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Report Conservation Treatment of the Roger Conant Statue by H.H. Kiston, Salem, MA REPORT: Conservation Treatment of the Roger Conant Statue by H.H. Kitson Salem, MA Respectfully submitted to: The Salem Common Neighborhood Association Roger Conant Statue Restoration Committee P.O. Box 8608 Salem,MA 01971-8608 By: Rika Smith McNally, Conservator 59 Fountain Street, Box 55 4d'Floor East, Studio 15 Framingham, MA 01702 Tel. 508.620.2929 Fax 508.620.2904 Cell 617.283.6036 1 REPORT: Conservation Treatment of the Roger Conant Statue by H.H. Kitson Salem, MA Copies of this report have been deposited with the following institutions: Salem Common Neighborhood Association Peabody Essex Museum,Phillips Library City of Salem,Public Library, Salem History Room City of Salem,Historical Commission, Dept. of Planning&Community Development City of Salem,Parks and Recreation Commission City of Salem,Department of Open Space REPORT: Conservation Treatment of the Roger Conant Statue by H.H. Kitson Salem, MA SCULPTURE: Roger Conant Statue Alternate name:Roger Conant.'First Settler of salem Date of report: 6/06/OS Artist:Kitson,H.H.(1863-1947) (Signed"HENRY KITSON FECIT 1911",on sculpture,proper left side,on bronze boulder below cape) Material:outdoor bronze on granite boulder base Fabricator: Gorham and Company,Founder(founder's mark in bronze base,proper left side) Date: 1911 Plaque and inscription:bronze plaque(H 34")on front of base reads: "ROGER CONANTBORN 1592-DIED 1679/THE FIRST SETTLER OF SALEM, 1626P I was a means,through grace assisting/me,to stop the flight of those few/that then here with me,/and that by my utter denial/to go away with them,who/would have gone either for/England,or mostly for Virginia'" Installation:Dedicated June 17, 1913 (see Salem Evening News,June 16 and June 18, 1913). Location:Brown Street and Washington Square West,Salem,MA(faces east/northeast,towar Washington Square) ds Base: Large natural granite boulder(reportedly from nearby woods at Page Farm,see 6/18/13 newspaper report of dedication). DIMENSIONS: Sculpture: approximately 9%Base:approx. 8'x 6'x 12' DESCRIPTION:A standing figure of Roger Conant with proper right hand holding top of oak tree stump. His long cape billows around him. The sculpture rests on a Iarge boulder in the middle of a small traffic circle. The boulder is surrounded by a low(36"H)wrought iron fence,painted black. Utilities available: Source of water and electrical outlet to be provided by Peabody Essex Museum. Previous assessment:see full report in SOS! Assessment from 2001 by Rika Smith McNally. Conservation proposal: see proposal from Rika Smith McNally dated 2115105 Granite Boulder The granite boulder was cleaned by the City of Salem a few weeks before the bronze conservation treatment lder was began. The work was subcontracted out to Carlo Rossi/O'Rourke Memorials in Salem. The bou cleaned with Staurolite,a very hard mineral blasting media with a Moh's hardness of 7.5 (silica blasting media is 7,baking soda is 2-3). The granite base had some damage from the blast cleaning. The boulder lost its natural weathering crust and the granite profile was affected:rough chunks of quartz are raised at the surface more difficult to remove graffiti should any occur. The boulder will also . This will make it be more susceptible to staining. There are a number of natural fissures in the stone. These still sound stable upon inspection with a steel tap tool, but should be monitored for freeze thaw cracking.The conservator has taken some documentation images of the boulder from all angles and some details(JPEG images on CD attached to this report). 2 A publication on the negative effects of sandblasting stone is the National Park #6,"Danger of Abrasive Cleaning to Historic Buildings"by Anne E. Grim Service's Preservation Brief report. mer.A copy is attached to this CONSERVATION TREATMENT BRONZE: PROJECT GOAL The goal of the proposed treatment was to inspect and document the condition of the bronze and boulder, stabilize as needed,return the sculpture and plaque to their original appearance,give the bronze a protective coating,and establish a maintenance program by providing written maintenance directions and hands-on maintenance training. PROJECT STANDARDS All work complied with the US Secretary of the Interior's Standards for the Treatment of Historic Properties and adhered to the Code of Ethics of the American Institute for the Conservation of Artistic Works(AIC). INTERNAL INSPECTION Internal Inspection was carried out using boroscope analysis by Baker Testing,In Internal Rockland,MA to determine if there was any iron armature or other support system within the casting and to determine the method of attachment to the granite boulder. The existing holes in the front of the-bronze and the access apace on the reverse of the self-base were used for the exam. The examination revealed that there is no armature,that the interior walls are in good condition, and that the sculpture is well secured to the boulder base with two large screw-threaded bronze rods. A videotape of the boroscope examination is provided. SPECIFIC TREATMENT RECORD: 1 Erected scaffolding to access all areas of monument. Scaffolding provided and set up by Veteran's Scaffold of Blackstone,MA. Examined boulder for damage after blast cleaning. 2 Removed remains of"paint ball"shot mechanically and with acetone/ethanol mixed 50:50. There were about 80 small fragments of glass stuck into the vestiges of the paint from the paint balls. These were mechanically removed with steel tweezers. 3 Washed all bronze surfaces with Orvus detergent(sodium lauryl sulfate)in water followed by copious rinsing. 4 The loose green corrosion products were removed from the bronze by hand with natural bristle brushes and a series of nylon pads with Orvus detergentand water followed by copious rinsing. The front plaque was cleaned in the same manner. 5 Mechanically removed loose old cement surrounding bronze self-base with cold point chisels. Remove/reduce vestiges of oil drips on plaque using acetone/ethanol. 6 The boulder was completely protected with plastic sheering. Using heat torches with high purity gas and aqueous chemical reagents,the bronze(sculpture and plaque)was repatinated to a mid-tone brown color with some transparency up close allowing fora minor amount of green. The color was determined with the SCNA after carefully considering known examples of Kitson's work,arachivaI photographs from the Phillip's Library,other preservation projects,and reagents available to and probably used by the Gorham Foundry at the turn of the century. The reagent formula was predominantly ferric nitrate with a small amount of potassium permanganate. Thoroughly rinsed 3 sculpture with water after repatinating.The sculpture was well cast,with almost no porosity and no need for weep holes to aid water drainage. 7 Applied protective coat of Incralac"(Acryloid B-44)in toluene to all bronze surfaces. Specifically, applied one-two brush coats and 5-6 spray coats to achieve an overall even layer approximately 1 mm thick. 8 Filled four round holes in front of garment with a two-part epoxy(Protective Coating Company's PC- 70)toned with Sennelier dry pigments to match the patinated surface.The holes may have been from original repairs(one hole clearly has the remains of drill marks on the interior edge:see documentation photo). It is possible these were original repairs,and may have been punched out for some previous interior examination. 9 Waxed bronze with Butchers,Bowling Alley Paste Wax"". Buffed with soft lint-free cloths,brushes, or nylon fabric. 10 Re-mortared large gap between bronze and boulder at the reverse of the self base with Quick Crete® mortar over a support of aluminum screening wedged underneath the bronze base. Other small losses in mortar were also patched,and the concrete toned with H&C TM concrete stain(3 colors)to blend with the boulder. 11 Trained City of Salem employee Tom O'Shea to carry out annual maintenance of washing and waxing. It is critical that this be carried out.Written maintenance directions including all materials to be used are also attached to this report. 12 Supplied 6 copies of the written report on the treatment to the Salem Common Neighborhood Association with photographic documentation(before,during,and after treatment)within 30 days of completion of treatment. Report includes all materials and methods used in treatment.Photographic documentation provided as color prints and as JPEG images on CD. Rika Smith McNally June 6, 2005 4 WI r RIKA SMITH MCNXIt� SOCIATES - S0vators of Objects & Sculpture BOROSCOPE EXAMINATION Roger Conant Statue Artist:Kitson,H.H. (1863-1947) (Signed"HENRY KITSON FECIT 1911",on sculpture,proper left side,on bronze boulder below cape) Material:outdoor bronze on granite boulder base Fabricator: Gorham and Company,Founder(founder's mark in bronze base,proper left side) Date: 1911 Installation:Dedicated June 17, 1913 (see Salem Evening News,June 16 and June 18, 1913). Location:Brown Street and Washington Square West,Salem,MA(faces east/northeast,towards Washington Square) Date of horoscope exam: April 22, 2005 Boroscope equipment and technician: Baker Testing Analysis and Interpretation of results: Rika Smith McNally Technique: The boroscope camera was fitted through the rear of the base (where mortar is missing), and through the drill holes on the front of the figure's clothing. Illumination was provided by fiber-optic light. Findings: -No internal armature was located. One small piece of apparent metal is possibly the remains of a chaplet from casting, but this was not certain. -The internal walls of the bronze appear in good condition. There is some green corrosion, but no apparent heavy pitting or active corrosion. There are vestiges of the original investment material from the Gorham cast. •A screw-threaded bolt was clearly visible in the proper right front comer of the base. The bolt is made of bronze, shows little corrosion, and is securely attached into the granite base. It is estimated that there are 4 such bolts attaching the bronze to the base (a second visible at the front proper left corner, and probably one each at the rear corners (this will be confirmed if possible during treatment). • Roots from the ivy that covered the granite boulder are visible underneath the bronze self- base. There also appears to be some plastic (from when the cement was added around the base?) as well as leaves and what appears to be Kleenex (tissue). It was difficult to get a clear reading of the top of the granite base due to the roots. If possible, these will be removed from the back underside of the base during the conservation treatment. Conclusion: The sculpture's internal walls are in good condition, there is no armature, and the sculpture is securely attached to its granite boulder base. Phone 508.620.2929 59 Fountain Street, Box 55 Fax 508.620.2904 4th Floor East, Studio 15 email rika.mcnally@venzon.net Framingham, MA 01702 RIKA SMITH MCNALL S" SOCIATES CoxFsvi'varors of Objects & Sculpture •��'=`;is ;k a:�,: OUTDOOR BRONZE ANNUAL MAINTENANCE DIRECTIONS Maintenance Directions for H.H. Kitson's Roger Conant Statue in Salem, Massachusetts Annual maintenance is the single most important thing the City of Salem can do to preserve the recently conserved sculpture of Roger Conant. Once a year, preferably during warm weather(late spring, summer, or early fall): 1. Wash the bronze with a mild detergent and water. Ivory®liquid dish detergent is recommended (clear),JoyTM, or SunlightTm is fine, or purchase Orvus®(sodium lauryl sulfate)through a conservator. Place 1-2 teaspoons of the detergent in a bucket of water, and wash the surface with soft sponges or soft long-handled brushes followed by immediate and copious rinsing. The sculpture can be reached by bucket truck. Do not use any other product on the bronze. Water can be accessed at the Peabody Essex Museum Carriage House. 