer will streak rather than self-level. If it's too humid, the polymer will not stick properly and blister over time. And it's such a thin - very low viscosity - substance you need to watch out for dripping. Most importantly - because I learned this the hard way - the surface must be very clean especially of any previous wax coatings or the polymer will blister and peel within a couple years.
In contrast, wax application is difficult and time consuming, aka, more expensive. Wax has to be applied hot which requires an experienced conservator. Additionally, before applying wax, old coatings have to be removed and the surface cleaned. With Everbrite as mentioned above, yes, any dirt and previous wax has to be meticulously removed, but when it comes time to recoat Everbrite - anywhere from 5 to 10 years - previous coats do not need to be removed. Just recoat over the old coat. It 'self- anneals', meaning it chemically bonds to the previous coat. This is a huge plus over wax - anyone can do it, no expensive application, no expensive maintenance - meaning tremendous cost savings for our clients.
And cleaning a polymer coating is a much easier process of simply wiping with water and cloth.
Now let's look at another benefit of polymer, protection. Only in the last couple of decades have we developed the technology to determine just how long wax lasts. Research conclusively shows that even the best quality wax doesn't last as long as we thought and polymers last much longer.
How long wax lasts on an outdoor sculpture depends on the weather. We took it as gospel that wax lasted a year or more when in fact research indicates as little as 3 months in outdoor conditions! It's so variable that wax on one side of a sculpture weathers more than another side. To know just how long wax lasts, you need to test the particular sculpture which is a time-consuming and expensive process. Without such testing it's only a guess how long wax is protecting an outdoor sculpture. And here is the real danger: if your wax application lasts only several months, the harsh acids of bird droppings, acid rain, and pine pitch can damage and discolor a bronze patina before your next annual wax application.
I found that on 3 sculptures located in the harshest outdoor environments (freeze-thaw marine) 2 coats of Everbrite last 4-5 years. In less harsh environments (freeze thaw but not marine) several sculptures I coated in Everbrite are still showing no signs of wear after 7 years.
And all polymers are reversable with solvent. Any solvent will do, though xylene does not evaporate quickly so it's able to break down the polymer coating more effectively than other quick-drying solvents. But xylene, like all solvents, is harmful especially to lungs and skin so protection is critical. By the way, any solvent will not harm the common hard chemical patinas applied to bronze sculptures in the foundry. Solvent will remove painted patinas.
Everbrite also provides UV and anti-oxidant protection, and does not yellow. Frankly, I think it's simply nonsense to ever use wax again on outdoor sculpture.
Assessing Different Polymers
I rely on the US Park Service and the Getty Conservation Institute for the latest research on best products and practices. Unfortunately they have not yet studied recently-developed polymers. They have studied the earliest ones (Incralac and Permalac) developed in the 60's which they found superior to wax.
By the way, when you search for polymers you will find many other terms - acrylic polymer, synthetic polymer, acrylic resin, lacquer - all of these terms refer to a particular kind of polymer so to keep it simple I'm calling them polymers.
Incralac was the first. Improved coatings followed with Permalac. Everbrite was developed in 1990. Now there are many. I've used Everbrite for the last 10 years with excellent results.
According to Getty research, Incralac lasts a little over a year in the harshest environments, but top-coats of wax can extend its life up to 3 years. This wax coat means that when it comes time to apply a new coat of Incralac, the wax needs to be thoroughly removed. Permalac last 3-5 years with 4 coats. Everbrite lasts 5-10 years with 2 coats and does not need to be removed when it comes times to recoat. All the latest polymers provide UV protection, self-anneal, and self-level.
Everbrite provides any gradation of satin or matte finish desired. Permalac now comes in a satin finish but as of this writing (2025) no gradations. A cautionary note: the method of coating Incralac with wax was developed by the Getty Institute to improve its durability and provide a wax look. I've just heard of a conservator who uses this technique on Everbrite, that is, coating Everbrite with wax. First, this does not in any way improve the surfaces of the latest polymers including Everbrite. And second, the wax will have to be thoroughly removed before applying a new coat which uselessly increases maintenance costs.
Surprisingly - and happily! - I've also found that Everbrite on bronze helps protect against graffiti - more about this in the case study below.
For cost, protection, and ease of application I prefer Everbrite.
The Downside
One criticism of polymer is that it cracks and peels allowing water to seep in and discolor the bronze surface. Yes, I have seen this and it's entirely caused by not thoroughly cleaning the surface before coating. Often this is wax residue from a previous treatment. I've made this mistake myself and learned the hard lesson which I repeat for emphasis: thoroughly clean the surface of bronze before applying any polymer. When cleaned properly I have not seen any cracks or blisters or peeling in dozens of applications.
Another criticism is that it's too shiny or just doesn't produce the same look as wax. This was true for early versions, but not any more. Everbrite, for instance, comes in any shade of satin or mat finish desired. In fact, the case study presented below is an example of just such a test of many different shades before the artist found the perfect match for the original wax look that he preferred (1/4 matte).
A downside of any polymer is that it darkens verdigris. But I found a solution for those who wish to preserve the beautiful shades of green oxidation on their sculpture. I apply a faux-verdigris by painting the polymer coated bronze surface with acrylic pigments to match the original bright verdigris. Then I coat the acrylics with another coat of Everbrite - polymer does not darken color-fast acrylic paints. The verdigris look is preserved and the sculpture is protected.
Final Thoughts
One drawback is that any polymer is solvent-based so it's flammable and can irritate skin, eyes, and lungs. Thus, gloves, respirator, and eye protection must be used. Some plastic containers and brush bristles will melt on contact with these polymers, so I use metal containers and natural-hair brushes, available at any hardware store.
The final comparison is expense. When you think about all the issues mentioned above, polymer is dramatically easier to use and less expensive than wax.
Case Study: Coating 'Whale Dance' - Do's and Don'ts
I most enjoy working on sculpture when I can work with the artist.
Bob Hannum and Jim Sardonis
This job was just that. I met the sculptor Jim Sardonis when he asked me to remove graffiti from one of his sculptures. He then asked me to clean and coat this wonderful 16' tall bronze sculpture.
Related Projects:
The first step was a close inspection and estimate of what the job required. That done, I asked the artist if he preferred a product for coating his sculpture. This is a touchy question because Jim no longer owns it. It was purchased for permanent public display. Thus, Jim doesn't really have any say in this, though recent laws give artists some control over their art even after they sell it. Nonetheless, any decent conservator wants to know and respect an artist's wishes when reasonable. And like most sculptors, Jim preferred wax, but after I presented the wax versus polymer issue, Jim decided to try a polymer.
Polymer is particularly protective in the harsh freeze-thaw weather cycles we have here in Vermont and throughout New England. Acid rain, bird droppings, salt, and pine needles add an extra degree of stress on the surface of metal sculpture. Wax lasts only a few months in these conditions. Polymer last years.
Getting Started
Next we worked on a perfect shade to match a wax look. I applied several small test patches of different degrees of satin and matte. Jim settled on a final selection as we stayed six feet apart to adhere to our state's Covid-19 precautions at the time. The final selection turned out to be 1/4 of a standard matte chemical mixture. We also tested brush versus wipe. The coating takes only 20 minutes to dry to the touch and 60 minutes between coats.
