Bob Hannum Polishes Historic Markers in Time for the 250th

design_1164421_26862579_3962546_sourcefile_03 (3)
  • Home
  • About
  • Services
    • Framing
    • Restoration
    • Fabrication
    • Installation
    • Research
    • Support
    • Pro Bono
  • Contact

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.

Related Projects:

    • Restoration of Maya Lin Sculptures in Istanbul
    • Dusting the World's Largest Wooden Buddha
    • Sculpture Restoration in London
    • Graffiti Removal in Vermont
    • Bronze Conservation in Athens
    • Restoring a National Treasure in Manila
    • Bronze Conservation in Montpelier

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

Bronze Restoration at the Bennington Museum

March 2, 2025 by Bob Hannum

The Most Interesting Graffiti I've Ever Removed!Restored sculpture

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.

bronze sculpture
bronze sculpture 2
bronze sculpture 3

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.

blooms and residue
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.

red spray paint removal 1
red spray paint removal 2

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.

Caulking 1
Caulking 2

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.

aluminum signage before restore
aluminum signage after restore

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.”

Filed Under: Restoration Tagged With: Bronze sculpture, Bronze Sculpture Conservation

Bronze Conservation in Athens

January 20, 2018 by Bob Hannum

George Marshall in Athens, Greece

george c marshall

George C. Marshall sculpted by the renowned Greek artist Thodoros Papayiannis and erected on the embassy grounds in October 2000 by the American Hellenic Educational Progressive Association to honor the 70th Anniversary of the Marshall Plan

Bronze Conservation Project

I left my wife and grandchildren in the record cold of 29 degrees below zero in my hometown of Montpelier, Vermont and headed off to a balmy 70 degrees in Athens, Greece. This was my latest assignment for the Office of Cultural Heritage (CH) of our State Department.

The Office of Cultural Heritage

CH is a small team of talented art conservators who take care of all the art, antiques, and historic structures among all the properties owned by the US government overseas, including most importantly, our embassies and ambassadors' residences.

CH has been one of my clients for a number of years. This past year they asked me to join them full-time, and it's been a wonderful ride with a new travel adventure nearly every month. This trip involved a 10' bronze sculpture of George Marshall standing in front of our embassy in Athens.

About the Sculpture

Bob Cleaning and Coating the Marshall Statue

Bronze is a marvelous metal. It's a very durable mix of copper and tin (brass is copper and zinc) which first appearing over 5000 years ago in the western Asian civilization of Sumeria. It's believed that bronze was discovered when copper and tin-rich rocks were used to surround our earliest campfires. Bronze tools, weapons, armor, and building materials soon proliferated because they were harder and more durable than their stone and copper predecessors. Bronze so transformed the world that we call its first 1700 years the 'Bronze Age.'

Add 'patina', a chemical applied hot to the surface, and a bronze sculpture is virtually indestructible. And here's where I get to show off. You see, the word patina is often misused even by experts. Here's a real know-it-all, Dr. Lori Verderame, to set us straight.

"Patina is a process which relates to the application of color or pigment onto a work of cast metal sculpture. The patination process occurs at a cast metal foundry whereby pigment is applied to a metal sculpture to enhance the look of the metal....Patination is applied to a surface, it is NOT a result of the aging process which occurs over time...."

There you go! Now you're smarter than Wikipedia and anyone else who thinks patina is oxidation such as when copper turns green. The green on copper is strictly speaking not patina.

The Conservation Project

marshall cleaning progress

Progress!

The interesting thing about patina is that it was invented to stop bronze sculpture from oxidation, or as us common people like to say, rust! Like paint, patina does a great job protecting metal sculpture, but it doesn't completely stop oxidation. The other interesting thing about patina is that it's a nasty chemical that's highly toxic until it dries.

Related Projects:

    • Art Conservation of the World's Tallest Buddha
    • Sculpture Restoration in London
    • Plaster Frame Restoration
    • Graffiti Removal
    • Restoration at the Denver International Airport

Sculpture nerds like to put something over patina for added protection. Here's where I come in. Bronze maintenance, aka conservation, has traditionally meant a coat of natural and durable wax such as carnauba annually. This is not helpful, because now we know from research that wax on outdoor sculpture lasts a few months at most! I my opinion, wax doesn't even last a month in harsh conditions where protection is most important such as marine environments and acid rain.

Spirit of the Dance

Spirit of the Dance

Everbrite

Thanks to the folks over at Everbrite, we now have a better way to protect outdoor metal sculpture. It's a thin polymer that protects metal surfaces from oxidation with UV protection and lasts 5-10 years.

In the world of uppity art conservation, you just can't throw out traditional ways of doing things, like wax, unless the alternative is tested over time, a long time. Everbrite has been around for 30 years. It's entirely reversible, another conservation requirement. And, a shout-out to Jenn from the Everbrite company who can ship this HAZMAT material anywhere in the world!

 

 

Further Details

Using Everbrite's satin finish, my company, Arts Management Services LLC, is slowly but surely coating all the outdoor metal sculptures at our embassies and ambassadors' residences. Easy to apply after a quick cleaning with a solvent, Everbrite is ready for a second coat in just 1 hour, completely drying in 48 hours.

The only problem with this product is a minor one. Sometimes a dark bronze sculpture has a gorgeous green oxidation otherwise known as verdigris that you'd like to preserve. Everbrite will turn this bright green into dark green as if it's wet. A good example of this is the sculpture below which is outside the US ambassador's residence in Oslo, Norway. It is entitled 'Spirit of the Dance' by Kaare Kristian Nygaard (1903-1989). Notice the beautiful bright green copper oxidation against the dark patina. This is also a good example of how patina is not the best protection against oxidation. One might not coat this sculpture in order to preserve the bright green color. On the other hand, this sculpture is rusting, and it's loacted in the harshest environment for outdoor sculpture - a freeze-thaw marine environment! I have to weigh beauty against deterioration, so I'm likely to coat this one, too. Maybe I'll add verdigris OVER the protective coating to preserve that wonderful bright green - see my research article.

Read the Fascinating History of this Object

Read the Fascinating History of this Object

Here's another example. This is a large bronze vessel in the center of a fountain in the back yard of our ambassador's residence in Tokyo. The stunning green and orange oxidation is so beautiful I'm not going to touch it! And the bronze walls of this object are so thick that even though it is 'rusting' it will last several hundred years.

Here is another bronze sculpture I coated at the Athens Embassy. It's an artistic reproduction of the famous 'Winged Victory of Samothrace' or 'Nike of Samothrace', the goddess of victory. The original artist of this masterpiece is unknown. This modern recreation is by a local foundry.

Niki

Niki

 

 

Filed Under: Conservation, Restoration Tagged With: Arts Management Services LLC, Bronze Sculpture Conservation, Cultural Heritage Office, George Marshall, Robert Hannum

design_1164421_26862579_3962546_sourcefile_03

© 2009-2026 Arts Management Services LLC. All Rights reserved. | Privacy | Terms | Webmaster Midnightsons Designs