2. Allow the bronze to air dry (depending on the weather,this will take 1/2 hour to one hour). Drying time can be speeded up by wiping the surface gently with paper towels (particularly around the oak leaves and the shoes/top of the bronze base. 3. After drying, wax the surface by applying a thin coat of Butcher's Bowling Alley Paste Wax®, available at many hardware stores, by a soft brush, with a chamois cloth, or with lint-free cloths (Painter's Pals®, also available at hardware stores, is recommended). Then buff the surface with the lint-free cloths or nylon stocking sections over the cloths, or with soft brushes(shoe polish brushes). Buffing should be done with light, quick strokes (heavy rubbing is not necessary). Buff shortly after waxing. Apply wax very thinly. Tom O'Shea was trained from the scaffolding for waxing and buffing. Supplies: -Long-handled brushes with soft bristles •Ivory,Joy, or Sunlight liquid dish detergent •Can of Butcher's Bowling Alley Paste Wax(do not substitute: some commercial waxes are polyethylene and can turn milky or be difficult to remove over the Incralac) •Wax brushes or •Lint-free cloths Call if there are any questions. Phone 508.620.2929 59 Fountain Street, Box 55 Fax 508,620.2904 4th Floor East, Studio 15 email rika.mcnally®verizon.net Framingham, MA 01702 REPORT: Conservation Treatment of the Roger Conant Statue by H.H. Kitson Salem, MA Respectfully submitted to: The Salem Common Neighborhood Association Roger Conant Statue Restoration Committee P.O. Box 8608 Salem,MA 01971-8608 By: Rika Smith McNally, Conservator 59 Fountain Street, Box 55 4''Floor East, Studio 15 Framingham, MA 01702 Tel. 508.620.2929 Fax 508.620.2904 Cell 617.283.6036 1 REPORT: Conservation Treatment of the Roger Conant Statue by H.H. Kitson Salem, MA Copies of this report have been deposited with the following institutions: Salem Common Neighborhood Association Peabody Essex Museum,Phillips Library City of Salem,Public Library, Salem History Room City of Salem,Historical Commission, Dept. of Planning&Community Development City of Salem,Parks and Recreation Commission City of Salem,Department of Open Space REPORT: Conservation Treatment of the Roger Conant Statue by H.H.Kitson Salem, MA SCULPTURE: Roger Conant Statue Alternate name:Roger Conant.•First Settler of Salem Date of report: 6/06/OS Artist:Kitson,H.H. (1863-1947) (Signed"HENRY KITSON FECIT 1911",on sculpture,proper left side,on bronze boulder below cape) Material:outdoor bronze on granite boulder base Fabricator: Gorham and Company,Founder(founder's mark in bronze base,proper left side) Date: 1911 Plaque and inscription:bronze plaque(H 34")on front of base reads: "ROGER CONANT/BORN 1592-DIED 1679/THE FIRST SETTLER OF SALEM, 1626P I was a means,through grace assisting/me,to stop the flight of those few/that then here with me,/and that by my utter denial/to go away with them,who/would have gone either for/England,or mostly for Virginia' " Installation:Dedicated June 17, 1913 (see Salem Evening News,June 16 and June 18, 1913). Location:Brown Street and Washington Square West,Salem,MA(faces east/northeast,towards Washington Square) Base: Large natural granite boulder(reportedly from nearby woods at Page Farm,see 6/18/13 newspaper report of dedication). DIMENSIONS: Sculpture:approximately 9';Base: approx.8'x 6'x 12' DESCRIPTION:A standing figure of Roger Conant with proper right hand holding top of oak tree stump. His long cape billows around him. The sculpture rests on a large boulder in the middle of a small traffic circle. The boulder is surrounded by a low(36"H)wrought iron fence,painted black. Utilities available: Source of water and electrical outlet to be provided by Peabody Essex Museum. Previous assessment: see full report in SOS!Assessment from 2001 by Rika Smith McNally. Conservation proposal: see proposal from Rika Smith McNally dated 2115105 Granite Boulder The granite boulder was cleaned by the City of Salem a few weeks before the bronze conservation treatment began. The work was subcontracted out to Carlo Rossi/O'Rourke Memorials in Salem. The boulder was cleaned with Staurolite,a very hard mineral blasting media with a Moh's hardness of 7.5 (silica blasting media is 7,baking soda is 2-3). The granite base had some damage from the blast cleaning. The boulder lost its natural weathering crust and the granite profile was affected:rough chunks of quartz are raised at the surface. This will make it more difficult to remove graffiti should any occur. The boulder will also be more susceptible to staining. There are a number of natural fissures in the stone. These still sound stable upon inspection with a steel tap tool,but should be monitored for freeze thaw cracking.The conservator has taken some documentation images of the boulder from all angles and some details(JPEG images on CD attached to this report). 2 A publication on the negative effects of sandblasting stone is the National Park Service's Preservation Brief #6,"Danger of Abrasive Cleaning to Historic Buildings"by Anne E. Grimmer.A copy is attached to this report. CONSERVATION TREATMENT BRONZE: PROJECT GOAL The goal of the proposed treatment was to inspect and document the condition of the bronze and boulder, stabilize as needed,return the sculpture and plaque to their original appearance,give the bronze a protective coating,and establish a maintenance program by providing written maintenance directions and hands-on maintenance training. PROJECT STANDARDS All work complied with the US Secretary of the Interior's Standards for the Treatment of Historic Properties and adhered to the Code of Ethics of the American Institute for the Conservation of Artistic Works(AIC). INTERNAL INSPECTION Internal Inspection was carried out using boroscope analysis by Baker Testing,Inc.of Rockland,MA to determine if there was any iron armature or other support system within the casting and to determine the method of attachment to the granite boulder. The existing holes in the front of the-bronze and the access apace on the reverse of the self-base were used for the exam.The examination revealed that there is no armature,that the interior walls are in good condition,and that the sculpture is well secured to the boulder base with two large screw-threaded bronze rods. A videotape of the boroscope examination is provided. SPECIFIC TREATMENT RECORD: 1 Erected scaffolding to access all areas of monument. Scaffolding provided and set up by Veteran's Scaffold of Blackstone,MA. Examined boulder for damage after blast cleaning. 2 Removed remains of"paint ball"shot mechanically and with acetone/ethanol mixed 50:50. There were about 80 small fragments of glass stuck into the vestiges of the paint from the paint balls. These were mechanically removed with steel tweezers. 3 Washed all bronze surfaces with Orvus detergent(sodium lauryl sulfate)in water followed by copious rinsing. 4 The loose green corrosion products were removed from the bronze by hand with natural bristle brushes and a series of nylon pads with Orvus detergentand water followed by copious rinsing. The front plaque was cleaned in the same manner. 5 Mechanically removed loose old cement surrounding bronze self-base with cold point chisels. Remove/reduce vestiges of oil drips on plaque using acetone/ethanol. 6 The boulder was completely protected with plastic sheeting. Using heat torches with high purity gas and aqueous chemical reagents,the bronze(sculpture and plaque)was repatinated to a mid-tone brown color with some transparency up close allowing fora minor amount of green. The color was determined with the SCNA after carefully considering known examples of Kitson's work,arachival photographs from the Phillip's Library,other preservation projects,and reagents available to r and probably used by the Gorham Foundry at the turn of the century. The reagent formula was predominantly ferric nitrate with a small amount of potassium permanganate. Thoroughly rinsed 3 sculpture with water after repatinating.The sculpture was well cast,with almost no porosity and no need for weep holes to aid water drainage. 7 Applied protective coat of Incralac'"(Acryloid B-44)in toluene to all bronze surfaces. Specifically, applied one-two brush coats and 5-6 spray coats to achieve an overall even layer approximately 1 mm thick. 8 Filled four round holes in front of garment with a two-part epoxy(Protective Coating Company's PC- 70)toned with Sennelier dry pigments to match the patinated surface. The holes may have been from original repairs(one hole clearly has the remains of drill marks on the interior edge:see documentation photo). It is possible these were original repairs,and may have been punched out for some previous interior examination. 9 Waxed bronze with Butchers,Bowling Alley Paste Wax m. Buffed with soft lint-free cloths,brushes, or nylon fabric. 10 Re-mortared large gap between bronze and boulder at the reverse of the self base with Quick Crete® mortar over a support of aluminum screening wedged underneath the bronze base. Other small losses in mortar were also patched,and the concrete toned with H&C Tmconcrete stain(3 colors)to blend with the boulder. 11 Trained City of Salem employee Tom O'Shea to carry out annual maintenance of washing and waxing. It is critical that this be carried out.Written maintenance directions including all materials to be used are also attached to this report. 12 Supplied 6 copies of the written report on the treatment to the Salem Common Neighborhood Association with photographic documentation(before,during,and after treatment)within 30 days of completion of treatment. Report includes all materials and methods used in treatment.Photographic documentation provided as color prints and as JPEG images on CD. Rika Smith McNally June 6, 2005 4 RIKA SMITH McN LV_`,& S 0 C I A T E S Ens va-tors of Objects & Sculpture BOROSCOPE EXAMINATION Roger Conant Statue Artist:Kitson,H.H. (1863-1947) (Signed"HENRY KITSON FECIT 1911",on sculpture,proper left side,on bronze boulder below cape) Material:outdoor bronze on granite boulder base Fabricator: Gorham and Company,Founder(founder's mark in bronze base,proper left side) Date: 1911 Installation: Dedicated June 17, 1913 (see Salem Evening News,June 16 and June 18, 1913). Location:Brown Street and Washington Square West,Salem,MA(faces east/northeast,towards Washington Square) Date of boroscope exam: April 22, 2005 Boroscope equipment and technician: Baker Testing Analysis and Interpretation of results: Rika Smith McNally Technique: The boroscope camera was fitted through the rear of the base (where mortar is missing), and through the drill holes on the front of the figure's clothing. Illumination was provided by fiber-optic light. Findings: -No internal armature was located. One small piece of apparent metal is possibly the remains of a chaplet from casting, but this was not certain. -The internal walls of the bronze appear in good condition. There is some green corrosion, but no apparent heavy pitting or active corrosion. There are vestiges of the original investment material from the Gorham cast. •A screw-threaded bolt was clearly visible in the proper right front corner of the base. The bolt is made of bronze, shows little corrosion, and is securely attached into the granite base. It is estimated that there are 4 such bolts attaching the bronze to the base (a second visible at the front proper left corner, and probably one each at the rear corners (this will be confirmed if possible during treatment). • Roots from the ivy that covered the granite boulder are visible underneath the bronze self- base. There also appears to be some plastic (from when the cement was added around the base?) as well as leaves and what appears to be Kleenex (tissue). It was difficult to get a clear reading of the top of the granite base due to the roots. If possible, these will be removed from the back underside of the base during the conservation treatment. Conclusion: The sculpture's internal walls are in good condition, there is no armature, and the sculpture is securely attached to its granite boulder base. Phone 508.620.2929 59 Fountain Street, Box 55 Fax 508.620.2904 4th Floor East, Studio 15 email rika.mcnally@verizon.net Framingham, MA 01702 RIKA SMITH MCN .� AsSQCIATES Conservo ors of Objects & Sculpture -•4�_ OUTDOOR BRONZE ANNUAL MAINTENANCE DIRECTIONS Maintenance Directions for H.H. Kitson's Roger Conant Statue in Salem, Massachusetts Annual maintenance is the single most important thing the City of Salem can do to preserve the recently conserved sculpture of Roger Conant. Once a year, preferably during warm weather(late spring, summer, or early fall): 1. Wash the bronze with a mild detergent and water. IvoryO liquid dish detergent is recommended (clear),JoyTM, or SunlightTm is fine, or purchase Orvus®(sodium lauryl sulfate)through a conservator. Place 1-2 teaspoons of the detergent in a bucket of water, and wash the surface with soft sponges or soft long-handled brushes followed by immediate and copious rinsing. The sculpture can be reached by bucket truck. Do not use any other product on the bronze. Water can be accessed at the Peabody Essex Museum Carriage House. 