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Best Bronze Protection

July 5, 2026 by Bob Hannum

‘Whale Dance’ by Jim Sardonis, July 2019, bronze with dark patina, 16’ x 12’, Randolph, VT. Photo by Lelonie Oatway.
‘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.

verdigris look to an outdoor bronze sculpture

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

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.

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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.

graffiti
Repaired graffiti

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

Filed Under: Restoration Tagged With: Art Conservation, Art Restoration, Arts Management Services LLC, Bob Hannum, bronze protection, Bronze sculpture, Bronze Sculpture Conservation, Jim Sardonis, sculpture restoration, Whale Dance

Restoration of Works on Paper

May 19, 2021 by Bob Hannum

Three Hundred Drawings Re-Framed

About the Artist

The environmental artist and architect Michael Singer, commissioned Arts Management Services LLC to inspect, restore, and re-frame all of his works on paper – collages, etchings, and prints.

This multi-year project involved nearly three hundred works of art ranging in age from his first pieces from the early 1970’s to his newest work. Some were in poor condition without acid free materials. Some had never been matted or framed before. 

Restoration

Each was carefully taken apart. Frames – iron, steel, and aluminum – were cleaned, reconditioned, lacquer-coated, or replaced. All frames were custom-made. Special aged-iron frames were carefully cleaned of rust spots and coated with two layers of satin-finish lacquer, while preserving their antique iron look. Frame screws were replaced to match the frame color and finish.

All backing that was not acid-free, foam core, or blemish-free was replaced. All mats were carefully inspected and replaced when needed by 8-ply cotton rag archival museum board. This 8-ply mat was hand-cut with no over-cuts at the corners. I used a special bone implement to finish the cut edges as per standard art framing practices.

I used archival acid-free glue with hand-made Japanese rice paper hinges. In addition to hinging at the top as is usual, sometimes the sides were also hinged when the weight of the artwork was an issue. Acid-free paper was folded into triangles and applied to the bottom corners of all artwork to protect it from damage during handling and transport, should it ever come unhinged.

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Some drawings needed to be carefully cleaned of bugs, dust, and mold. The artist was consulted before removing any blemishes to be certain that such marks were not part of the artwork.

Fixative was re-applied to surfaces without disturbing delicate elements such as copper foil, oil stick, chalk, pencil, and charcoal.

Many collage works required hand-made spacers between the mat and the Plexiglas to create space and separation so that the artwork does not touch the Plexiglas surface – a particular issue for this artist whose works often involve layers of paper as much as 5/8″ thick.

Conservation

Some works were large with dimensions as much as 3′ x 8′ and weighing nearly 100 pounds.

All original museum and gallery labels on the back of each piece were carefully removed and re-affixed to the reconditioned works.

Scratched and smudged Plexiglas surfaces were cleaned and repaired or custom cut and replaced.

Finally, all artworks were recorded in detail as part of a larger project to register all of the artist’s lifetime of artwork, installations, exhibitions, and sales including hundreds of drawings and sculpture.

Filed Under: Art Restoration, Framing Tagged With: Art Conservation, art framing, Art Repair, Art Restoration, Arts Management Services LLC, framing, Michael Singer, Robert Hannum, works on paper

Sculpture Restoration at Becton, Dickinson and Company

April 3, 2019 by Bob Hannum

Thirty-Year-Old Sculpture

From March 1 thru 11, 2019, my son William and I restored a 30-year-old in-ground sculpture entitled "Atrium Garden" by Michael Singer. It took us 11 long days. Now It's good for another 30 years!

I was also part of the team that originally installed it in the world headquarters of Becton, Dickinson and Company. After 30 years this sculpture of pine and stone needed serious TLC. The original construction was comprised of wood units made of 2x4's enclosed with ½'' plywood.