I cleaned the sculpture surface of all the old wax and accumulated dirt using the solvent xylene - any solvent does not harm the patina, but xylene does not immediately evaporate.
I applied two coats of the custom-mixed Everbrite that Jim chose. The first coat sealed small cracks and pits.
Final Results
More and more conservators now use polymer coatings. This is the best recommendation of all since the conservation industry is quite careful. Conservators are not known for using products such as polymers that are 'only' 30 years in use!
This particular coating restored a new look identical to the original dark brown wax-coated bronze patina.
No maintenance is required other than wiping with a cotton cloth and tap water. Most of the time, rain water washes away most dirt. When the coating began to fade five years later, I simply reapplied 2 new coats without removing the old. Anyone with painting experience can do it.
I find that hear in New England, Everbrite begins to need a new coat in 5 years. Polymers are so durable that I offer a five-year warranty to all my clients.
Oh, and one more thing - a surprising result. Polymer coating reduces the damage of graffiti! Everbrite is easy to scratch so most graffiti 'artists' are satisfied with scratching the polymer and not the patina below. So the fix becomes quite easy, simply apply another coat of polymer and the scratch disappears. The Everbrite people now make a harder coating called Protecta Clear which I will try on areas where kids like to climb - their shoes scratch off the Everbrite as well as the patina. I'll let you know how this goes in future updates.
References
1. Latest European study on wax, 2002, https://www.researchgate.net/publication/303158807_Protect_our_European_outdoor_bronze_monuments_Good_Practice_Guide_Culture_2000
2. Assessing the Protective Quality of Wax Coatings on Bronze Sculptures Using Hydrogel Patches in Impedance Measurements, 2016, Downloadable PDF at www.mdpi.com P. 10 - polymers are more protective than all waxes tested.
3. Latest research abstracts on polymer coatings for bronze, 2020 https://www.researchgate.net/publication/222801665_Developing_and_testing_a_new_generation_of_protective_coatings_for_outdoor_bronze_sculpture
4. More research, 2019, https://www.sciencedirect.com/science/article/pii/S0300944018309743
5. Latest GCI Research: https://www.getty.edu/conservation/
6. Anecdotal comparison of Everbrite and Incralac: https://www.everbritecoatings.com/public-art
7. Latest CGI bronze restoration: http://blogs.getty.edu/iris/revitalizing-barbara-hepworths-figure-for-landscape/
8. Latest National Park Service research: https://ncptt.nps.gov/blog/ndsu-outdoor-bronze/
9. Latest Getty Research: Incralac vs Permalac: chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/viewer.html?pdfurl=https%3A%2F%2Fwww.getty.edu%2Fmuseum%2Fconservation%2Fdecorativearts_and_sculpture%2Fimages%2Fdasc_featuredproject_sculpture.pdf&clen=596502
Hinge Repair
Here is an example of my repair of hanging artwork.
This collage, ‘The Symphony’ hangs in our embassy in Oslo, and several other US embassies worldwide. It is a famous 1990 mixed-media print by American artist Frank Stella. Created for the U.S. State Department’s Art in Embassies Program, this large abstract piece is an edition of 175 and is intricately printed using 23 lithographic plates and 5 screens.. It is so large and heavy – 7’ tall and 80 lbs. – that moving it when the embassy repaints the wall every so often, causes the hinges to rip apart.
Japanese acid-free paper 'hinges' are used to hang artwork within a mat which is usually made of acid-fee cotton fiber or wood pulp. A proper hinge has an even more important purpose. It is made to rip if handling or shipping creates any risk of damage to the artwork. The hinges are mostly found at the top and back of the artwork. Sometimes also on the sides for very heavy pieces such as this. The trick is to apply as few hinges as necessary.
Related Projects:
Hand-made Japanese papers are preferred because they are very thin, do not stretch, and easily rip. Hinges are applied with an acid-free and reversible adhesive. The application of the adhesive is tricky - too much softens the artwork surface and embosses the shape of even the thinnest hinge into the artwork.
A Busy 2025!
A Busy 2025 – the Year in Pix!
What a difference (on the right side) when decades of cigarette smoke is removed!
Restoring ripped and deteriorated oil paintings
Restoring antique gilded frames
Bringing commemorative bronze plaques back to life
Repairing bronze sculpture
Adding a verdigris look to an outdoor bronze sculpture
Large marble, granite, and bronze sculpture cleaning and protective coating
Related Projects:
Graffiti removal from stone, bronze, and murals
Cleaning stone buildings
Restoring heavily damaged marble
Repairing art in our embassies – Islamabad, Montevideo, and Mexico City
Hanging artwork for embassies, galleries, and private collectors
Collection maintenance for museums, municipalities, and private and corporate collectors, including the largest wood Buddha in the world!
Helping the city of Montpelier install and coat murals.
And some odd jobs - a mannequin, a ceramic flamingo, and little aluminum men in 'Rodamiento' by the fantastic Cuban artist Fernando Rodriguez Falcon
A busy year! And fun!
Sculpture on the Highway
Untitled by Herbert Baumann 1968 located at the I-91 southbound Hartford Rest Area
The Story Begins in 1968
"OK, now what?!" Or so I imagine the words of Paul Aschenbach standing in front of over twenty monumental sculptures.
He gathered artists from all over the world to create these huge works of art in marble and concrete. It was an ambitious project and a grand vision of the power of open minds and communication at the height of the Cold War when the political world was rife with fear and closed borders.
Now, where to put them!
Aschenbach was Associate Professor of Art at the University of Vermont. He brought together fellow sculptors on three separate occasions in 1968, 1971, and 1990. The first two would result in what is now called 'Sculpture on the Highway', the largest sculpture park in the world!
The Symposia
Aschenbach's events were inspired by a worldwide movement known as the International Sculpture Symposium founded in 1959 by the Austrian sculptor Karl Prantl who participated in the first Vermont symposium.
As noted in Wikipedia,
This initiative grew from the need to facilitate communication and exchange between members of the international sculpture community. It was also rooted in Cold War tensions, which lent a particular urgency to the need for cross-cultural dialogue on a person-to-person basis. The first international sculpture symposium took place in an abandoned stone quarry in Sankt Margarethen im Burgenland."
'Axe VIII’ by Bradford Graves 1971 located at the I-89 northbound Williston Rest Area
Prantl organized several sculpture symposia in Europe and elsewhere including Japan, Israel, and Canada.
Supporting Vermont's symposia were grants from the Vermont Arts Council and the National Endowment for the Arts which matched goods and services provided by two regional industrial benefactors, the Vermont Marble Company (1968) and the concrete manufacturer S.T. Griswold & Company (1971).
'Cuarto Torres’ (Four Towers) by Eduardo Ramirez 1971 located at the I-89 southbound Williston Rest Area
Marble and Concrete
Twenty-two sculptures were created during Vermont's first two symposia. Some were sold according to an agreement among the artists, including a sculpture by Clement Meadmore. One was damaged beyond repair during a later relocation effort. The remaining sixteen were placed at rest areas along 400 miles of Vermont highways I-91 and I-89.
Half are marble created in the first symposium and the other half are reinforced cast and applied concrete created in the second symposium.