2. Allow the bronze to air dry(depending on the weather, this will take 1/2 hour to one hour). Drying time can be speeded up by wiping the surface gently with paper towels (particularly around the oak leaves and the shoes/top of the bronze base. 3. After drying, wax the surface by applying a thin coat of Butcher's Bowling Alley Paste Wax@, available at many hardware stores, by a soft brush, with a chamois cloth, or with lint-free cloths (Painter's PalsO, also available at hardware stores, is recommended). Then buff the surface with the lint-free cloths or nylon stocking sections over the cloths, or with soft brushes(shoe polish brushes). Buffing should be done with light, quick strokes (heavy rubbing is not necessary). Buff shortly after waxing. Apply wax very thinly. Tom O'Shea was trained from the scaffolding for waxing and buffing. Supplies: *Long-handled brushes with soft bristles •Ivory,Joy, or Sunlight liquid dish detergent *Can of Butcher's Bowling Alley Paste Wax(do not substitute:some commercial waxes are polyethylene and can turn milky or be difficult to remove over the Incralac) •Wax brushes or •Lint-free cloths Call if there are any questions. Phone 508,620.2929 59 Fountain Street, Box 55 Fax 508.620.2904 4th Floor East, Studio 15 email rika.mcnally®verizon.net Framingham, MA 01702 yJVI•LLLlV4 YliVl V•LWlbVlJ Vl aiVl llVlY V t..ayWllllb LV liiJLVa lV Y411Yllibu 1l LL1J.1/������•Vl.LL1lJ.bV•IiaYW L1JW Vl lyl Jl VI iVaV V.114l Preservation Briefs _ H'S 6 Technical Preservation Services National Park Service of 18 6/6/05 12:36 PI wva r..uvaa uaava v.uaua u va<aw aware�.avauuurj w.uuwuv..uaauaaafju ua.ar.0..n n.va.aaru.Fj�•+uYu+arw a,aavaw a.a avavv.uu b..a Dangers of Abrasive Cleaning to Historic Buildings - Anne E. Grimmer What is Abrasive Cleaning? *Why Are Abrasive Cleaning Methods Used? »Problems of Abrasive Cleaning >>How Building Materials React to Abrasive Cleaning >>When is Abrasive Cleaning Permissible? >>Do Not Abrasively Clean These Historic Interiors >>Mitigating the Effects of Abrasive Cleanin >>Summate A NOTE TO OUR USERS: The web versions of the Preservation Briefs differ somewhat from the printed versions. Marry illustrations are new, captions are simplified, illustrations are typically in color rather than black and white, and some complex charts have been omitted. "Chemical or physical treatments, such as sandblasting, that cause damage to historic materials shall not be used. The surface cleaning of structures, if appropriate, shall be undertaken using the gentlest means possible." The Secretary of the Interior's Standards for Rehabilitation. Abrasive cleaning methods are responsible for causing a great deal of damage to historic building materials. ,To prevent indiscriminate use of these potentially harmful techniques, this brief has been prepared to explain abrasive cleaning methods, how they can be physically and aesthetically destructive to historic building materials; and why they generally are not acceptable preservation treatments for historic structures. There are alternative, less harsh means of cleaning and removing paint and stains from historic buildings. However, careful testing should precede general cleaning to assure that the method selected will not have an adverse effect on the building materials. A historic building is irreplaceable, and should be cleaned using only the "gentlest means possible" to best preserve it. What is Abrasive Cleaning? of 18 6/6/05 12:36 P wa.a•.aa.a...a.aava v.aiauaba.au va a.va uua•v vaa+auaaaaFj w aa.m wuv uuuaa...bu aaaaY.rr.•r+.r.va.aaru.bv r..arw arur vaavaur as aa.avv.a.0 Abrasive cleaning can cause permanent damage to historic fabric, such as this brick wall. Photo: NPS files. Abrasive cleaning methods include all techniques that physically abrade the building surface to remove soils, discolorations or coatings. Such techniques involve the use of certain materials which impact or abrade the surface under pressure, or abrasive tools and equipment. Sand, because it is readily available, . is probably the most commonly used type of grit material. However, any of the following materials may be substituted for sand, and all can be classified as abrasive substances: ground slag or volcanic ash, crushed (pulverized) walnut or almond shells, rice husks, ground corncobs, ground coconut shells, crushed eggshells, silica flour, synthetic particles, glass beads and micro-balloons. Even water under pressure can be an abrasive substance. Tools and equipment that are abrasive to historic building materials include wire brushes, rotary wheels, power sanding disks and belt sanders. The use of water in combination with grit may also be classified as an abrasive cleaning method. Depending on the manner in which it is applied, water may soften the impact of the grit, but water that is too highly pressurized can be very abrasive. There are basically two different methods which can be referred to as "wet grit," and it is important to differentiate between the two. One technique involves the addition of a stream of water to a regular sandblasting nozzle. This is done primarily to cut down dust, and has very little, if any, effect on reducing the aggressiveness, or cutting action of the grit particles. With the second technique, a very small amount of grit is added to a pressurized water stream. This method may be controlled by regulating the amount of grit fed into the water stream, as well as the pressure of the water. Why Are Abrasive Cleaning Methods Used? Usually, an abrasive cleaning method is selected as an expeditious means of quickly removing years of dirt accumulation, unsightly stains, or deteriorating building fabric or finishes, such as stucco or paint. of 18 6/6/05 12:36 P va.wuvaa a�aava v. aiauasvao a.a aawau aa.v....avuaaaub waaaowa.v a.+u.a.aa.ab.. .u..r.ii..n...va.A.1-5w-I aat....-F—u....of...vauv.uw E Brick molding next to the window has been severely abraded by sandblasting to remove paint.Photo: NPS files. The fact that sandblasting is one of the best known and most readily available building cleaning treatments is probably the major reason for its frequent use. Many mid-19th century brick buildings were painted immediately or soon after completion to protect poor quality brick or to imitate another material, such as stone. Sometimes brick buildings were painted in an effort to produce what was considered a more harmonious relationship between a building and its natural surroundings. By the 1870s, brick buildings were often left unpainted as mechanization in the brick industry brought a cheaper pressed brick and fashion decreed a sudden preference for dark colors. However, it was still customary to paint brick of poorer quality for the additional protection the paint afforded. It is a common 20th century misconception that all historic masonry buildings were initially unpainted. If the intent of a modern restoration is to return a building to its original appearance, removal of the paint not only may be historically inaccurate, but also harmful. Many older buildings were painted or stuccoed at some point to correct recurring maintenance problems caused by faulty construction techniques, to hide alterations, or in an attempt to solve moisture problems. If this is the case, removal of paint or stucco may cause these problems to reoccur. Another reason for paint removal, particularly in rehabilitation projects, is to give the building a "new image" in response to contemporary design trends and to attract investors or tenants. Thus, it is necessary to consider the purpose of the intended cleaning. While it is clearly important to remove unsightly stains, heavy encrustations of dirt, peeling paint or other surface coatings, it may not be equally desirable to remove paint from a building which originally was painted. Many historic buildings which show only a slight amount of soil or discoloration are much better left as they are. A thin layer of soil is more often protective of the building fabric than it is harmful, and seldom detracts from the building's architectural and/or historic character. Too thorough cleaning of a historic building may not only sacrifice some of the building's character, but also, misguided cleaning efforts can cause a great deal of damage to historic building fabric. Unless there are stains, f 18 6/6/05 12:36 PIv uv,...uva„�,ava ..r. ,i uaa�jv,u v,a,v,u..a.v w,.uaaa,ab w,,,uw,av u,.aau.aaabu aaaar.rr.........a.aatru.gv+r ut.ur�Yw u„v,w va,v,vv.,aua graffiti or dirt and pollution deposits which are destroying the building fabric, it is generally preferable to do as little cleaning as possible, or to repaint where necessary. It is important to remember that a historic building does not have to look as if it were newly constructed to be an attractive or successful restoration or rehabilitation project. Problems of Abrasive Cleaning On the left, grit blasting has obliterated the vertical tooling marks from granite, a very dense stone.Photo: NPS files. The crux of the problem is that abrasive cleaning is just that--abrasive. An abrasively cleaned historic structure may be physically as well as aesthetically damaged. Abrasive methods "clean" by eroding dirt or paint, but at the same time they also tend to erode the surface of the building material. In this way, abrasive cleaning is destructive and causes irreversible harm to the historic building fabric. If the fabric is brick, abrasive methods remove the hard, outer protective surface, and therefore make the brick more susceptible to rapid weathering and deterioration. Grit blasting may also increase the water permeability of a brick wall. The impact of the grit particles tends to erode the bond between the mortar and the brick, leaving cracks or enlarging existing cracks where water can enter. Some types of stone develop a protective patina or "quarry crust" parallel to the worked surface (created by the movement of moisture towards the outer edge), which also may be damaged by abrasive cleaning. The rate at which the material subsequently weathers depends on the quality of the inner surface that is exposed. Abrasive cleaning can destroy, or substantially diminish, decorative detailing on buildings such as a molded brickwork or architectural terra-cotta, ornamental carving on wood or stone, and evidence of historic craft techniques, such as tool marks and other surface textures. In addition, perfectly sound and/or "tooled" mortar joints can be worn away by abrasive techniques. This not only results in the loss of historic craft detailing but also requires repointing, a step involving considerable time, skill and of 18 6/6/05 12:36 Pi w..,ruuva,.�aa..a v.Luurj,.,u va ava`.'.,.....,..au„ub w u,uwa,v,..uaawaabu uar.rr....n...a.aaru.bv..aaYur arur wavaurv„v,vv.,,u, expense, and which might not have been necessary had a gentler method been chosen. Erosion and pitting of the building material by abrasive cleaning creates a greater surface area on which dirt and pollutants collect. In this sense, the building fabric "attracts" more dirt, and will require more frequent cleaning in the. future. In addition to causing physical and aesthetic harm to the historic fabric, there are several adverse environmental effects of dry abrasive cleaning methods. Because of the friction caused by the abrasive medium hitting the building fabric, these techniques usually create a considerable amount of dust, which is unhealthy, particularly to the operators of the abrasive equipment. It further pollutes the environment around the job site, and deposits dust on neighboring buildings, parked vehicles and nearby trees and shrubbery. Some adjacent materials not intended for abrasive treatment such as wood or glass, may also be damaged because the equipment may be difficult to regulate. Wet grit methods, while eliminating dust, deposit a messy slurry on the ground or other objects surrounding the base of the building. In colder climates where there is the threat of frost, any wet cleaning process applied to historic masonry structures must be done in warm weather, allowing ample time for the wall to dry out thoroughly before cold weather sets in. Water which remains and freezes in cracks and openings of the masonry surface eventually may lead to spalling. High-pressure wet cleaning may force an inordinate amount of water into the walls, affecting interior materials such as plaster or joist ends, as well as metal building components within the walls. Variable Factors The greatest problem in developing practical guidelines for cleaning any historic building is the large number of variable and unpredictable factors involved. Because these variables make each cleaning project unique, it is difficult to establish specific standards at this time. This is particularly true of abrasive cleaning methods because their inherent potential for causing damage is multiplied by the following factors: • the type and condition of the