Why PT Was Not Originally Used

Pressure treated wood (PT) products first became popular in the 70's, but by the mid-80's when we constructed this sculpture, research indicated that the chemicals used were too toxic for indoor use. It wasn't until the 90's that safer chemicals were used in the production of PT products. Thus, we did not use PT. Instead, we coated the outside plywood with tar and plastic as a safe and effective alternative for protecting the wood from contact with plant irrigation and moist soil.

It held up well, but after 30 years the plastic eroded and the ply rotted. The rot was so extensive that in many places only a sheet of tar remained. The plywood on the visible side of the sculpture was coated with glue and dirt to give the impression of dirt walls as in an excavation. These were in good shape except for the bottom 2" or so where moist dirt created rot. Most of the supporting 2x4's were also pock-marked with rot.

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Each hole is about five and a half feet deep with a concrete floor that we covered with dirt to look like an excavation. Under the plants are about a foot of gravel and topsoil. Filling the remaining space between the floor and the soil were layers of thick 4" rigid foam.

Interestingly, we expected to find small lizards and spiders which we spotted at times during the yearly maintenance visits throughout the past years. We encountered none.

A Dirty Job

The contents of each hole were removed - wood structures and large stones. A manual crane was used to remove the stones which were too heavy to lift by hand. Each structure was rebuilt with pressure-treated plywood. Outdoor-grade latex paint and 35-year latex caulk were applied to the seams and bare wood to match the color of the surrounding dirt. Outdoor-grade decking screws were used at all times.

Then each 'dirt wall' made of plywood and 2x4's was removed and rebuilt. Old ply and 2x4's were replaced with PT. Sheets of thick plastic were placed as an extra protective barrier between the dirt and plants and the new structures. Finally, the wood and stone elements were placed back into their holes.

Challenges

The long days were due to the challenges presented by our location. We stayed at a comfortable hotel only 10 minutes away from the BD campus. We started each day leisurely with a nice hot breakfast and drive over to BD in William's truck by 10am each morning. We estimated 16 days for this project if we worked straight thru with no days off. We couldn't make loud noise from hammers, saws, or vacuums during business hours. So, we used this time to purchase supplies and prepare everything we needed so that once 6pm arrived we were ready for a loud and intense 3 or 4 more hours of work.

Keeping It Safe

Employees were working and walking near us throughout each day. As a result, we were very careful to keep our worksite clean, organized, and safe. We placed safety cones and air filters all around the worksite. The polished granite and marble floors surrounding the sculpture were protected at all times with moving blankets and thick plastic sheet. And of course, we had to watch our language when faced with the occasional frustrating moment!

About BD

BD is the world's largest producer of medical supplies. Their many inventions include the syringe, thermometer, ace bandage, and the black leather doctor's bag, to name just a few. Founded in 1897 and headquartered in Franklin Lakes, New Jersey, BD employs nearly 50,000 people in more than 50 countries throughout the world. The founders, Maxwell Becton and Fairleigh Dickinson were also collectors of art. In 1986 work began to create a new campus in Franklin Lakes, NJ. New buildings feature large work spaces with natural light and beautiful art.

Award-Winning Architecture

The architects Kallmann, McKinnell & Wood envisioned a Tuscan villa-style design. The campus is stately buildings set among rolling hills made of mahogany, polished stone, and copper. Their design achieved every major architectural award. The chief architect, Michael McKinnell, placed large atriums within each building and commissioned the sculptor Michael Singer to create two large indoor sculptures and another large outdoor one. Singer and McKinnell became friends and collaborated on subsequent artworks and architectural designs.

Lost Energy

After about the sixth long and hard day, and only half done, we'd had it! My son William and I were feeling a bit down and out with no end in sight. So, we called in our friend Al Chapman to lift our spirits and lighten our load. He works with us on many large projects, and he was just what we needed! His skill, energy, and good humor got us back on track with renewed enthusiasm. Suddenly, the project was finished and we were ecstatic!