Untitled by Viktor Rogy 1968
Untitled by Janez Lenassi 1968
My Role
Several years ago my wife and I moved to Montpelier to be closer to grandchildren. My business of many years, art conservation specializing in contemporary sculpture, was stopped cold by the Covid outbreak. Looking for something to do I introduced myself to Vermont's State Curator, David Schutz who told me about this unusual collection, mostly hidden, because they were placed in highway 'Pull Offs' over 50 years ago that are now either closed to the public or overgrown by trees and bushes. He asked me to find them and determine what they need to be accessible to the public and restored to their original appearance. I couldn't believe my good fortune: a chance to go on a treasure hunt, to be Harrison Ford in my own Indiana Jones movie!
This assessment was essential for plans by David and his team to submit grant proposals for funding to conserve this unique public art collection. The goal is to preserve the collection for public enjoyment and tap its potential as a significant contribution to the economic engine of Vermont's tourism industry. Here's some information about my background:
To assess the condition of this collection, and develop conservation plans, the Vermont State Curator’s Office turned to Robert Hannum, founder and principal Art Conservator for Arts Management Services, LLC. This is an international art installation and restoration company serving museums, artists, and corporate collectors, including the US Department of State, which maintains the art in our embassies and ambassador residences abroad. For over 45 years Hannum has specialized in the installation of large public art projects, and the design and implementation of conservation strategies for contemporary sculpture. He has worked with municipal, state, and national governments around the world. Mr. Hannum has committed his pro bono consultation to this endeavor to ensure continuity, the highest quality conservation standards, and the thorough completion of the Sculpture on the Highway project. - RAYCROFT/MEYER Landscape Architecture
Some sculptures need to be moved. Others need foundations. All need to be cleaned. Cracks, chips, and graffiti need attention. The good news is that they're all in remarkably good condition for over 50 years old. With timely and proper attention, they can last another 50 years and beyond.
Untitled by Minoru Niizuma 1968
Untitled by James Silva 1971
The Adventure Begins
So off I went to find these huge objects, and then create assessments and plans for restoration and on-going maintenance. The objective, as explained by Vermont's State Curator, is not to bring these sculptures back to their original condition but rather to delay the natural deterioration for as long as possible.
‘Socha pre Betón/Sculpture for Concrete’ by Rudolph Uher 1971
'Trois Traces' by Yasuo Mizui 1968
'Sculpture for the Highway' by Isaac Witkin 1971
Untitled by Carl Floyd 1971
Conservation Needs
The first priority is to move those that are too close to a roadway, or in locations susceptible to vandalism, or in areas that are now inaccessible to the public. The second priority is to give them all durable foundations. Next, fill cracks since the freeze/thaw cycle of Vermont weather causes the most damage - each year cracks get a bit wider and longer.
Another major concern is 'sugaring'. This is a kind of degradation to the surface of outdoor marble. The cause is weather, acid rain, pine needles, bird droppings - just about every outdoor condition. Marble is simply not a great choice for outdoor sculpture. Over time, smooth marble surfaces turn into tiny rough grains of stone the texture of sugar. The good news is that Vermont marble is much more durable, favored worldwide for applications that receive the most wear and tear such as floors and outdoor monuments. Once again, our marble sculpture is in amazingly good condition for over 50 years old!
Other needs can wait a bit longer if necessary, such as chip repair, coating exposed rebar, removing graffiti, cleaning off moss, dirt, and mold, and installing signage.
Related Projects:
Signage of some kind is important not only for interpretation, but also for preservation. Research shows that signage on outdoor art reduces vandalism. But signage for these artworks presents a challenge. Many symposia artists felt that signage and even titles impede a viewers encounter with art, an idea popular at the time and championed by Susan Sontag's famous1966 essay Against Interpretation. So we'll have to give further thought to this issue. Maybe signage at the beginning of a long path leading to the sculpture? We'll see.
Untitled by A. Dieter Trantenroth 1971
Cracks in the sculptures are a high priority
VTrans to the Rescue
Then a wonderful surprise! The Vermont Agency of Transportation (VTrans), our state highway department, got wind of our efforts and offered to help. Now we're working with VTrans to move sculptures and create foundations.
Getting Started
The plan is to move some of the sculptures to high-use rest areas to reduce the risk of vandalism and enable visitors to walk around them. Others will have their current areas cleaned and improved.
Untitled by Erich Reischke 1968
Untitled by Paul Aschenbach 1971
Grant applications were submitted and accepted! The federal 'Save America's Treasures' program awarded us generous funding to clean and repair the collection. But fundraising will continue because we have much more to do after we restore and preserve the collection such as creating exciting interpretive presentations and materials at rest stops, welcome centers, and websites, a 'passport' program that encourages and awards visitors young and old to check out all the sculptures, and even another symposium, this time in granite!
We created 'Friends of Sculpture on the Highway', a non-profit group of the original artists, their family members and friends, and interested citizens to join us in advocacy, fundraising, and brainstorming. Please join us by contacting me at rwhannum@gmail.com. All are welcome to join this exciting project!
These sixteen sculptures are an important piece of Vermont history. They hold a unique place in contemporary art as works of significance and value that must not be neglected.
Update: August 2019 - Support Grows!
The niece of one of the sculptors, Erich Reischke, just contacted me! She read this article and is coming to visit Vermont this fall with her sister and would like to see their uncle's artwork.
Also, one of my clients, the Office of Cultural Heritage (CH) of our US State Dept, just offered to review our conservation plans. CH is a small team of incredibly talented art conservators who travel the world repairing the vast collection of art in our embassies and ambassador residences. They're a wonderful group of people and I'm thrilled to be working with them!
As one of the members of our group recently remarked, there's a lot of positive energy gathering around this project. The stars are aligned!
Update: October 2019 - Reischke and Ruddick
Our group continues to meet, visit the sites, and plan for their preservation. We continue to search for the artists that are still alive or their family members. Three are still alive - Ruddick, Silva, and Kishida.
We just met with two sisters who are nieces of Erich Reischke. They came from California to see his sculpture. Byron Breese who heads our volunteer group, and I, spent an afternoon with them at their uncle's sculpture, talking and reminiscing.
They shared memories of Erich's fascinating and unusual life - living on a commune, becoming a Sikh, shunned by his family, and then later beloved.
Rita Reischke Bauer (left) and Sylvia Reischke, nieces of Eric Reischke, sitting on his sculpture.
Sylvia Reischke
Yesterday Byron and I traveled to Northampton, MA, about 2.5 hours drive south to meet halfway, Peter Ruddick and his friend who drove up from New York City where Peter has an art exhibition. He lives in California.
We spent three hours listening to memories of his upbringing in England during the WWII, his teaching career in Oregon, then at the Pratt Institute in New York City, and then Goddard College in Vermont. He spoke at length of his recollection of both Vermont symposia. Each one lasted about two months. He spoke about the artists that influenced him most such as Louise Bourgeois and especially, for him, Alberto Giacometti. I was particularly enthralled since I'd recently restored a Bourgeois sculpture at our ambassador's residence in London, and Giacometti is my all-time favorite, too!
Peter supports our plans for signage and foundations for his sculpture and all the others. His contribution to 'Sculpture on the Highway' was thought to be 'Untitled' but we discovered that it's 'Sextant'. He explained the influences behind it such as climbing over bunkers and looking thru machine gun sites left over from the war in England as a child.