material being cleaned • the size and sharpness of the grit particles or the mechanical equipment • the pressure with which the abrasive grit or equipment is applied to the building surface • the skill and care of the operator, and • the constancy of the pressure on all surfaces during the cleaning process. Pressure: The damaging effects of most of the variable factors involved in abrasive cleaning are self evident. However, the matter of pressure requires further explanation. In cleaning specifications, pressure is generally abbreviated as "psi" (pounds per square inch), which technically refers to the "tip" pressure, or the amount of pressure at the nozzle of the blasting apparatus. Sometimes "psig," or pressure at the gauge (which may be many feet away, at the other 118 6/6/05 12:36 PIS end of the hose), is used in place of "psi." These terms are often incorrectly used interchangeably. Despite the apparent care taken by most architects and building cleaning contractors to prepare specifications for pressure cleaning which will not cause harm to the delicate fabric of a historic building, it is very difficult to ensure that the same amount of pressure is applied to all parts of the building. For example, if the operator of the pressure equipment stands on the ground while cleaning a two-story structure, the amount of force reaching the first story will be greater than that hitting the second story, even if the operator stands on scaffolding or.in a cherry picker, because of the "line drop" in the distance from the pressure source to the nozzle. Although technically it may be possible to prepare cleaning specifications with tight controls that would eliminate all but a small margin of error, it may not be easy to find professional cleaning firms willing to work under such restrictive conditions. The fact is that many professional building cleaning firms do not really understand the extreme delicacy of historic building fabric, and how it differs from modern construction materials. Consequently, they may accept building cleaning projects for which they have no experience. N Bronze statuary may be cleaned gently using crushed walnut shells. Photo: NPS files. The amount of pressure used in any kind of cleaning treatment which involves pressure, whether it is dry or wet grit, chemicals or just plain water, is crucial to the outcome of the cleaning project. Unfortunately, no standards have been established for determining the correct pressure for cleaning each of the many historic building materials which would not cause harm. The considerable discrepancy between the way the building cleaning industry and architectural conservators define "high" and "low" pressure cleaning plays a significant role in the difficulty of creating standards. Nonhistoric/Industrial: A representative of the building cleaning industry might consider "high" pressure water cleaning to be anything over 5,000 psi, or even as high as 10,000 to 15,000 psi! Water under this much pressure may be necessary to clean industrial structures or machinery, but would destroy most historic building materials. Industrial chemical cleaning commonly utilizes pressures between 1,000 and 2,500 psi. f 18 6/6/05 12:36 PIV ,ww.uuvaa a�a,..a u.✓_6_va„vauu �..avuaaa,ab w umwaav yuaauu,bu A...t,.......•..,.,.u�,u.bu..a,Yo...ru.vaa,.aw va,vauv.aa.a Historic: By contrast, conscientious dry or wet abrasive cleaning of a historic structure would be conducted within the range of 20 to 100 psi at a range of 3 to 12 inches. Cleaning at this low pressure requires the use of a very fine 00 or 0 mesh grit forced through a nozzle with a 1/4-inch opening. A similar, even more delicate method being adopted by architectural conservators uses a micro-abrasive grit on small, hard-to-clean areas of carved, cut or molded ornament on a building facade. Originally developed by ,museum conservators for cleaning sculpture, this technique may employ glass beads, micro-balloons, or another type of micro-abrasive gently powered at approximately 40 psi by a very small, almost pencil-like pressure instrument. Although a slightly larger pressure instrument may be used on historic buildings, this technique still has limited practical applicability on a large scale building cleaning project because of the cost and the relatively few technicians competent to handle the task. In general, architectural conservators have determined that only through very controlled conditions can most historic building material be abrasively cleaned of soil or paint without measurable damage to the surface or profile of the substrate. Yet some professional cleaning companies which specialize in cleaning historic masonry buildings use chemicals and water at a pressure of approximately 1,500 psi, while other cleaning firms recommend lower pressures ranging from 200 to 800 psi for a similar project. An architectural conservator might decide, after testing, that some historic structures could be cleaned properly using a moderate pressure (200-600 psi), or even a high pressure (600-1800 psi) water rinse. However, cleaning historic buildings under such high pressure should be considered an exception rather than the rule, and would require very careful testing and supervision to assure that the historic surface materials could withstand the pressure without gouging, pitting or loosening. These differences in the amount of pressure used by commercial or industrial building cleaners and architectural conservators point to one of the main problems in using abrasive means to clean historic buildings: misunderstanding of the potentially fragile nature of historic building materials. There is no one cleaning formula or pressure suitable for all situations. Decisions regarding the proper cleaning process for historic structures can be made only after careful analysis of the building fabric, and testing. How Building Materials React to Abrasive Cleaning Methods Brick and Architectural Terra-cotta: Abrasive blasting does not affect all building materials to the same degree. Such techniques quite logically cause greater damage to softer and more porous materials, such as brick or architectural terra-cotta. When these materials are cleaned abrasively, the hard, outer layer (closest to the heat of the kiln) is eroded, leaving the soft, inner core exposed and susceptible to accelerated weathering. Glazed architectural terra-cotta and ceramic veneer have a baked on glaze which is also easily , damaged by abrasive cleaning. Glazed architectural terra-cotta was designed for easy maintenance, and generally can be cleaned using detergent and water; but chemicals or steam may be needed to remove more persistent stains. Large areas of brick or architectural terra-cotta which have been painted are best left painted, or repainted if necessary. c 18 6/6/05 12:36 Ply a w..a ruuvu u,aw v.a.u,ab..aa va a:...a urary�avu,aaub w aaauwaav uuaauau£jo aa,Y...rr rr rr..a.,,�.u.gv..aarw,rw va a..aw vaa�avv.,,, Plaster and Stucco: Plaster and stucco are types of masonry finish materials that are softer than brick or terra-cotta; if treated abrasively these' materials will simply disintegrate. Indeed, when plaster or stucco is treated abrasively it is usually with the intention of removing the plaster or stucco from whatever base material or substrate it is covering. Obviously, such abrasive techniques should not be applied .to clean sound plaster or stuccoed walls, or decorative plaster wall surfaces. Building Stones: Building stones are cut from the three main categories of natural rock: dense, igneous rock such as granite; sandy, sedimentary rock such as limestone or sandstone; and crystalline, metamorphic rock such as marble. As opposed to kiln-dried masonry materials such as brick and architectural terra-cotta, building stones are generally homogeneous in character at the time of a building's construction. However, as the stone is exposed to weathering and environmental pollutants, the surface may become friable, or may develop a protective skin or patina. These outer surfaces are very susceptible to damage by abrasive or improper chemical cleaning. t ax.� - Very high-pressure water has scarred this granite.Photo: NPS files. Building stones are frequently cut into ashlar blocks or "dressed" with tool marks that give the building surface a specific texture and contribute to its historic character as much as ornately carved decorative stonework. Such detailing is easily damaged by abrasive cleaning techniques; the pattern of tooling or cutting is erased, and the crisp lines of moldings or carving are worn or pitted. Occasionally, it may be possible to clean small areas of rough-cut granite, limestone or sandstone having a heavy dirt encrustation by using the "wet grit" method, whereby a small amount of abrasive material is injected into a controlled, pressurized water stream. However, this technique requires very careful supervision in order to prevent damage to the stone. Polished or honed marble or granite should never be treated abrasively, as the abrasion would remove the finish in much the way glass would be etched or "frosted" by such a process. It is generally preferable to underclean, as too strong a cleaning procedure will erode the stone, exposing a new and increased surface area to collect atmospheric moisture and dirt. Removing paint, stains or graffiti from most types of stone may be accomplished by a chemical treatment carefully selected to best handle the removal of the particular type of paint or stain without damaging the stone. (See section on the "Gentlest Means Possible.") Wood: Most types of wood used for buildings are soft, fibrous and porous, and of 18 6/6/05 12:36 PIv ........•wuwa...a.v.—✓—.E,—.va w aa.uw _a.w.uauso ....t..r.......—..0—5-.raaru...ro.w —, are particularly susceptible to damage by abrasive cleaning. Because the summer wood between the lines of the grain is softer than the grain itself, it will be worn away by abrasive blasting or power tools, leaving an uneven surface with the grain raised and often frayed or "fuzzy." Once this has occurred, it is almost impossible to achieve a smooth surface again except by extensive hand sanding, which is expensive and will quickly negate any costs saved earlier by sandblasting. Such harsh cleaning treatment also obliterates historic tool marks, fine carving and detailing, which precludes its use on any interior or exterior woodwork which has been hand planed, milled or carved. Metals: Like stone, metals are another group of building materials which vary considerably in hardness and durability. Softer metals which are used architecturally, such as tin, zinc, lead, copper or.. aluminum, generally should not be cleaned abrasively as the process deforms and destroys the original surface texture and appearance, as well as the acquired patina. Decorative pressed metal interior or exterior features should not be cleaned abrasively. Photo: NP5 files. Much applied architectural metal work used on historic buildings--tin, zinc, lead and copper--is often quite thin and soft, and therefore susceptible to denting and pitting. Galvanized sheet metal is especially vulnerable, as abrasive treatment would wear away the protective galvanized layer. In the late 19th and early 20th centuries, these metals were often cut, pressed or otherwise shaped from sheets of metal into a wide variety of practical uses such as roofs, gutters and flashing, and facade ornamentation such as cornices, friezes, dormers, panels, cupolas, oriel windows, etc. The architecture of the 1920s and 1930s made use of metals such as chrome, nickel alloys, aluminum and stainless steel in decorative exterior panels, window frames, and doorways. Harsh abrasive blasting would destroy the original surface finish of most of these metals, and would increase the possibility of corrosion. However, conservation specialists are now employing a sensitive technique of glass bead peening to clean some of the harder metals, in particular large bronze outdoor sculpture. Very fine (75125 micron) glass beads are used at a low pressure of 60 to 80 psi. Because these glass beads are completely spherical, there are no sharp edges to cut the surface of the metal. After cleaning, these statues undergo a lengthy process of polishing. Coatings are 1 of 18 6/6/05 12:36 P1v awva.uuvaa Laa..a v.a+unbvau..a a,uaaw,.,.�.avw,aaab w a.auwa,.,i.