Filed Under: Restoration Tagged With: Art Conservation, Art Restoration, Arts Management Services LLC, BD, Michael Singer, Robert Hannum, sculpture

Marble Restoration in Japan

April 2, 2017 by Bob Hannum

Broken Marble Fingers

The Sculpture

Two fingers on a delicate marble sculpture by an unknown French artist, a nearly life-sized nude, were broken in the past and then glued back using a substance that darkened over time.

My job was to restore the fingers to their original look.

The Restoration

The process involved carefully removing just enough of the old glue so as to fill it with new white epoxy, but not so much that the fingers break again, and without touching any part of the original stone.

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Using a professional-grade Dremel, and a variety of accessories, I removed a thin layer of the old epoxy without touching any of the original marble surrounding the old repair. Once this was done I applied a 2-part non-glossy white epoxy, filling the cracks so that it looked like the original stone. Finally, and quickly before the epoxy set, I applied white marble dust to match the texture of the stone.

Once dry I did a few minor passes with the Dremel for finishing touches.

Before Repair

Before Repair 1
Before Repair 1
Before Repair 2
Before Repair 2
Before Repair 3
Before Repair 3

After Repair

After Repair 1
After Repair 1
After Repair 2
After Repair 2
After Repair 3
After Repair 3

 

I was happy with the result.

Filed Under: Restoration Tagged With: Art Restoration, Arts Management Services LLC, Marble Restoration, Robert Hannum, sculpture restoration

Sculpture Restoration for Williams College

February 12, 2017 by Bob Hannum

What Began as an Installation Became a Restoration

 

Uh Oh, Something's Missing!

Arts Management Services LLC (AMS) installed a sculpture from the collection of the Williams College Museum of Art.

1 week installation in 1.5 minutes!

It's a sculpture by the environmental artist and architect Michael Singer entitled Ritual Series 1990 now on exhibit through February 19, 2017. It's the centerpiece of a group exhibition titled 'Shaping Space,' which also includes works by Richard Serra, Mel Edwards, and Louise Nevelson. To learn more about this exhibition, visit the Williams College Museum of Art (WCMA).

During the installation I discovered that a few pieces were missing much to the chagrin of the artist and museum staff. After an extensive search the pieces were not found. Michael Singer determined that the sculpture looked fine to exhibit, but that the missing pieces should be restored. So WCMA commissioned AMS to restore the missing pieces. My son William joined me and we completed the project and replaced the missing pieces on February 7.

Acquisition

Arts Management Services assisted in the original fabrication of this sculpture in the early '90's.

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Williams College in Williamstown, Massachusetts added this sculpture to their permanent collection as a gift from an alumnus and closest friend of the artist, Dr. William Fishkind.

About the Sculpture

Ritual Series, 1990 consists of wood, granite, field stone, copper and bronze measuring 230″ x 230″ x 75″ tall.

Williams College restoration 1The wood has a gorgeous texture created by sand-blasting 2″ thick rough-cut pine, harvested from the woods nearby Michael's Vermont studio by a local mill. After sand-blasting, the large and heavy planks were carefully singed to create an ancient look. The wood is not coated and easily bruised so handling is careful with gloves at all times. Likewise packing and storage is done with special care to avoid bruising or scratching the soft wood.

Field stone was collected from around the artists 100-acre property in the mountains of southern Vermont. Mr. Singer would assemble a group of us from his studio and line us up behind him in a single row. We would then follow him all over his fields like ducklings. He would point to a rock and one of us would pick it up and carry it. Most were too heavy to carry more than one. When we all had one we would load them on his pickup truck and transport them to be cut flat on one end.

Holes were drilled into the planks. These holes refer to the aboriginal maritime culture of the Chumash who lived along the coast of what is now California. They created their canoes by lashing planks together which they referred to as Tomol, which was the original name of this artwork when first exhibited outdoors in a dry riverbed of the Santa Barbara Botanical Gardens.