He explained that he and the other artists were involved in choosing the location and exact placement of their pieces. For him the circle of 'Sextant' framed the mountains in the distance and the diamond framed cars on the highway and parked at the rest stop. We plan to move this sculpture and Peter enjoyed our suggestion of the Sharon Welcome Center where it could once again align with a view of the mountains at one end and the highway at the other.
Plans are also afoot to reconstruct a missing sculpture by Kishida Katsuji who is still alive. It was destroyed years ago while trying to move it.
Our long-term vision is another symposium, national and state Historic Register designation, the reconstruction of this piece, and other exciting possibilities.
Peter Ruddick, Bob Hannum, and Byron Breese in Paul & Elizabeth’s
Restaurant, Northampton, MA 10/7/19
Peter Ruddick’s ‘Sextant’ at a closed weigh station on I-89
South in Sharon
Kishida Katsuji sculpture at Sharon Rest Stop, I-89 North,
destroyed years ago in an attempt to move it.
‘Stone for Meditation’ by Karl Prantl 1968
Update: March 2020 - Kate Pond
A local reporter from 'Seven Days' called me. He saw this post and wanted to know more about 'Sculpture on the Highway.' He mentioned that Kate Pond participated in these symposia and that she lives close-by. So began my adventure with Ms. Pond!
"What Is the Large Metallic Structure at the Border in Highgate?" is a wonderful article about the work of the prominent Vermont sculptor Kate Pond. She and I are in conversation about her memories as a student of Paul Aschenbach and Clement Meadmore. Meadmore was another prominent sculptor and participant in 'Sculpture on the Highway'. The article mentions a third Vermont sculpture symposium organized by Aschenbach in 1990. Sculptures from this symposium can be seen in Battery Park in Burlington.
Update: August 2020 - The Maine Symposia
We discovered that another symposium was held 20 years ago in Maine resulting in 34 sculptures found in cities and towns along 200 miles of the northern Maine coast from Castine to Eastport. Known as the Maine Sculpture Trail, five symposia were organized by the Maine sculptor Jesse Salisbury who is now a wonderful supporter of our project and a new member of 'Friends of Sculpture on the Highway.'
Update: February 2021 - Karl Prantl
Our 'Friends' Director Byron Breese just found this video of Karl Prantl who passed away in 2010 at the age of 87.
Update: September 2021 - Save America's Treasures
Fabulous news! We just received a 'Save America's Treasures' grant! And for the entire amount we requested. I'm dancing as I type! This grant is entirely devoted to cleaning and restoring the sculptures.
We're not stopping here! Soon we're set to submit an equally important grant application to Vermont's Agency of Transportation (AOT) to move sculptures, place them on foundations, and upgrade their rest areas - a huge endeavor.
We continue to track down friends and relatives of the original artists. We found Doug Griswold whose father was the owner of ST Griswold Company (later sold to SD Ireland) which donated concrete and work space for all of the second symposium artists. Doug was just out of college having worked at his dad's company since he was 11. He was assigned to assist all the artists. We can't wait to gather and share his stories.
Concrete was an experimental medium for art in the early 70's. Doug made himself available daily to the artists to problem-solve in the creation of their sculptures. We just had the first zoom call with Doug and one of the many interesting memories he shared was that he spent a lot of time trying to convince the artists to look at concrete as a new medium rather than the medium they were used to. He said he didn't succeed with certain artists and you can tell from the pieces they created. For example, Meadmore designed his sculpture like he did his metal sculptures:
Ramirez's piece looks like the wood he's used to:
And Graves created a large block of concrete as if it was stone:
Others were more experimental such as Sylva, Ruddick, Uher, and Floyd. Fascinating!
These meetings are being recorded. Soon we'll make them available on our new website created pro bono by the website development team of Midnightsons Designs.
Update: November 2023 - AOT
Our state legal team - God love 'em! - deem it necessary to contact remaining living sculptors or their next-of-kin to request that they donate the sculptures to the State of Vermont. The purpose of this effort is to settle any question of ownership. That is underway and the good news is that the response is positive.
Meantime, no further grant is needed by the Agency of Transportation. They love our project so much that they've agreed to provide whatever improvements to each rest area where the sculptures are located. Thrilling plans include accessible paths, signage, foundations, landscaping, and much more!
Our website at SculptureontheHighway.com, generously donated by Midnightsons Designs is being updated and soon to be a source of regular updates for our growing worldwide group of 'Friends of Sculpture on the Highway'. Join us!
And finally, consultation and planning proceeds so the exciting conservation work funded by the federal 'Save America's Treasures', and the site improvements by our highway department can finally begin this coming spring.
Update: January 2024 - Found!
Exciting news! A 'lost' Aschenbach marble sculpture has been found. I ventured down to Proctor on other business yesterday for the Vermont Marble Museum which is a marvelous place - you must see it! A Board member of the museum, Jackson Evans, gave me a wonderful tour.
I asked him about Sculpture on the Highway, and he recalled seeing some of the sculptures over the years during highway travels. I told him all about our project. Well, we spent more time talking about SOTH than our original business. He shared local contacts for first-hand accounts of memories of the marble symposium in 1968 which was held right there in the field in front of us - the symposium lasted two months there, ending in a grand party where all the local townspeople gathered here in this here to view the finished sculptures and celebrate with music and food.
Then he said to me that I should go across the street and talk to an engineer from Omya which now owns Vermont Marble Company and all the marble quarries in VT, some still active including the largest underground marble quarry in the world located in a mountain in Danby, Vermont.
So I walked on over to meet Joel Blumenthal, Senior Geologist for Omya. I asked him about the symposium and he said, 'Follow me!" He took me to the back yard and showed me a huge half-buried mound of marble, clearly a sculpture because among the quarry marks are the distinct lines of carving tools. He said the Vermont Agency of Transportation wanted to dig it up 2-3 years ago, but something happened and it never came about which may have been a blessing in disguise since a previous effort to move one of the sculptures on the highway resulted in its destruction. As you can imagine, I got excited, but Joel added that I should sit down because he had something else to show me. He took out a thick manila folder with dozens of large black and white photos of the symposium! In perfect condition - images of the sculptures in-process with artists working on them, as well as finished pieces clearly identical to the ones in our collection, plus others, probably the ones that were sold. And there among them was a picture of the un-buried version of the sculpture out back with Aschenbach standing right next to it!
So now we know where it is with proof it's Aschenbach's. But many mysteries remain - how did AOT know about it, and why did Aschenbach bury it? Why didn't he place it along the highway like all the rest? Maybe he didn't like it? Maybe Aschenbach left it as a gift to the Vermont Marble Company...
So now we have lots of people to interview, photos to scan, and new mysteries to solve. The adventure continues, and Byron and I will keep you posted. And a very special thank you to Jackson Evans of the Vermont Marble Museum and Joel Blumenthal from Omya, real heroes of this story, for sharing their amazing information, and being so generous with their time.
Update: February 2024 - Noguchi!
In our ongoing interviews of folks who remember the artists, we just learned of a Proctor resident who provided lodging for all the sculptors in her bed and breakfast. One intriguing story she tells is of another sculptor who briefly visited. He didn't participate in the symposium but just came to see his friends. She distinctly remembers that he was very polite and Japanese. And he told her to call him by his last name 'like everyone does, Noguchi'!