+aauaa,bu u„Y...n.....va.a,ru.bv..u�.o.,Yw va,vaui va a,.avv.a. applied which protect the surface from corrosion, but they must be renewed every 3 to 5 years. A similarly delicate cleaning technique employing glass beads has been used in Europe to clean historic masonry structures without causing damage. But at this time the process has not been tested sufficiently in the United States to recommend it as a building conservation measure. Sometimes a very fine smooth sand is used at a low pressure to clean or remove paint and corrosion from copper flashing and other metal building components. Restoration architects recently found that a mixture of crushed walnut shells and copper slag at a pressure of approximately 200 psi was the only way to remove corrosion successfully from a mid-19th century terne-coated iron roof. Metal cleaned in this manner must be painted immediately to prevent rapid recurrence of corrosion. It is thought that these methods "work harden" the surface by compressing the outer layer, and actually may be good for the surface of the metal. But the extremely complex nature and the time required by such processes make it very expensive and impractical for large-scale use at this time. i Cast iron may be abrasively cleaned, but must be painted immediately to prevent rust.Photo: NPS files. Cast and wrought iron architectural elements may be gently sandblasted or abrasively cleaned using a wire brush to remove layers of paint, rust and corrosion. Sandblasting was, in fact, developed originally as an efficient maintenance procedure for engineering and industrial structures and heavy machinery--iron and steel bridges, machine tool frames, engine frames, and railroad rolling stock--in order to clean and prepare them for repainting. Because iron is hard, its surface, which is naturally somewhat uneven, will not be noticeably damaged by controlled abrasion. Such treatment will, however, result in a small amount of pitting. But this slight abrasion creates a good surface for paint, since the iron must he repainted immediately to prevent corrosion. Any abrasive cleaning of metal building components will also remove the caulking from joints and around other openings. Such areas must be recaulked quickly to prevent moisture from entering and rusting the metal, or causing deterioration of other building fabric inside the structure. When is Abrasive Cleaning Permissible? of 18 6/6/05 12:36 Ply r.......u...... vv.aa. i Industrial interiors that are not finely milled may be abrasively cleaned, in some instances.Photo: NPS files. For the most part, abrasive cleaning is destructive to historic building materials. A limited number of special cases have been explained when it may be appropriate, if supervised by a skilled conservator, to use a delicate abrasive technique on some historic building materials. The type of "wet grit" cleaning which involves a small amount of grit injected into a stream of low pressure water may be used on small areas of stone masonry (i.e., rough cut limestone, sandstone or unpolished granite), where milder cleaning methods have not been totally successful in removing harmful deposits of dirt and pollutants. Such areas may include' stone window sills, the tops of cornices or.column capitals, or other detailed areas of the facade. This is still an abrasive technique, and without proper caution in handling, it can be just as harmful to the building surface as any other abrasive cleaning method. Thus, the decision to use this type of "wet grit" process should be made only after consultation with an experienced building conservator. Remember that it is very time consuming and expensive to use any abrasive technique on a historic building in such a manner that it does not cause harm to the often fragile and friable building materials. At this time, and only under certain circumstances, abrasive cleaning methods may he used in the rehabilitation of interior spaces of warehouse or industrial buildings for contemporary uses. Interior spaces of factories or warehouse structures in which the masonry or plaster surfaces do not have significant design, detailing, tooling or finish, and in which wooden architectural features are not finished, molded, beaded or worked by hand, may be cleaned abrasively in order to remove layers of paint and industrial discolorations such as smoke, soot, etc. It is expected after such treatment that brick surfaces will be rough and pitted, and wood will be somewhat frayed or "fuzzy" with raised wood grain. These nonsignificant surfaces will be damaged and have a roughened texture, but because they are interior elements, they will not be subject to further deterioration caused by weathering. of 18 6/6/05 12:36 PN •wva..auvaa a.a.va v.i.unba.au v..iw........�.avwaaub 4V laaU Va lV a..uaauaaabU ua.,r...n..+r.w.azru.gv..urw arw vaavaw�a a.avu.w Historic Interiors That Should Not Be Cleaned Abrasively S �' tt e v Decorative wood exterior or interior features should not be cleaned abrasively. Photo: NPS files. Those instances (generally industrial and some commercial properties), when it may be acceptable to use an abrasive treatment on the interior of historic structures have been described. But for the majority of historic buildings, the Secretary of the Interior's Guidelines for Rehabilitation do not recommend "changing the texture of exposed wooden architectural features (including structural members) and masonry surfaces through sandblasting or use of other abrasive techniques to remove paint, discolorations and plaster Thus, it is not acceptable to clean abrasively interiors of historic residential and commercial properties which have finished interior spaces featuring milled woodwork such as doors, window and door moldings, wainscoting, stair balustrades and mantelpieces. Even the most modest historic house interior, although it may not feature elaborate detailing, contains plaster and woodwork that is architecturally significant to the original design and function of the house. Abrasive cleaning -of such an interior would be destructive to the historic integrity of the building. Abrasive cleaning is also impractical. Rough surfaces of abrasively cleaned wooden elements are hard to keep clean. It is also difficult to seal, paint or maintain these surfaces which can be splintery and a problem to the building's occupants. The force of abrasive blasting may cause grit particles to lodge in cracks of wooden elements, which will be a nuisance as the grit is loosened by vibrations and gradually sifts out. Removal of plaster will reduce the thermal and insulating value of the walls. Interior brick is usually softer than exterior brick, and generally of a poorer quality. Removing surface plaster from such brick by abrasive means often exposes gaping mortar joints and mismatched or repaired brickwork which was never intended to show. The resulting bare brick wall may require repointing, often difficult to match. It also may be necessary to apply a transparent surface coating (or sealer) in order to prevent the mortar and brick from "dusting." However. a sealer may not only change the color of the brick, but may also compound any existing moisture problems by restricting the normal evaporation of water vapor from the masonry surface. "Gentlest Means Possible" s of 18 6/6/05 12:36 M aww. vaa a.aava v.aiauabvau va a ava..wa.v�.avuuuab w auuwaav Luaawubu aa....t....n n.r.a.a.aaY.u.tjv..aarur aru.a.aavau.aia a...avv.uu There are alternative means of removing dirt, stains and paint from historic building surfaces that can be recommended as more efficient and less destructive than abrasive techniques. The "gentlest means possible" of removing dirt from a building surface can be achieved by using a low-pressure water wash, scrubbing areas of more persistent grime with a natural bristle (never metal) brush. Steam cleaning can also be used effectively to clean some historic building fabric. Low-pressure water or steam will soften the dirt and cause the deposits to rise to the surface, where they can be washed away. A third cleaning technique which may be recommended to remove dirt, as well as stains, graffiti or paint, involves the use of commercially available chemical cleaners or paint removers, which, when applied to masonry, loosen or dissolve the dirt or stains. These cleaning agents may be used in combination with water or steam, followed by a clear water wash to remove the residue of dirt and the chemical cleaners from the masonry. A natural bristle brush may also facilitate this type of chemically assisted cleaning, particularly in areas of heavy dirt deposits or stains, and a wooden scraper can be useful in removing thick encrustations of soot. A limewash or absorbent talc, whiting or clay poultice with a solvent can be used effectively to draw out salts or stains from the surface of the selected areas of a building facade. It is almost impossible to remove paint from masonry surfaces without causing some damage to the masonry, and it is best to leave the surfaces as they are or repaint them if necessary. Some physicists are experimenting with the use of pulsed laser beams and xenon flash lamps for cleaning historic masonry surfaces. At this time it is a slow, expensive cleaning method, but its initial success indicates that it may have an increasingly important role in the future. There are many chemical paint removers which, when applied to painted wood, soften and dissolve the paint so that it can be scraped off by hand. Peeling paint can be removed from wood by hand scraping and sanding. Particularly thick layers of paint may be softened with a heat gun or heat plate, providing appropriate precautions are taken, and the paint film scraped off by hand. Too much heat applied to the same spot can burn the wood, and the fumes caused by burning paint are dangerous to inhale, and can he explosive. Furthermore, the hot air from heat guns can start fires in the building cavity. Thus, adequate ventilation is important when using a heat gun or heat plate, as well as when using a chemical stripper. A torch or open flame should never he used. Preparations for Cleaning: It cannot be overemphasized that all of these cleaning methods must be approached with caution. When using any of these procedures which involve water or other liquid cleaning agents on masonry, it is imperative that all openings be tightly covered, and all cracks or joints be well pointed in order to avoid the danger of water penetrating the building's facade, a circumstance which might result in serious moisture related problems such as efflorescence and/or subflorescence. Any time water is used on masonry as a cleaning agent, either in its pure state or in combination with chemical cleaners, it is very important that the work be done in warm weather when there is no danger of frost for several months. Otherwise water which has penetrated the masonry may freeze, eventually causing the surface of the building to crack and spall, which may create another conservation problem more serious to the health of the building than dirt. Each kind of masonry has a unique composition and reacts differently with of 18 6/6/05 12:36 Pb .VJVa♦.a.+VLL Ll.VI.V.a.,..u+SV+V Vl fVJ{ap.•V�+Vuuu+b..V 1a+J..Vi tv LMalY+l16J +l KllJl••+•••.Va.a�IJ.bV•.a.11 J/.1JV/V...+a Jl Vl a.