Another interesting feature is the 'barrewood' and the barrewood patterns reflected in some of the bronze elements. Barrewood is a term used by the artist because these distinct patterns are created by huge saw blades that cut thru granite and slightly into 2 x 4 planks that line and protect the floor. Michael's stone cutters are located in Barre, Vermont.

The Installation

Williams College restoration 2One of the secrets of this artist's work is the precise degree of vertical plumb and horizontal level. Most good carpenters notice when something is off-level by anywhere from an 1/8″ to 1/4." Incredibly, Mr. Singer notices pieces that are off-level by only 1/32″! This precision creates a subliminal effect of calm and quiet, making the heaviness of stone, metal and thick wood seem light, floating, contemplative, even otherworldly. This stunning effect can be felt in this and many of his other sculptures. Many of the granite and bronze pieces are heavy and the long and thick pine planks bulky, needing 2 to handle and place precisely according to the instructions.

Our team devised an instructional system with carefully marked photographs whereby intricate sculpture such as this can be assembled and disassembled by museum and gallery preparators. This art installation required two people five days to install. This is only the second showing of this sculpture at Williams since it's purchase and exhibition in 1990. The current exhibition notes this about the artist and this work:

In 1971, Michael Singer fled New York City and settled in rural Vermont, where he found solace and renewed inspiration in nature. Comprised of sculptures and landwork, much of Singer's body of work exists outside of traditional art spaces. In his architectural designs, gardens indoor and outdoor artworks, and infrastructure projects, he consistently endeavors to produce ecologically sustainable objects and spaces that draw inspiration from their particular environment. This sculpture is part of Singer's ongoing Ritual Series, a collection of indoor installations crafted using an array of natural materials. Curved wooden beams enclose a labyrinthine interior of stone, metal, and wooden forms. For Singer, this central sanctum is akin to an inner realm - a sacred space from which to contemplate one's place in the natural world.

Filed Under: Restoration Tagged With: Art Restoration, Arts Management Services LLC, Michael Singer, Robert Hannum, sculpture restoration, Williams College Museum of Art

Framed Art Restoration

April 7, 2016 by Bob Hannum

Three Framed Art Works

Beautiful Delray Beach

Just returned from a week in sunny Delray Beach, Florida, restoring three framed art works for two private collectors.

These works are important pieces by Michael Singer. They are among his earliest works-on-paper from the 1970's. At that time, in his 20's, he was not always concerned with paper quality or the importance of acid-free materials for long-term preservation. Both collectors, aware of the need for these works to be better preserved, asked me to provide the restoration services.

Meanwhile, my wife relaxed on the gorgeous beaches, and we were graciously hosted by the artist who is also an amazing chef!

The Project

Over four days, each artwork was carefully inspected and disassembled. Old foam core and cardboard that was not acid-free and a plywood backing were replaced with new museum-quality materials. Wooden backings were re-glued at all of their joints. Then the artwork was closely inspected to remove any dust or other extraneous material that found their way between the artwork and its protective glass over the many years that these works have been on display in the homes of their owners. How dust and microscopic-sized bugs get into framed art is a mystery to me.

Then I attached the artwork to new foam core backing with special Japanese rice paper hinges and extra custom-made holders that further secure these unusually heavy collages without being seen.

Custom-made iron frames, beautifully aged and even slightly rusted in spots, were cleaned and lacquered. The rust was not removed as the artist likes the look. Special spacers were placed between the Plexiglas and the artwork, underneath the border of the frame and out of sight of the viewer, in order that the art no longer touches the Plexiglas. This further preserves the art.

Two of these works are in fine condition. One caused me a brief moment of art conservation horror! Instead of non-acid-free foam core or cardboard which is concerning enough, this piece was backed by a thin sheet of plywood. The resins from the wood and the glue used to laminate plywood can damage paper worse than just about anything else! Consequently, over time the outer edges of the artwork have yellowed but not too badly. Replacing this ply with acid-free foam core will delay any further yellowing.

All the work involved in this restoration process was formally documented and sent to the collectors for insurance and appraisal purposes.