Update: March 2024 - Marble History
The stone of our marble sculptures was sourced from 3 Vermont quarries: white marble from West Rutland known as ‘West Rutland White’ (Mizui, Aschenbach, and Prantl), white marble from Danby variously known as ‘Danby Imperial’ and ‘Danby White’ (Baumann, Lenassi, Reischke, and Rogy), and a block of black marble from the Fisk quarry in Isle La Motte variously known as ‘Vermont Radio Black’, ‘Fisk Black’, ‘Isle La Motte Black’, and ‘Champlain Black’ (Niizuma).
The marble quarries throughout Vermont in 1968 when this symposium took place were owned and operated by the Vermont Marble Company of Proctor, Vermont. For a period of time beginning in the late 1800’s, the Vermont Marble Company was the largest producer of marble in the world.
Vermont marble has a higher composition of dolomite resulting in a harder, denser, and less porous marble with greater resistance to scratches, cracks, stains, and corrosion. For instance, the absorption rate of marble from Vermont is .06-.08 versus .13-.18 found in Italian marble which is much more popular among artists due to its carving qualities and brilliant color. The durability of Vermont marble makes it the most sought-after for kitchen counters and floors.
The unusual hardness of Vermont marble is visible throughout our 55-year-old collection with only a few thin cracks and very little surface erosion despite acid rain and our harsh New England freeze-thaw environment.
The Danby Marble Quarry is still in operation having produced marble for such prominent landmarks as the US Supreme Court, UN Headquarters in New York, and the Jefferson Memorial.
The quarry extends 1.5 miles inside Dorset Mountain, the largest underground quarry in the world. It's 'Imperial' marble is considered the finest white marble in the world. Some of the caverns are so large - 3 stories high - that all the production facilities are within the mountain.
The Fisk Quarry which as mentioned above as the source of Niizuma’s black marble, was the first marble quarry in Vermont going back to 1664.
It is no longer in operation. Marble from this quarry is found in the ornamental walls of Radio City Music Hall, the National Gallery of Art, and the Vermont State Capitol.
The West Rutland quarries are also no longer in operation. Its marble was primarily used for grave stones.
Omya is the current owner of all 17 active marble quarries in Vermont. The company extracts marble primarily to produce calcium carbonate powder which is one of the most common ingredients in everyday products such as toothpaste, gum, antacids, food, and paper. Omya uses ‘progressive reclamation’ by which unused quarries are transformed into forest and farmland.
Update: May 2024 - Work Begins!
After a winter composing a detailed conservation plan for the concrete sculptures which was generously reviewed buy one of the foremost art conservation organizations in the world, the Getty Conservation Institute, work has begun at last!
We began work on the Ramirez (I-89 south Williston). Staff of the center and their Manager, Lisa Sanchez, and the area head of BGS, Josh, have all been welcoming and most helpful. 
This coming week as cleaning continues, I'll start testing concrete patching colors for the closest match. The plan is when cleaning is finished, we'll move to Graves (across the highway at Williston north) while I repair Ramirez.
I showed Mat Calcagni, expert art handler from Granite Corporation of Barre, the Trantenroth (I-89 south Middlesex) our most damaged concrete sculpture. Mat will be removing the six sections of this sculpture so that the heavily cracked section can be repoured as planned. 
I also showed him the Silva (I-91 north Putney) so he can lift it and transport it to a closer location - hoping BGS will give us a small section of parking lot or other outdoor state-owned area to clean and repair this piece.
ABC TV interviewed me 2 weeks ago at the Ramirez sculpture, but the video was just shown 2 days ago - have a look -
The concrete sculptures in our collection are first on the agenda because their conditions present the most risk of further damage.
Work began by assembling a team - a local public high school students and a graduate student intern, plus a retired and passionate laborer Richard, and my assistant Rebecca Driscoll. Next we tested various methods and products for cleaning and repairs - all approved by the Getty - and chose the ones that produced the best results. We are documenting our work with before and after images all along the way. Finally we hired a professional photographer, Eric Killorin to document our project from an artistic point of view. We will use his images to create an exhibition to start this winter and travel around the state drumming up support during this multi-year project.
Stop by and visit anytime!
Update: July 2024 -Granite Museum
Scott McLaughlin, the Director of the Granite Museum in Barre, Vermont graciously invited us to move 3 sculptures to his large outdoor viewing area in order to clean and repair them in a cost-effective and secure setting. The Ruddick and Trantenroth just arrived. Silva joins them next week.
Update: Nov 2024 - Season 1 Success
It's was a wonderful first season - 6 warm months! - and now that the cold weather has arrived we've can't apply coatings or concrete repairs so we've wrapped-up the restoration of our Sculpture on the Highway project until the weather warms again in May. We exceeded our goals for this year - here's what we did.
As many as 9 talented people endured our overly hot and humid summer including a local high school student, a professional photographer, a graduate studies intern, and a marble conservator from Romania! We are on-time and on-budget.
Specifically, we completed the cleaning of all 9 concrete sculptures as planned, and although we fell short of completing all the repairs - a bit more to do on 2 - we also completed the restoration of our most valuable and damaged marble sculpture, 'Stones for Meditation' by Karl Prantl. Plus, the marvelous Ambassadors at our Guilford Welcome Center cleaned their marble sculpture.
Before Cleaning
After Cleaning
Before Restoration
After Restoration
Before Restoration
After Restoration
This marble work was not expected until next year, so overall, we are ahead of the game and well on our way to completing the conservation work as planned by the end of next summer.
Though the hands-on work is done for the season, work continues through the winter. I'm documenting all the products and methods we used in order to guide future maintenance. And our AOT friends are planning their exciting involvement that begins next season - pouring foundations, moving sculptures, and improving all the rest areas where the sculptures are located.
Phew! It's been a busy and exhilarating project, and thanks to everyone involved.
Update: August 2025 - Highs and Lows!
The bad news is that our Save America's Treasures grant money was cancelled in Feb by DOGE, but a successful appeal restored the money. However, the administration appealed the appeal so we are waiting to hear the outcome. Meanwhile conservation is on hold.
The good news - and there's lots! - is that most of the conservation work was completed and the funding spent last year. So, we are seeking state and private help to complete the conservation work in case the federal funding is not restored. And already we have a donation.
Meanwhile, our Agency of Transportation is gearing up to start their piece of the project - pouring foundations, moving sculptures out of obscure locations, and upgrading each rest area with accessible paths, evening lighting, and wonderful landscaping. My hope is that 2 or 3 sculptures are moved onto foundations before the end of this year.
Another exciting development, we hired a consultant, Meg Ostrum, who has worked within the arts community for decades, to create a strategic plan. First step is to approach some deep-pocketed folks which is to begin soon.
Meanwhile I did a 40-minute presentation to a local conservation group a couple months ago and it was very well attended and received. So, I’m approaching other groups to raise awareness and financial support. Here it is:
Chris Miller installing 'Unity'
And we just added a new sculpture to the collection, a granite artwork by Chris Miller. It was placed at the Welcome Center in Bennington. We hope this is the beginning of our dream of a Granite Symposium in which many more sculptures will be created by international artists and placed along our other highway rest areas.
And finally, a popular Vermont-based podcast known as Happy Vermont just featured Sculpture on the Highway. Have a listen:
Update: March 2026 - A Busy Year Ahead!
All good news! The presentation I made last year about the history of the project and the restoration we have almost completed was accepted for presentation at this year’s American Institute for Conservation Annual Conference in Montreal this coming April.