+.V V...0 various chemical cleaning substances. Water and/or chemicals may interact with minerals in stone and cause new types of stains to leach out to the surface immediately,* or more gradually in a delayed reaction. What may be a safe and effective cleaner for certain stain on one type of stone, may leave unattractive discolorations on another stone, or totally dissolve a third type. Testing: Cleaning historic building materials, particularly masonry, is a technically complex subject, and thus, should never be done without expert consultation and testing. No cleaning project should be undertaken without first applying the intended cleaning agent to a representative test patch area in an inconspicuous location on the building surface. The test patch or patches should be allowed to weather for a period of time, preferably through a complete seasonal cycle, in order to determine that the cleaned area will not he adversely affected by wet or freezing weather or any by-products of the cleaning process. Mitigating the Effects of Abrasive Cleaning There are certain restoration measures which can be adopted to help preserve a historic building exterior which has been damaged by abrasive methods. Wood that has been sandblasted will exhibit a frayed or "fuzzed" surface, or a harder wood will have an exaggerated raised grain. The only way to remove this rough surface or to smooth the grain is by laborious sanding. Sandblasted wood, unless it has been extensively sanded, serves as a dustcatcher, will weather faster, and will present a continuing and ever worsening maintenance problem. Such wood, after sanding, should be painted or given a clear surface coating to protect the wood, and allow for somewhat easier maintenance. There are few successful preservative treatments that may be applied to grit-blasted exterior masonry. Harder, denser stone may have suffered only a loss of crisp edges or tool marks, or other indications of craft technique. If the stone has a compact and uniform composition, it should continue to weather with little additional deterioration. But some types of sandstone, marble and limestone will weather at an accelerated rate once their protective "quarry crust" or patina has been removed. Softer types of masonry, particularly brick and architectural terra-cotta, are the most likely to require some remedial treatment if they have been abrasively cleaned. Old brick, being essentially a soft, baked clay product, is greatly susceptible to increased deterioration when its hard, outer skin is removed through abrasive. techniques. This problem can be minimized by painting the brick. An alternative is to treat it with a clear sealer or surface coating but this will give the masonry a glossy, or shiny look. It is usually preferable to paint the brick rather than to apply a transparent sealer since sealers reduce the transpiration of moisture, allowing salts to crystallize as subflorescence that eventually spalls the brick. If a brick surface has been so extensively damaged by abrasive cleaning and weathering that spalling has already begun, it may be necessary to cover the walls with stucco, if it will adhere. Of course, the application of paint, a clear surface coating (sealer), or stucco to deteriorating masonry means that the historical appearance will be sacrificed in an attempt to conserve the historic building materials. However, the original color and texture will have been changed already by the abrasive treatment. At this point it is more important to try to preserve the brick, and there is little S of 18 6/6/05 12:36 PN LVJVa•uY Vll Laiya V.uWabVlV Va i 1.Jl MJ1 Y V t..aVWllllb LV 1alJLV11V LYllYillBu a !/YY YY YY 'At" aLLjJ' .b.i Y/lllJu/LtIJ/..+IyLJI LIl.....,.. choice but to protect it from "dusting" or spalling too .rapidly. As a last resort, in the case of severely spalling brick, there may be no option but to replace the brick--a difficult, expensive (particularly if custom-made reproduction brick is used), and lengthy process. As described earlier, sandblasted interior brick work, while not subject to change of weather, may require the application of a transparent surface coating or painting as a maintenance procedure to contain loose mortar and brick dust. (See Preservation Briefs; No. i for a more thorough discussion of coatings.) Metals, other than cast or wrought iron, that have been pitted and dented by harsh abrasive blasting usually cannot be smoothed out. Although fillers may be satisfactory for smoothing a painted surface, exposed metal that has been damaged usually will have to be replaced. Summary Sandblasting or other abrasive methods of cleaning or paint removal are by their nature destructive to historic building materials and should not be used on historic buildings except in a few well-monitored instances. There are exceptions when certain types of abrasive cleaning may be permissible, but only if conducted by a trained conservator, and if cleaning is necessary for the preservation of the historic structure. There is no one formula that will be suitable for cleaning all. historic building surfaces. Although there are many commercial cleaning products and methods available, it is impossible to state definitively which of these will be the most effective without causing harm to the building fabric. It is often difficult to identify ingredients or their proportions contained in cleaning products; consequently it is hard to predict how a product will react to the building materials to be cleaned. Similar uncertainties affect the outcome of other cleaning methods as they are applied to historic building materials. Further advances in understanding the complex nature of the many variables of the cleaning techniques may someday provide a better and simpler solution to the problems. But until that time, the process of cleaning historic buildings must be approached with caution through trial and error. It is important to remember that historic building materials are neither indestructible, nor are they renewable. They must be treated in a responsible manner, which may mean little or no cleaning at all if they are to be preserved for future generations to enjoy. If it is in the best interest of the building to clean it, then it should be done "using the gentlest means possible." Selected Reading List Ashurst, John. Cleaning Stone and Brick. Technical Pamphlet 4. London: Society for the Protection of Ancient Buildings. 1977. Asmus, John F. "Light Cleaning: Laser Technology for Surface Preparation in the Arts." Technology and Conservation. 3:3 (Fall 1978), pp. 14-18. F18 6/6/05 12:36 P1V ♦ww.a>uva.1./aaVa v.,...,abvaJ va.>vauOa.v�..».>u,>aab Lv>uowa,.+.�a.aaua,abJ u»1,.,I.......a.a.t.J.b...Ia>�,JIt,JI.,>a..>J.>r»>.>.,....a., "The Bare-Brick Mistake." The Old House Journal. I:2 (November 1973). p 2. Brick Institute of America. Colorless Coatings for Brick Masonry. Technical Notes on Brick Construction. Number 7E ( September/October 1976). Gilder, Cornelia Brooke. Property Owner's Guide to the Maintenance and Repair of Stone Buildings. Technical Series/ No. 5. Albany, New York: The Preservation League of New York State, 1977. Prudon, Theodore H.M. "The Case Against Removing Paint from Brick Masonry." The Old House Journal, III:2 (February 1975). pp. 6-7. . "Removing Stains from Masonry." The Old House Journal. V:5 (May 1977), pp. 58-59. Stambolov. T . and J.R.J. Van Asperen de Boer. The Deterioration and Conservation of Porous Building Material in Monuments: A Review of the Literature. Second enlarged edition. Rome: International Centre for Conservation, 1976. Weiss, Norman R. "Cleaning of Building Exteriors: Problems and Procedures of Dirt Removal." Technology and Conservation, 2/76 (Fall 1976), pp. 8-13. Exterior Cleaning of Historic Masonry Buildings. Draft. Washington, D.C.: Office of Archeology and Historic Preservation, Heritage Conservation and Recreation Service, U.S. Department of the Interior, 1976. Acknowledgements This Preservation Brief was written by Anne E. Grimmer, Architectural Historian, Technical Preservation Services Division. Valuable suggestions and comments were made by Hugh C. Miller, AIA, Washington, D.C.; Martin E. Weaver, Ottawa, Ontario, Canada; Terry Bryant, Downers Grove, Illinois; Daniel C. Cammer, McLean, Virginia; and the professional staff of Technical Preservation Services Division. Deborah Cooney edited the final manuscript. The illustrations for this brief not specifically credited are from the files of the Technical Preservation Services Division. Washington, D.C. 3une, 1979 Home page logo: Undamaged historic brick (above). Sandblasted brick (below). Photo: Courtesy, Illinois Historic Preservation Agency. 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S ._ c - fit!"�..1.. - i-i •k� �- fi ^?�' E• vk i. �. i, ;eta F��'+'r s` tz4xY..r ;aR' ?e R �V �.-� -as` .Cc-_ V7- "'I N��'y 71#1I994{°t f4.a1C" $'`�} .4.� �' # dt6� 17S r i •i itl -.< - t i �: 77 E' _ c• NEW3 t A-f 4j C, r: ri SY:3 - '"ram~�' �s�� h� '.~• �., _ �'�'�� oh Cis-'':'� - n a s• � •�'r.'rM p.: d - � _ - `'�� _ +� t _ f���,-� �er�-+•r .{.-;{ y�F fit. f f+ � }��� Y �•.4�y jF� L� 3 Rika Smith McNally and Associates Conservators of Objects and Sculpture 8 Morse Lane South Natick, MA 01760 Tel(508)650-5739 SOS! Assessment H.H. Kitson's Roger Conant, First Settler of Salem (1911, dedicated 1913) Date of assessment: 11/14/01 Date of report: 12/7/01 I 1 RIKA SMITH McNALLY Conservator of Objects and Sculpture 8 Morse Lane South Natick, MA 01760 Tel: (508) 650-5739 Studio: (508) 620-2929 Fax: (508) 655-6060 SOS! Condition Assessment The following assessment was provided by a grant to the Salem Common Neighborhood Association, Salem, Massachusetts from Heritage Preservation's SOS! (Save Outdoor Sculpture Program), a joint project of Heritage Preservation and the Smithsonian Institution's National Museum of American Art. SCULPTURE: Roger Conant Statue Date of assessment:11/14/01 Alternate name:Roger Conant: First Settler of Salem Artist: Kitson, H.H. (1863-1947) (Signed"HENRY KITSON FECIT 1911",on sculpture,proper left side,on bronze boulder below cape) Material:outdoor bronze on granite boulder base Fabricator: Gorham and Company,Founder(founder's mark in bronze base,proper left side) Date: 1911 Plaque and inscription:bronze plaque(H 34")on front of base reads: "ROGER CONANT/BORN 1592-DIED 1679/THE FIRST SETTLER OF SALEM, 1626/'I was a means, through grace assisting/me, to stop the flight of those few/that then here with me,/and that by my utter denial/to go away with them,who/would have gone either for/England, or mostly for Virginia' " Installation: Dedicated June 17, 1913 (see Salem Evening News,June 16 and June 18, 1913). Location: Brown Street and Washington Square West, Salem, MA (faces east/northeast, towards Washington Square) Base: Large natural granite boulder(reportedly from nearby woods at Page Farm, see 6/18/13 newspaper report of dedication). DIMENSIONS:Sculpture: approximately 9';Base: approx. 8'x 6'x 12' DESCRIPTION:A standing figure of Roger Conant with proper right hand holding top of tree stump. His long cape billows around him. The sculpture rests on a large boulder in the middle of a small traffic circle. The boulder is surrounded by a low(36"H)wrought iron fence,painted black. There is ivy growing over the base,and plantings surround the monument. There is a round concrete stone to the proper left of the base. This is reportedly not a cover to any utilities, but only a stepping stone used for gardening. Utilities available: Water (garden hose spigot) and 220v electrical outlets are available in at the Salem Witch Museum (across Brown Street). Salem,MA SOS! Assessment, p. 2 H.H. Kitson's Roger Conant Accessibility: Accessible by scaffold for treatment. Wrought iron fence is approximately 3' from front surface of boulder, and scaffolding for treatment will extend into street. A police detail may be necessary for treatment. Contact Captain Callahan, Salem Police Department for more information. Accessible by bucket lift or by ladders for maintenance. Examined at assessment on foot and by bucket lift provided by the City of Salem. Setting:The sculpture is situated in a small traffic island at the corner of Brown and Washington Streets, facing Salem Common. The area is heavily trafficked, particularly in the early fall. Buses arrive directly across Brown Street at the front of the Salem Witch Museum. Representatives from the Salem Common Neighborhood Association anticipate that the best time for conservation treatment would be the last two weeks of June (the area has heavy tourism traffic in September-October and in early June). Inventory of American Sculpture#: IAS 76006649 Massachusetts SOS!Survey: Surveyed October 1994. Treatment needed. Owner. City of Salem, Massachusetts Contact: Michael Coleman, President Salem Common Neighborhood Association P.O. Box 8608 Salem,MA 01971-8608 Tel. 978-745-3086 The Salem Common Neighborhood Association is the contact for this SOS! Assessment and will be the primary facilitator for treatment. The Salem Historical Commission has provided historical research and other information. The Salem Witch Museum currently cares for the plantings surrounding the sculpture and will provide utilities (electrical and water) for treatment. Present for assessment: Rika Smith McNally,conservator,Michael Coleman and Mary Anne Curtain, Salem Common Neighborhood Association, Lance Kasparian, Salem Historical Commission, and Bruce Michaud,Executive Director,Salem Witch Museum. Additional contact information: Lance Kasparian, e-mail LKA1Qmediaone.net Salem Historical Commission One Salem Green Salem,MA 01970 Tel. (978)745-9595 Ext.311 Bruce "Biff" Michaud, Executive Director Patty McLeod, Director Salem Witch Museum Washington Square Salem,MA 01970 Tel. (978) 744-1692 Salem,MA SOS! Assessment, p. 3 H.H. Kitson's Roger Conant Roger Conant History Roger Conant(1592-1679) was the first Settler of Salem,MA. In 1626, a fishing colony established at Cape Ann by the Puritan Dorchester Company of England was disbanded,and most of the settlers returned to England. Roger Conant led a small group of settlers 16 miles south to resettle at Naumkeag, or "fishing place", which later became Salem. He also persuaded settlers considering moving on to Virginia to stay in Salem.The sculpture commemorates his arrival in Salem. H.H.Kitson, Sculptor H.H.Kitson, (Henry Hudson Kitson,1863-1947)was born in Yorkshire,England,but moved to New York as a teenager to work with his older brother John William, an architect and sculptor. Kitson later studied and worked in Paris, where he exhibited his work in the Paris Salons. He moved to Boston in 1885 and opened his studio on Tremont Street there. His first student,Theo Alice Ruggles Kitson(1871-1932)would also become his wife and occasional collaborator. The Roger Conant monument was designed solely by H.H.Kitson,and was commissioned by the Roger Conant Family Association. Other well-known monuments by Kitson include The Minute Man (Lexington, MA), Robert Burns (Boston), The Pilgrim Maiden (Plymouth, MA) The Farragut Monument (Boston) and The Doyle Monument (Providence, RI). H.H. Kitson separated from Theo Kitson around 1909 and settled in Tyringham,MA, where he created a new home called Santarella, noted for its fantastical thatched roof studio. Photographic archive review The Phillips Library of the Peabody Essex Museum in Salem has six historic black and white photographs of the sculpture. These are an outstanding resource for the conservation treatment. The archival photographs were examined by this conservator for the SOS! assessment and the following notes taken. Neg.