The Angel

These non-matted works did not, at first glance, need any replacement Plexiglas, but upon removal clearly did. This little extra detail became a big factor as I searched the local and surrounding glass and framing businesses for replacement Plexiglas of the large and thin dimensions that I needed.

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Not easily found! And I had a plane to catch in two days for my next project! After over a dozen calls and even a visit to a business that had just gone out-of-business, I found just what I wanted thanks to Melissa at Delray Art & Framing Center. She went the extra mile to be sure I received exactly what I wanted and sooner than I expected. Once in a while along my travels I meet special people that I'll never forget. She's one of them!

At the end of it all I cleaned the glass of any fingerprints I may have left plus fine lint and dust that accumulates even in the minutes between removing the protective film and placing it over the artwork. I use a special solution that does not damage the Plexiglas while removing dust, dirt, and static electricity. Plus the screws that hold the frame together were replaced with black-headed ones that match the frame.

Finally I inspected the equipment used to display the art on the walls - hangers and lights - applying minor adjustments.

One of my clients, Louise and Herbert, knowing I was versed in the repair of art pools asked me to check their newly repaired outdoor hot tub. Despite my busy schedule I managed to squeeze in a couple minutes at no extra charge.

By the way, Herb and Louise, whose last names I will not mention in respect of their privacy, were the most enjoyable clients I have ever worked for. Herb's stories are absolutely priceless!

The Surprise

When I returned to my office I checked to be sure these framed art works are included in Mr. Singers registry, a project he commissioned me to assemble and keep updated. This is an ongoing project begun five years ago and including archival descriptions of all of his works of art - sculpture as well as drawings.

One surprise was discovering that the artist had lightly painted a very thin coat of grey over the surface of one frame. This is not something I observed in any other of his framed art. When I asked Michael about it he replied, "I have no idea why that frame is painted!"

Filed Under: Framing, Restoration Tagged With: Art Restoration, Arts Management Services LLC, framed art, Michael Singer, Robert Hannum

Sculpture Restoration at Wellesley College

January 31, 2015 by Bob Hannum

'Woodland Garden' by Michael Singer

The Artist

Wellesley college restorationMichael Singer is an environmental artist and architect with studios in Vermont and Florida. His sculpture and drawings are part of the permanent collections of many of the world's major contemporary museums such as the Guggenheim, the Walker Art Center, the Hirschorn Museum, and the Louisiana Museum in Denmark to name a few.

The Sculpture

Wellesley College commissioned Singer to create this site specific sculpture, Woodland Garden, on it grounds. Mr. Singer's describes this work of art on his website as follows:

The two acre site on the extensive, beautifully landscaped Wellesley College campus is located along a pathway that winds through a wooded area on one side of Lake Waban. The journey through the landscape is part of the experience of this permanently-sited work, offering an alternative approach to traditional notions of public art which is usually placed in an urban context.

Woodland Garden is meant to be discovered, stumbled upon, as one travels along the forest trail. The site is defined with low stone walls that serve as both threshold and boundary, referring to the abandoned stone walls and foundations found throughout New England’s reforested landscapes. The sculptural element is sited in a hollow between two small hills in the landscape. Low split-stone slabs and a cut capstone rise two feet above the ground plane and define the upper edge of a chamber that extends four feet below the ground. The sunken chamber contains sculptural layers of cut granite and cast bronze. Over one hundred planted indigenous silver beech and red maple trees, along with wild blueberry and ferns, were planted as a part of the project to blend into the existing woodland flora.

The project was sponsored by the National Endowment for the Arts, LEF Foundation, Davis Museum and Cultural Center, and the Massachusetts Council on the Arts.

The Restoration

Wellesley college restoration 2Wellesley College's Davis Museum commissioned Arts Management Services LLC on several occasions to remove graffiti and repair other damage. The remote location of the sculpture lends itself to being abused by students - both college and high school - as a favorite hangout and party area. Damage often resulted especially when the parties included drinking and a camp fire.