And Meg Ostrum, hired last year by our State Curator David Schutz to develop a strategic plan, just completed it. We’ve received positive feedback, including from the Vermont Arts Council, an original sponsor of both Symposiums so long ago. They offered to be a partner as we start grant writing and other fundraising efforts for our multi-year project. First step in the plan: create a Board of Directors for our non profit 'Friends of Sculpture on the Highway'. Take a look at our Prospectus and Summary, and let us know what you think!
And finally, a local filmmaker Alan Dater of Marlboro Films contacted me to say that he had produced a 20-minute documentary on the 1971 Symposium. None of us had heard of it! Alan graciously gave me permission to share it. The film captures all the artists at work and features Paul Aschenbach explaining the inspiration behind both Symposiums. Take a look: https://vimeo.com/1168615097?share=copy&fl=sv&fe=ci
Bronze Restoration at the Bennington Museum
The Most Interesting Graffiti I've Ever Removed!
The Bennington Museum called me to remove graffiti from a bronze sculpture.
I spent 9 days in July and August of 2022 addressing this and other concerns involving ‘The American Spirit – Faith Charity Hope’ by Clyde du Vernet Hunt (1861-1941), c.1928.
The image below left is how it looked a day after being tagged with red spray paint. The image on the right is how it looked when I started several months later following previous efforts by the Williamstown and Atlanta Art Conservation Center.
They were able to remove a good portion of the paint but a 'shadow' remained visible which is not unusual if you don't have the right materials.
The surface had a few bare bronze spots, but was mostly covered in an original dark brown patina and green verdigris.
Verdigris can be the result of oxidation of the copper alloy within the bronze after decades of outdoor weathering. It can also be applied like paint to a bronze surface. I speculate, given the drip marks that are highly unlikely to be caused by weathering, that this particular verdigris is a chemical application. However, I also find it unlikely that the artist would approve of the unsightly drips and streaks. So, I believe that this was not the artist’s doing but rather applied sometime after the artist’s death (1941) and before it was gifted to the museum (1947) by the previous owner of the sculpture. My theory is supported by the fact that during the 40's applied verdigris was a popular choice.
The Story
The number 38 spray-painted across Lincoln's chest refers to the largest one-day mass execution in American history known as the 'Dakota 38'. The story begins with the American Indian Wars which is a catch-all phrase for all the conflicts between Native Americans and the US Cavalry which spanned more than 300 years. Until Lincoln became president no prisoners were ever taken. If a conflict arose between settlers and Indians and the Cavalry intervened, the results were invariably a massacre of an entire village including women and children. The Indians rarely won. When Lincoln became president he established 'due process' so that prisoners had to be proven guilty to be executed. Here is the story of the 'Dakota 38':
On September 28, 1862, two days after the surrender at Camp Release, a commission of military officers established by Henry Sibley began trying Dakota men accused of participating in the war. Several weeks later the trials were moved to the Lower Agency, where they were held in one of the only buildings left standing, trader François LaBathe’s summer kitchen.
As weeks passed, cases were handled with increasing speed. On November 5, the commission completed its work. 392 prisoners were tried, 303 were sentenced to death, and 16 were given prison terms.
President Lincoln and government lawyers then reviewed the trial transcripts of all 303 men. As Lincoln would later explain to the U.S. Senate:
"Anxious to not act with so much clemency as to encourage another outbreak on one hand, nor with so much severity as to be real cruelty on the other, I ordered a careful examination of the records of the trials to be made, in view of first ordering the execution of such as had been proved guilty of violating females."
When only two men were found guilty of rape, Lincoln expanded the criteria to include those who had participated in “massacres” of civilians rather than just “battles.” He then made his final decision, and forwarded a list of 39 names to Sibley.
At 10:00 am on December 26, 38 Dakota prisoners were led to a scaffold specially constructed for their execution. One had been given a reprieve at the last minute. An estimated 4,000 spectators crammed the streets of Mankato and surrounding land. Col. Stephen Miller, charged with keeping the peace in the days leading up to the hangings, declared martial law and banned the sale and consumption of alcohol within a ten-mile radius of the town.
As the men took their assigned places on the scaffold, they sang a Dakota song as white muslin coverings were pulled over their faces. Drumbeats signaled the start of the execution. The men grasped each others’ hands. With a single blow from an ax, the rope that held the platform was cut. Capt. William Duley, who had lost several members of his family in the attack on the Lake Shetek settlement, cut the rope.
After dangling from the scaffold for a half hour, the men’s bodies were cut down and hauled to a shallow mass grave on a sandbar between Mankato’s main street and the Minnesota River. Before morning, most of the bodies had been dug up and taken by physicians for use as medical cadavers.
Following the mass execution on December 26, it was discovered that two men had been mistakenly hanged. Wicaƞḣpi Wastedaƞpi (We-chank-wash-ta-don-pee), who went by the common name of Caske (meaning first-born son), reportedly stepped forward when the name “Caske” was called, and was then separated for execution from the other prisoners. The other, Wasicuƞ, was a young white man who had been adopted by the Dakota at an early age. Wasicuƞ had been acquitted.
Letter from Hdainyanka to Chief Wabasha written shortly before his execution: "You have deceived me. You told me that if we followed the advice of General Sibley, and gave ourselves up to the whites, all would be well; no innocent man would be injured. I have not killed, wounded or injured a white man, or any white persons. I have not participated in the plunder of their property; and yet to-day I am set apart for execution, and must die in a few days, while men who are guilty will remain in prison. My wife is your daughter, my children are your grandchildren. I leave them all in your care and under your protection. Do not let them suffer; and when my children are grown up, let them know that their father died because he followed the advice of his chief, and without having the blood of a white man to answer for to the Great Spirit." (excerpt from usdakotawar.org)
Depending on how you look at it, Lincoln either saved 265 native people from execution or sent 38 to their deaths. This blood-red graffiti across Lincoln's chest, hands, and face is clearly bringing attention to the 38 deaths, here in a region of Vermont with a sizeable population of 'First People' and college students.
Or is it!? Another interpretation is that the spray-painted number is 88, not 38. In the dark annals of the White Supremacists, 88 is a code for the 8th letter of the alphabet forming HH, Heil Hitler. And Lincoln is their arch enemy having freed the slaves. and this area of Vermont has a share of these characters as well.
Bronze Disease
Bronze disease is corrosion of the copper alloy in the bronze below the patina cause by chloride which is an environmental pollutant. This pollutant is particularly concentrated in the air where roads and walkways are salted. It is also one of the compounds found in acid rain. This corrosion will continue to spread if it is not removed.
Bronze disease is not often found on bronze sculpture, but this Lincoln had several dozen small spots, beside the left eye, under the rim of the hat, in both ears, and on the back of the neck. The spots varied in size from an inch in diameter to a pinhead.
Using sculpting tools, the blooms of chloride corrosion were picked away without scratching the surrounding patina. Remaining residue was brushed off using rigid plastic brushes on a Dremel. The surface was cleaned with xylene, a solvent which removes dirt and oxidation without harming verdigris or patina. These areas were coated several times with Everbrite. This polymer coating filled and sealed the small pits and cracks at the root of this ‘disease’, preventing further outbreaks. The coating will last 5-10 years, depending on weather conditions. I guarantee it for 5.