#4568 is undated but shows horse-drawn wagons.The bronze appears mid-tone in hue and value,and the surface is even,with no evidence of corrosion. There is a low curb around the monument,but no plantings and no fence. With assistance from the Library or the Salem Historical Commission, this photo could probably be dated fairly accurately from the horse- drawn wagons. Neg.#4090,dating to 1925. The surface has an even appearance(no signs of corrosion). The hue and value again appears mid-tone, except slightly darker than the first photo (this may be from printing). Again, there are no plantings. Salem,MA SOS! Assessment, p. 4 H.H. Kitson's Roger Conant (photographic archive review, cont.) Four other photographs show similar condition with varying height of plantings, no ivy on the boulder or sculpture. One undated photograph(Tilford Photo)shows the low wrought-iron fence. It also appears to show some cement patching surrounding the bronze base(present today). This preliminary research indicates that the sculpture had a mid-tone appearance (as opposed to very dark), that the boulder base had no ivy until fairly recently, and that the wrought-iron fence was an addition (date as yet unknown). Curatorial research on H. K. Kitson's bronzes will further assist in determining the correct color of the bronze. Contact: Phillips Library, Salem, MA, tel. 978-745-9500, ext. 3053. Related preservation notes/past treatment: Vandalism The sculpture receives very little vandalism (no graffiti,no abrasions). There have been reports of toilet paper on the sculpture, particularly at Halloween; the Salem Witch Museum, located directly across the street,removes this as necessary. The sculpture has on rare occasions been decorated for a holiday. Decorations are also removed by the nearby museum. At Halloween 1999,a group of men were arrested for rubbing olive oil on monuments in Salem Common and on the Roger Conant sculpture(see newspaper accounts,the Salem Evening News, October 28,1999 and December 8,1999). The men were from a Salvadoran church group near Boston, apparently passing out literature and praying for witches. The newspaper articles mention the difficulty city workers were having removing the oil. On the Roger Conant sculpture, the oil appears to have been only on the plaque at the front of the base. Vestiges of the oil are still visible. Site maintenance The plantings are watered and taken care of by maintenance staff from the Salem Witch Museum. A garden hose easily extends across the street. The Museum excavated the area surrounding the sculpture years ago and put in higher quality soil for the plantings. Past treatment? There have been some oral reports that the sculpture of Roger Conant was brown in color in fairly recent memory (within 20 years?). Patty MacLeod, Director of the Salem Witch Museum,reported that she had seen some color photographs of the sculpture looking brown,but that the photographs were taken at dusk and that she was not certain it was actually brown. It's possible that the sculpture was repatinated at some time,but there is no evidence of any kind of protective coating,and no vestige of a recent patination.The sculpture is currently completely green or black from copper corrosion and there are no signs of blasting. Salem,MA SOS! Assessment,p. 5 H.H. Kitson's Roger Conant CONDITION: General/Summary H.H. Kitson's outdoor bronze sculpture of Roger Conant appears stable but has suffered from extensive copper corrosion,resulting in an overall green appearance with some black streaking. The corrosion has resulted in metal loss and has obscured surface detail. Etching has occurred to an estimated depth of —.5 mm. There are no signs of the original brown patina.There are no cracks or losses to the bronze. There are four large holes drilled into the front garment of the figure. The exact cause of these is not known,but they are either original casting flaws that were drilled out (and then probably plugged with lead),or are from a previous boroscope examination(see below for detailed information). The sculpture rests on a large natural granite boulder. The method of attachment is not known, but most probably there are metal pins extending from the underside of the bronze base into the stone. There are no signs of iron corrosion around the base and no evidence of crushed stone from rocking. The bronze base and the plaque on the front of the boulder have been"shored up"with some cast cement. A small amount of the cement on the perimeter of the plaque has fallen off (most probably through a freeze/thaw cycle). There is also a loss to a section of cement at the proper right rear corner just under the bronze case. It is not clear of this"shoring up"was necessary. There were no reports of why or when this was carried out,but it appears to have been within the past 15-20 years. The natural granite boulder is covered with a fast-growing vine, and the vine now extends over the bronze base.The vine has caused some orange-colored biological growth in the letters on the front plaque, and is taking hold within fissures/striations in the boulder.The vine appears to have been.planted within the past 10-15 years. Deterioration of the bronze including loss of surface detail will continue without conservation treatment followed by an annual maintenance program.The vine may cause both staining to the bronze and stone and structural damage if allowed to grow further. Detailed condition notes Acid deposition damage Roger Conant: First Settler of Salem, has apparently never been treated or maintained with a protective coating, and there is extensive copper corrosion from acid deposition covering all surfaces of the sculpture,with green copper sulfate and areas of black copper sulfide crusts present. A small amount of the green corrosion is loose and granular. The sculpture has reportedly been washed on occasion,which would remove bird guano or acidic deposits,but does not prevent further corrosion. The green copper corrosion covers most of the sculpture,and has etched approximately.5 mm into the metal. Acid deposition damage (from acid rain,snow, and vapor)has permanently Salem, MA SOS! Assessment, p. 6 H.H. Kitson's Roger Conant disfigured some sculptural detail. The black crusts of the copper sulfide corrosion appear as dry, very slightly raised patches on the surface. Tests with a scalpel indicate these are tenacious. There are some areas of pitting corrosion and black corrosion"drip"lines on the garment and tree stump. Drill holes in front of sculpture There are four drill holes in the front of the sculpture, readily visible from the ground.One of the holes has been drilled twice. There have been stories that the holes were from gunshots or someone taking one of the pointed wrought iron posts and plunging it into the bronze,but these are apocryphal. Upon examination from the bucket lift, there is evidence of marks from a drill. The holes are close to 3/4" in diameter,and each is the same diameter. There is green corrosion on the inner surface of the drill holes,indicating that enough time has passed since the holes were made for corrosion to occur. One of the holes appears to be filled with a gray material (it appears similar to investment material,but may be an epoxy or lead). Neither the Salem Common Neighborhood Association nor the Salem Historical Commission has any information on the drill holes,and there is no record from the police department. Biff Michaud, Executive Director, Salem Witch Museum,had some recollection of a project that may have included a boroscope examination of the interior of the sculpture,but this has not yet been confirmed. To date, Susan Nichols, Director of SOS!, Arthur Beale, Director of Conservation,Museum of Fine Arts, Boston, Clifford Craine,Conservator, Daedalus, Inc., and Michael Panhorst, Director, Chesterwood National Historic Site,have been consulted,but none had knowledge of a research project that would have included drilling and/or bososcope examination. A second possibility is that the holes-are from original foundry repairs that would have been plugged with lead. The diameter of the holes are large for drilling and tapping, and other smaller, more typical foundry repairs are visible elsewhere on the bronze (smaller drill holes with bronze rods tapped and finished). A third possibility is that the holes are from some sort of prank, but this seems highly unlikely. Coating There is no protective coating on the bronze,and no oral or written reports of any coating in recent memory. Salem,MA SOS! Assessment, p. 7 H.H. Kitson's Roger Conant Plaque The plaque on the front of the boulder base has suffered from corrosion,biological growth, vandalism, and deterioration of cement from freeze-thaw cycles. The plaque is predominantly green in color. In the interstices of the letters, there is an orange-colored material that looks like rust,but is the result of biological growth or lichen,most probably from organic matter from the leaves on the vine above. It appears that rain may have rinsed the flat surface of the plaque,but the interstices of the letters are more protected and the collection of organic matter has resulted in a plant-based growth. The result is visually disfiguring, and without removal will cause more damage the bronze. The plaque also has drips of apparent oil (see section on vandalism). During the assessment, a test using 3M Company Safest StripperTM (dimethyl adipate, dimethyl glutarate) reduced the oil drips on the surface. Repeated applications of this or other stripper will be necessary during treatment to remove the vestiges of oil. Natural boulder base and vine growth The boulder appears to be in generally sound condition. There are some primarily horizontal shallow fissures in the stone(due to vine growth, the boulder could not be completely examined).There appears to be some orange-colored staining on the black-specked.granite, probably from plant matter.There is some green staining from bronze corrosion,although this is mostly on the cement rather than the actual stone(the cement is more porous than granite, and absorbs the corrosion run-off). Vine identification and damage An extensive trumpet vine covers the boulder and grows up and over the bronze base,obscuring the figures foot and the front of the bronze base. The vine was planted by the Salem Witch Museum, and appears to be at least ten years old. Using leaves from the vine and photographs, horticulturalists from the Wellesley College Greenhouses in Wellesley, MA have identified the vine to be the fast-growing woodbine, or Virginia creeper (Parthenocissus quinquefolia). Such a vine has aerial rootlets that attach to the surface of the stone like suction cups. The growth is very fast, and the rootlets will go quickly into weaker areas of the stone, such as in the striations or fissures. Freeze-thaw cycles will then cause structural damage to the stone. Heavy and continued growth will also result in damage from the physical, mechanical push of the vine as well as radial growth of the root.