After what looked like regular annual repair bills, I suggested signage and a program that encouraged students to learn about the sculpture and respect it. This has resulted in excellent results with no damage since.

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The restoration work involved removing burnt remains of campfires, graffiti on the walls, replacing moss, straightening bronze elements, cleaning and re-pinning rocks, repairing a cracked slab of schist, and replacing a bronze element that had been removed and lost, presumably as a souvenir. I also taught students to carry out annual maintenance on this outdoor sculpture garden.

Filed Under: Restoration Tagged With: Art Restoration, Arts Management Services LLC, Michael Singer, restoration, Robert Hannum, sculpture restoration

Restoration of Works on Paper

January 30, 2015 by Bob Hannum

300 Drawings Restored and Re-Framed

About the Artist

Ritual Series Retellings

Ritual Series Retellings 6/30/94. Cast paper,
charcoal, and chalk on paper. 96 x 34”

The environmental artist and architect Michael Singer, commissioned Arts Management Services LLC to inspect and restore all of his works on paper - collages, etchings, and prints.

This multi-year project involved nearly 300 works of art ranging in age from his first pieces of the early '70's to his newest work. Some were in poor condition without acid free materials. Some had never been matted or framed before.

The Restoration

Each was carefully taken apart. Frames - iron, steel, and aluminum - were cleaned, reconditioned, lacquer-coated, or replaced. All frames were custom-made. Special aged-iron frames were carefully cleaned of rust spots and coated with two layers of satin-finish lacquer. Frame screws were replaced to match the frame color and finish.

All backing that was not acid-free, foam core, or blemish-free was replaced. All mats were carefully inspected and replaced when needed by 8-ply cotton rag archival museum board. This 8-ply mat was hand-cut with no over-cuts at the corners. I used a special bone implement to finish the cut edges as per standard art framing practices. All hinges were replaced.

 

Ritual Series 1/2/79

Ritual Series 1/2/79. Paper collage, charcoal, and chalk on paper. 59 x 43”

I used archival acid-free glue with hand-made Japanese rice paper hinges. In addition to hinging at the top as is usual, sometimes the sides were also hinged when the weight of the artwork was an issue. Acid-free paper was folded into triangles and applied to the bottom corners of all artwork to protect it from damage during handling and transport, should it ever come unhinged.

 

 

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Some drawings needed to be carefully cleaned of bugs, dust, and mold. The artist was consulted before the removal of any blemishes to be certain that such marks were not part of the artwork. Fixative was re-applied to surfaces without disturbing delicate elements such as copper foil, oil stick, chalk, pencil, and charcoal.

Many collage works required hand-made spacers between the mat and the Plexiglas to create space and separation so that the artwork does not touch the Plexiglas surface - a particular issue for this artist whose works often involve layers of paper as much as 5/8" thick.

Ritual Series Guardian Journey

Ritual Series Guardian Journey 8/06. Ink and collage on paper. 40.5 x 32.5”

Some works were large with dimensions as much as 3' x 8' and weighing nearly 100 pounds. All original museum and gallery labels on the back of each piece were carefully removed and re-affixed to the reconditioned works. Scratched and smudged Plexiglas surfaces were cleaned and repaired or custom cut and replaced.

Finally, all artworks were recorded in detail as part of a larger project to register all of the artist's lifetime of artwork, installations, exhibitions, and sales including hundreds of drawings and sculpture.

Filed Under: Framing, Restoration Tagged With: Art Conservation, art framing, Art Repair, Art Restoration, Arts Management Services LLC, framing, Michael Singer, Robert Hannum, works on paper

Sculpture Restoration at Middlebury College

January 31, 2014 by Bob Hannum

Site-Specific Sculpture 'Garden of the Seasons'

Garden of the Seasons 2The Artwork

Garden of the Seasons is located on a main pathway of the Middlebury College campus. A granite bench sits in front of an aluminum structure with water trickling over it. This transforms into an ice sculpture in the winter months. Behind this structure is a garden and stream also designed by the artist.