The image on the left shows the disease. The right shows blooms and residue removed.
Graffiti
A solvent-based red spray paint penetrated the rough surface making removal challenging. The paint was applied to the hands, face, arm, and the front of the coat.
I removed this in two separate treatments using conservation industry-approved graffiti-removal products. The first treatment removed most of the paint. A remaining ‘shadow’ was successfully removed with a second treatment using a different product.
This second treatment also removed much of the verdigris on and around the treated areas. To restore the verdigris, I first applied a matching green cold patina. This did not achieve the desired effect. Fearing that a stronger cold patina would etch into the surrounding patina, I opted instead to apply pigment, matching the color and pattern of the surrounding verdigris, followed by two coats of Everbrite. The pigment is color-fast and the coating has a UV inhibitor, thus protecting the pigment from fading.
The treatment of pigment and coating were also applied to all the areas where bronze disease was removed.
Caulking
Lead shims and caulking around the base of the statue deteriorated. I removed the old material only in the front of the sculpture, preserving the gaps in the sides and back to allow air circulation and drainage of any moisture inside the sculpture. Though the two coatings filled all cracks and pits on the sculpture, preventing rain from entering, moisture will continue to occur inside the sculpture due to condensation. The remaining gaps in the base will allow this condensation to drain and evaporate, preventing corrosion.
The front was re-caulked with outdoor-grade 35-year silicone and painted a dark gray to coordinate with the colors of the label and rock foundation.
Label
The aluminum signage was nearly unreadable due to dirt and oxidation. I burnished the surface of the lettering with an 80-grit sanding disc on a grinder, preserving the contrasting rough surface below the lettering.
The surface was cleaned with xylene, and 2 coats of Everbrite satin were applied. The UV inhibitor in the Everbrite will prevent oxidation for 5-10 years.
Final Words
In keeping with conservation standards, least aggressive products were used. They are reversible and when dry, environmentally safe. The sculpture is now in fine condition. The coating will also make any further non-etched graffiti very easy to remove. And I return annually free-of-charge for 5 years as part of my guarantee, to be sure that the products and techniques perform as expected.
By the way, the Bennington Museum has an outstanding collection including “…the largest public collection of paintings by the great American folk artist Anna Mary Robertson “Grandma” Moses who lived in nearby Eagle Bridge, NY, as well as the defining collection of 19th‐century Bennington stoneware. “Creative Collisions” are becoming popular at the museum, so we also have on view works by major 20th‐century modernists including Rockwell Kent, Paul Feeley, and Jules Olitski, as well as works by contemporary and outsider artists such as Gayleen Aiken, Duane Michals, Jessica Park, and Jarvis Rockwell. The permanent collection includes superb furniture and paintings from Vermont, one of the oldest “Stars and Stripes” in existence – the famous Bennington Flag, with its arch of 13 stars encircling the number “76” – the renowned 1863 Jane Stickle Quilt featuring an astounding 5602 pieces, and a 1924 Martin Wasp Touring Car, the only automobile manufactured in Vermont. "All are fine examples of art, history, and innovation that represent the creative mind at work, and the spontaneous expression of the human spirit.”
Art Restoration in Manila
Restoring a 'Lost' Artwork
First, Saving Hands and Feet
One of the most difficult - and exciting! - projects I've ever worked on is in a large swimming pool in the back yard of our Ambassador's residence in Manila, Philippines. Exciting because it involved discoveries, mysteries, and working with marvelously talented craftspeople. This was also the first time I restored a priceless artwork.
Across the bottom of the irregularly shaped pool is a sprawling image of over 7000 individually cut vibrantly colored tiles. It was created by the Picasso of the Philippines, Vicente Silva Manansala (1910-1981) in 1965 when the pool was constructed. Manansala is now considered a national treasure, and although he is well-known in the Philippines and beyond, this artwork is not. Until this restoration, no one knew about it except the US State Department's Office of Cultural Heritage which asked me for help.
Mr. Manansala was prolific, creating many paintings and stained glass artworks, but only a few compositions in tile, and this is one of them. It is a cubist depiction of sea creatures and plants, a work of great beauty and value.
Part of the problem is that there is no adequate image of this artwork because it is so large - spanning a 55'x35' pool. I took the photo above but as you can see, it needs an overhead photo, and this presents a unique problem I'll explain in a moment. Below are examples of other work by Manansala.
The Initial Work
The first step in this multi-year project addressed a safety concern. When the artwork was created, tiles were cut and installed but never 'softened', resulting in sharp edges that occasionally caused minor cuts to feet and hands.
With the help of the embassy mason, Delmer, we carefully used a special tool (Dremel 4000 with diamond accessories) on the edges of more than 1000 tiles over three days. Couldn't have done it without Delmer in these mid-summer days of intense heat and humidity, even in the shade. I did ten minutes at a time. Delmer could do much more.
The blue of these pictures is due to the blue tar covering the entire pool to offer us some shade. We even had a huge outdoor air conditioning unit which didn't help unless you stood right next to it. But the masons and I agreed that the sound of it made us feel better!
Preparing to Return
That done, I returned home to address the next set of challenges. Over time about 90 tiles deteriorated and were replaced without matching the original colors or shapes. Who could blame anyone. No one knew this was a valuable artwork. Luckily, these replacements were all a dark gray color distinct from the originals so they were easy to spot as seen in this image.
Not so easy was figuring out some of the original shapes. A close study of the entire piece plus elements from similar paintings helped me figure this out. Double checking my findings with colleagues, a conservator basic, settled it!
The Director of the Office of Cultural Heritage decided not only to restore this important and unusual artwork, but also track down relatives, cultural officials, editors of art publications, and museum directors to plan a special dedication when the restoration is finished. After all, an unusual, important, valuable, and 'lost' work of art by a renown Filipino artist deserves special attention.
Once the shapes were determined, the next step was locating a tile manufacturer to match the original colors. This too was a challenge since few companies do custom colors in small batches. I finally found Viuva Lamego in Lisbon, Portugal. They completed the order and shipped it to Manila to await my return.
Back to Manila
I brought special tools to cut curves in the tile. I also brought twenty tiles fabricated here in the US for a label about the artist in English and Filipino to display near the pool.
Special thanks to Gloria Shanstrom at Enduring Images for the label fabrication, and to Casper Talaeay from Lancaster, PA for the translation. I learned from Casper that there are many dialects in the Philippines. The major one is Tagalog displayed in the label.
Related Projects:
As I mentioned, the artwork is so large that no photo exists that nicely shows the entire piece. A simple solution is a drone camera, but drone photography is a hard ask for embassy security folks tasked with the protection of our foreign diplomats and other employees.
Photos are strictly forbidden that show security cameras, or even doors and windows. But that was just the beginning of the problem. This residence happens to be close to a Philippine military base, close enough that drones of any kind are prohibited. I tried a GoPro camera attached to a long pole from roof of the house overlooking the pool, and the picture at the top of this article was the result - still not very satisfying. I'm tempted on my next visit to simply use a drone at a very low level over the center of the pool and apologize later!
I located two granddaughters of the artist, and a grandson. One is an expert on her grandfather's artwork. I continue to follow leads and hope to locate many more interested parties.
The Restoration Continues
With a break in the Covid pandemic, I returned to Manila for six weeks in February 2022 to finish the work... or so I thought! It was a complicated trip this time with more costly airfare, a five-day quarantine, a Covid test, and a Philippine visa which I could only get in-person at the Philippine Embassy in Washington, DC.
First thing when I arrived, I checked the custom color tiles I ordered. Not all of them matched - 23 did, but 5 didn't. So we completed our work with the tiles we had - a big enough task taking 6 weeks. But I'd have to return.
More Damage
I also discovered that many more tiles were damaged than I originally observed. On closer inspection, some previous repairs were done too quickly causing 'overcuts' in adjoining tiles. These too needed to be replaced.
And scratches - so many scratches and chips caused by mops and typical pool cleaning accessories. What was originally a 90-tile restoration ballooned into an 800 tile project!
Another source of damage were gouges and cracks caused by dropping objects on the tile, such as tools, mop handles, and even extension cords as seen below. Though tile is very resistant much like our teeth to scratches even by metal dental tools, tile very easily cracks and chips.
So I returned for another six weeks in May 2022 to finish before the new ambassador arrived in July.
Mysteries
This tile artwork is gorgeous and without a doubt the most interesting and valuable I've ever worked on in my 45-year career. A major part of my fascination with this artwork are two mysteries!
Manansala experimented with the limits of cubism throughout his career, achieving an innovation in three-dimensionality which is now known as ‘Transparent Cubism’. Above is a great example. Notice the stained-glass, transparent effect that Manansala achieved - this was a first!
I believe that in this pool Manansala experimented again. This time he investigated movement. If this is true it adds even greater importance to the artwork. Take a look at the images below.
These are particularly difficult, time-consuming, and expensive cuts, detail which makes no sense unless Manansala had an important reason. My masons confirmed that such extra time and expense would never be done unless specifically requested. Why choose small curves and indentations rather than easy straight cuts? Why create details that no one can see when the pool is filled? Why place such details only on the sea creatures? I think Manansala discovered that these details work along with sunlight and water to create movement, a theory to be tested when the pool is filled.
I also discovered another odd detail, two small heart-shaped tiles. These are also hard to create in tile, or even see, and hearts are not found in seascapes. This is a curious decision by the artist. Is it a signature? Do any other of his artworks include a heart? Further research is needed.
Further Research
The restoration is complete, but the project is far from over. So glad to be done with the exhausting and grueling daily heat, dust, noise, and dangerous tools. But my research was limited to the internet to find what other tile artwork the artist created and any other art that would help determine the missing shapes. And I was not able to test my theory before I left because the pool requires four days to fill, and there was no time to spare before my next scheduled project. So there is more to do.
Valuation
Manansala created another small cubist tilework depicting the Crucifixion - this is in a private collection - and a large representational mosaic entitled 'Our Lady of Fatima - Thank You' on the chapel facade of Far Eastern University in Manila.
The small (18"x53") cubist tile piece appeared at auction years ago at a bid of $10,000. I used this as a 'comp' but a poor one at best since there is no date of the auction, no final sale price, and no authentication, and there are many fake Manansala's. Given the uniqueness of the pool artwork and the 'national treasure' status of the artists this comp gives us a value starting at $2,000,000. But if this is an example of yet another innovation, this time in cubist movement, it is the only example and thus, in my opinion, elevates the value to priceless.
And Finally, Maintenance!
Manansala is a 'national treasure' of the Philippines and a major contributor in the Cubist art movement. Without question the pool artwork is valuable and important. Thus, I feel differently about the idea of training staff to do future repairs as I usually do in embassy restorations.
Though the embassy masons are very skilled and careful, I feel that only conservators should touch it, and that there be strict guidelines for cleaning it such as never stepping on it, never using abrasives, never carrying tools into the pool, etc. I don't even feel comfortable with anyone but CH personnel cleaning it! It's an expensive proposition, but in my opinion well worth it.
Below are images of the artist.
The US Dept of State May newsletter features cultural heritage projects including two of mine! Take a look.
Update February 2025
Last year I returned to Manila - this time to participate in filming the remarkable story of this restoration. Check it out:
Art Installation at Becton, Dickinson and Company
Award-Winning Art Installation
In 1986, Arts Management Services LLC was part of the team commissioned to install two large sculptures. The piece shown above is titled Atrium Garden by Michael Singer and is located in the world headquarters of Becton, Dickinson and Company (BD) in Franklin Lakes, NJ.
Singer was commissioned to create works of art for two interior atrium spaces in the executive building of BD’s vast corporate campus.
“Both atria were planned by the architect to be central light wells for the building, providing natural lighting for the core circulation space as well as the adjacent offices and gathering spaces. Upon entering the building there is a view of the central Atrium Garden and its linear water element which carries one’s view deeper into the space.
Related Projects:
- Restoration of Maya Lin Sculptures at the US Consulate in Istanbul
- Art Conservation of the World’s Tallest Buddha
- Art Installation at Michael Singer Studio
- Sculpture Repair at the Winfield House
- Sculpture Installation at the US Embassy in Athens
- Sculpture Restoration at the Denver International Airport
Low dense ground cover blankets much of the sculpted ground plane, with several excavated shapes below the surface and around the fountain and water channel. These excavated areas contain different configurations of stone and wood forms.
The garden may be viewed from the adjacent offices and walkways on the upper levels. The many viewpoints reveal different forms within the underground chambers. In the second atrium, which faces an outdoor courtyard, there is a wood and stone sculpture Cloud Hands Ritual Series 1986, an etched copper tablet and an old quarry cart. The elements of the sculpture and etched copper plate reflect the larger forms seen in the sculptural garden atrium.
This project won an American Institute of Architects Gold Award.”
Made of granite, pine, and field stone, I return for yearly maintenance to clean both pieces and apply repairs as needed which is infrequent.
Restoration has involved replacing rotted infrastructure elements supporting the granite. Other than these minimal repairs the piece is remarkably durable. An electrical leak in the ceiling above the Cloud Hands sculpture caused staining on several wood surfaces. The owners have chosen not to repair it due to the fact that the stains look just like knots in the pine surface.
Update
In 2019 Arts Management Services LLC restored both sculptures. The entire below-ground infrastructure was replaced and the electrical stain damage was restored. See this article for further details.
Installation of a Major Exhibition in Denmark
Exhibitions in Aalborg and Copenhagen
In 2011, the Utzon Center in Aalborg, Denmark and the Danish Architectural Center in Copenhagen commissioned Arts Management Services LLC to install an art exhibition of sculpture and works on paper by Michael Singer.
For this project I assembled a team of four people including myself. The installation took one week prior to the opening in each venue.
Related Articles:
We installed four sculptures, five framed artworks, and numerous story board photos of architecture and infrastructure projects. Sculptures included Ritual Series Retellings 1999-2010 made of pine, cast concrete, bronze, copper, and stone. 158″ wide x 209″ long x 65” tall.We also installed Ritual Series Map of Memory 2001-2010. This is made of pine, cast concrete, bronze, copper, aluminum, marble, lead, and field stone. It measures 140″ wide x 180″ long x 56” tall.
Both exhibits were well received and included symposia on the role of art in saving the environment, saving the world!
As part of the exhibition, a major book on the work of Michael singer was published, The Re-Enchantment of Nature and Urban Space: Michael Singer, Projects In Art, Design, and Environmental Regeneration. It is available in hardcover on Amazon.