The site-specific environmental sculpture engages visitors with sound, light, color, texture, and fragrance. The artist's website further describes it as follows:

The garden is a semi-sheltered contemplative place to enjoy the air and light of Vermont, socialize, meet a friend, read and view the landscape and the quad in all seasons.

At the threshold of the garden a warm season Water Wall transforms to a winter Ice Wall. Depending on the temperature. The surface of the Ice Wall slowly grows vertical ice sheets or the ice melts away revealing a pattern of steel and aluminum lattice. In the spring and summer the water wall has the ambient sound of slowly flowing water punctuated by the sound of insects and birds within the garden.

The garden opens to a small semi-circular plaza of sculpted concrete pavers and a curving granite bench with views to distant mountains. A sunken garden chamber set at different elevations functions as a gravitational stormwater runoff treatment system under the plantings. A long naturalized bioswale enfolds the garden with wildflowers and grasses. All the plantings of the garden are indigenous ground covers, wildflowers, shrubs, and vines. Many of the plants have winter berries and summer blooms that provide habitat for birds and butterflies.

The Restoration

The original grey paint whichGardenn of the Seasons 1 coated the aluminum structure failed and was peeling.

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My work involved removing the peeled paint and applying a two-part epoxy paint matching the original color.

I researched paint used on metal exposed to water. These two-part epoxy paints have been used successfully on bridges for many decades.

I cleaned the stone, removed old paint, and applied the epoxy. The project took me one day without assistance.

Read more about the artwork here.

Filed Under: Restoration Tagged With: Art Conservation, Art Restoration, Arts Management Services LLC, Michael Singer, Robert Hannum, sculpture restoration

Sculpture Restoration in Maryland

January 30, 2012 by Bob Hannum

FDA 'Healing Garden'

Michael_Singer_FDA_healing_gardenSite-Specific Environmental Art

Michael Singer commissioned me to restore his sculpture, Healing Garden outside the Food and Drug Administration’s Wiley Building in College Park, Maryland.

Healing Garden was commissioned by the General Services Administration (GSA) of the US Federal Government. Their FDA building is over 400,000 square feet and includes dozens of laboratories for food safety and nutrition research.

Michael designed a site-specific sculpture and landscape within a three-acre area south of the building. The design  engaged an existing stream, established a new wetland and pond habitat, and activated the building’s courtyard green.

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His website states:Michael_Singer_FDA_healing_garden 2

The Healing Garden was created as a place where workers can seek respite within a quiet contemplative garden. While envisioned as a refuge the overall concept also attempts to restore and heal a part of the land that was heavily impacted by the building’s construction.

The garden consists of a series of low granite walls, benches, and water elements set within the landscape of the building’s courtyard. The piece is framed by two water elements; the one to the southwest integrates a series of textured granite and bronze runnels that vary the sound of the flowing water. The other water element to the northeast has a hidden water source that pours into a spiral water well set into the earth. The two water elements, low granite walls and benches, planted gabions, and terraces of sculpted pavers define the garden spaces that are overlaid with curving swathes of native and low water shrubs, grasses, wildflowers, and succulents.

Across the stream from the courtyard, the landscape was naturalized with dense vegetation and wetland and embankment plantings along a retention pond. Plants had to be carefully selected to handle the heavily compacted clay soils and minimal maintenance or irrigation. Trails of permeable stone fines connect the parking lots to the building and run along the stream connecting the adjacent metro station to other nearby properties.

The Restoration

My work included inspecting and repairing all aspects of the sculpture including cleaning the pump and stone, re-aligning the stone elements, and restoring the water flow and planted areas. The project took me one day without assistance.

Filed Under: Restoration Tagged With: Art Restoration, Arts Management Services LLC, Michael Singer, Robert Hannum, sculpture restoration

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