(see attached articles on damage from physical plant action). Wrought-iron fence The wrought-iron fence is in sound structural condition. There are a few areas of paint flaking, with underlying rust beginning to occur.The fence requires re-painting to prevent iron corrosion. Salem, MA SOS! Assessment, p. 8 H.H. Kitson's Roger Conant Conclusion/Summary of Recommendations H.H. Kitson's outdoor bronze sculpture of Roger Conant appears stable but has suffered from extensive copper corrosion due to acid deposition,resulting in an overall green appearance with some black streaking. The corrosion has resulted in metal loss and has obscured surface detail. The sculpture no longer appears as it did originally,when it was a mid-tone brown color. The sculpture rests on a large natural granite boulder. Fairly recent planting of a trumpet vine (woodbine, or Virginia creeper)has covered the boulder and is causing some deterioration and biological growth on the boulder and the bronze plaque on the front of the boulder. The original appearance of the monument as evidenced in numerous archival photos indicates that the boulder was devoid of any plant growth. Continued growth will no doubt result in some structural damage. The vine should be at least reduced,at best removed from growing on the boulder surface. The bronze should be cleaned, repatinated,and given a protective coating by a professional conservator. That coating will require annual maintenance to prevent damage from acid rain and other pollutants (the maintenance can be carried out by city personnel or by the Salem Witch Museum). The low,wrought iron fence surrounding the site requires re-painting. This can be done by city personnel or contracted to a commercial paint company. 0/ Rika Smith McNally December 10,2001 Salem, MA SOS! Assessment, p. 9 H.H. Kitson's Roger Conant TREATMENT RECOMMENDATIONS FOR ROGER CONANT:FIRST SETTLER OF SALEM Treatment recommendations The goal of the proposed treatment is to stabilize the surface, return the sculpture to its original appearance, give the bronze a protective coating, and establish a maintenance program. The work of this section consists of provision of all materials, labor, equipment and the like necessary and/or required for the complete execution of the conservation treatment. The City of Salem will provide a source of water (garden house-type spigot) and 220v electricity. The conservator will be responsible for all work permits and police detail as necessary (to be deterrmined by Police Department, City of Salem). The conservator will take all possible precautions to protect garden plantings within the wrought-iron fence. All work will adhere to the Code of Ethics established by the American Institute for Conservation of Historic and Artistic Works (AIC). Pre-treatment site visit Site visit by conservator to carry out additional before treatment photographs and to discuss repatination color with Salem representatives (Salem Common Neighborhood Association, The Salem Historical Commission, and the Salem Witch Museum; it is expected that a consulting curator will also be included in the discussion). Initiate plans for maintenance program. Treatment Specifications: Before treatment, the City of Salem will need to have made and carried out a plan for the vine currently growing over the boulder base. At a minimum,the vine must be cut 14"away from all bronze areas. Ideally, it should be completely removed. 1 Erect scaffolding to access all areas of monument. Submit plan for scaffolding before treatment and arrange for any police detail required by the City of Salem. Add snow- fencing to perimeter of scaffold and signage as requested by the City of Salem. 2 The loose green corrosion products should be removed from the bronze by walnut shell powder blasting(30-40 psi)or medium pressure water blasting(not more than1400 psi,fan- shaped nozzle, 10-12 inches from surface). 3 The surface of the bronze should then be washed using a mild detergent such as Orvus"" (sodium lauryl sulfate) or similar detergent and water, followed by repeated water rinse. Any additional loose corrosion products should be removed with nylon pads,bronze wool,or small brushes(sculpture will remain green at this stage with most of corrosion products intact). Use nylon pads to reduce biological growth on letters of plaque. 4 Mechanically remove any loose old cement surrounding plaque. Remove/reduce vestiges of oil drips on plaque using organic solvents,paint stripper (3M Safest StripperTM was tried during assessment with positive results),or resin soap. Salem, MA SOS! Assessment, p. 10 H.H. Kitson's Roger Conant (Treatment specifications,cont.) 5 Using a heat torch (mapp,high purity,or propane gas), and aqueous chemical reagents (an historically appropriate solution such as ferric nitrate and potassium permanganate, pending further research and consultations),repatinate the bronze to a brown color,most probably a mid-tone. Protect granite boulder base with plastic sheeting, and where necessary with heat shields. Thoroughly rinse sculpture with water after repatinating. 6 If there are any low areas that require weep holes for drainage, drill 1/4" holes in through bronze in inconspicuous areas. 7 Apply protective coat of IncralacTM(Acryloid B-44) in xylene or toluene to all bronze surfaces. Specifically, apply one-two brush coats and one-two spray coats to achieve an overall even layer approximately 1 mm thick. 8 Fill round drill holes in front of garment with a two-part epoxy (Protective Coating Company's PC-70 or comparable) toned to match the patinated surface. Epoxy is recommended rather than a bronze repair for ease of reversibility. 9 Wax bronze with a hard paste wax (Butchers, Bowling Alley Paste Waxr"' is recommended). Buff with soft lint-free cloths or nylon fabric. 10 Train a City of Salem employee/other city representative during the waxing process to carry out annual maintenance. Provide written maintenance directions including all materials to be used. 11 Supply a written report on the treatment to the Salem Common Neighborhood Association with photographic documentation including a minimum of four 8"x 10"black and white photographs before after treatment and a series of 35mm color slides before,during,and after treatment within eight weeks of completion of treatment. Report must include all materials and methods used in treatment. Salem, MA SOS! Assessment, p. 11 H.H. Kitson's Roger Conant ESTIMATED BUDGET for CONSERVATION TREATMENT Estimated costs will vary considerably depending on the conservation firm used, possible travel expense, and scaffolding costs. The following estimated budget is what the town can expect to receive from qualified conservation firms putting in a bid on this.project. Conservators/labor fees (conservators, technicians and/or assistants) $12,000.00-17,500.00 Materials and equipment: All supplies: Orvus detergent,walnut shells, mapp,hpg, or propane gas, torch tips, torch hoses, patinating reagents, temporary fencing, Incralac, xylene and other organic solvents,wax, misc. supplies $650.00-950.00 Local equipment rental (including delivery) Power washer,compressor,other $350.00 Film, developing, printing $200.00 Scaffolding (rental, delivery, set up) $2500.00-3500.00 Total materials/equipment $3,700.00-5,000.00 Travel/per diem.Depending on conservation firm used, travel costs will vary from very little to fairly substantive. $400.00-1800.00 *Police detail: requirements not yet known. Police detail could add a few hundred to a few thousand dollars to estimated cost. Treatment should be able to be carried out within a two-week time frame, pending weather conditions. TOTAL ESTIMATE: $16,100.00-24,300.00 Salem,MA SOS! Assessment, p. 12 H.H. Kitson's Roger Conant POST-TREATMENT MAINTENANCE RECOMMENDATIONS After conservation treatment, the protective coating on the bronze must be maintained by annual washing and waxing. Post-treatment, this maintenance will be the single most important thing the City of Salem can do to preserve H.H. Kitson's Roger Conant. Maintenance Directions Once a year,preferably during warm weather (late spring, summer, or early fall): 1. Wash the sculpture with a mild detergent and water. Ivory@ liquid dish detergent is recommended (clear),or purchase Orvus® through a conservator. Place 1-2 teaspoons of the Ivory or 1 tsp. of the Orvus in a bucket of water,and wash the surface with soft sponges or soft brushes followed by immediate rinsing. The Roger Conant can be accessed by ladder or bucket truck. 2. Allow the sculpture to air dry. There may be few areas (particularly in garment and at base) where water pools. Use paper towels to absorb excess water to shorten the air drying time. 3. After drying, wax the surface by applying a thin coat of Butcher's Bowling Alley Paste Wax@, available at many hardware stores, with lint-free cloths (Painter's Pals@, also available at hardware stores, is recommended), then buff the surface with the lint-free cloths or nylons over fhe cloths, or with soft brushes. Buffing should be done with light, quick strokes (heavy rubbing is not necessary). Take written notes of when the sculpture is washed and waxed, and note any changes to the sculpture (bright green corrosion, graffiti, large scratches,etc.). The notes should be placed in a file or notebook where they will be readily available each year. Consult with a conservator if there are any questions. Recommendation for carrying out maintenance: Provide city personnel to carry out maintenance on an annual basis(washing and waxing). Hands-on maintenance training and written directions can be provided by the conservator as part of the conservation treatment(annual fee would be absorbed by town budget). Make a written plan with the Salem Witch Museum to carry out maintenance(the museum currently waters and cares for the plantings surrounding the monument). Allocate funds to carry out annual maintenance(estimated at$400.00-1400.00 by a monument preservation or professional conservation firm). I • :� r'+ Cadite;nnd Co. H Will Partle-i 1O.&U In;Sbuth Shore Qarhe Ow r �,. `•y Iittir'Part of July; Camp l It' 'Sits Not Yet Chosen. Jtilrea a e�arirr innhw g%fk. In of the eeoosod Carps Cadets &Ad Co. H of the. Eighth Infantry will participate, will- "car around hildd►eboro. while • .:"b I this has pot been oftletally at}nounoed, such will prove to be the fact. As yet the BeeooQ Corps Cadela has nbt liawtt a : � *•�;., .; f F, :' a'ielGntd t0 dts camping spot. byt' It is understood, Col. Ropes has boon a `,; �`'ras.<�• w ��,:: et1C.�< s s;'. Ali � > tuthbrlsed to plck'+an7 site that he do. {.S g v.;.�i;:?y.,r.•.:.,a efrob for the Orst four days'.permanent camp and he has,his eye, it is said, on' 1 ` a One location. �. ' ', The old cLmp ground at Lakeville, used during the Civil war by yolun- i: i tsar regiments and 4 few years ago by the Second brIgada, will be in- eluded Jn the. maneuver area It It A .. understood that camps for the differ. out organisations are to be established < - at the following,points: Sixth lnfLn- .,+r1;�•:;.>� ' try at Mattapolsett, Second infantry at West Barnstable, Ninth Infantry Peter's pond; ZIVhth Infantry, In the vicinity of, Middleboro. The flrsl squadron of cavalry will be locatet i +• In the v4dr-tty ^f Middleboro. In a camp including cavalry from Con- necticut.and Rhoda Island. Sunday e4,:... Monday, Tuesday and Wednesday or < " camp week will see the commands It 4`'�;§;z c%. '• permanent enmD■ to be broken, poa . albly on Thuredsy, when the yea r maneuver work commences. The adjutant-general desires to ra14 a motorcycle corps for the maneuversIAny officers or men who have me yes :w chtaelt_ahould report by mall to IJeut ... x. W. B. Morgan, Second Corps Cadete Salem. " It will m0er eurprlee those who tall� :''a'.c of the high cost of living to And thn the ration to be Issued, which is th- ,.;� •+ :'� � 4 equivalent of the rs.tlon issued In 701i w111 cost only a fraction of a cent mon than It'did then. In 1912 Gen. Whit +• reported the ration cost as .21I.eS Thl year he -will be ohllged to charg .29.41. a difference of only a little ove seven mlllli as agalnst the post a yea :'r-,':i?�*s Yi i<"'FA Gkh. Lmery, quartermaa to r-genera -sue>tV'� has been directed to ship to Ma,l. Joh M. Portal, ordnance department, a West Barnstable, to arrive, not late • ;_ I". i, _ June 17.�.0,000 rounds of blan Car t!' .'z TIM. `ilA1'0: :1 k.'e+.yv2 7 -ktbwe ba�1—Of' n '"-t�►'-t 'Ot "'�,.th f_.' "_':IsY1�—.. }I� lti0a901'wt 3: ::..: +;ilk D first sgttler. at 6e1em.'.wdo,-oame.:wtth t h h ► mot_ i �9►igrc_..1► eke,:It .. It-be;.unl!etist bT v ' t eotmDalilone,: John'LyDoed.:::7oDp tDi:Ar ifdeht.:t3amu�l '71f,qrrl;,Conitn� s� .^tif / *OQ1,1II17� Jolin-1wW1..)?stet-: r Of.�, ptncke�•afted•wh'fe6=th�'tlhlalei S"'s"ITT "!w+w+as:Y.. v Jlic srd :Norman ups son; �Vllll of d1s Pete�'�.ehurvi ir11r r�nt;:!'Aiosi- astl�nid►'::�bot�4�d$t`th�- a Winar Icnigtik and.othetsl;from, a losJ!.a6d. tte•_"�estfnliigt r;oplmes," batWlob li'LhuE:`;Clsdi: JeAaii{ s Alin..l(t IEttt;wit!bs unvui•d with ap- Di thi:Qidets:Cdr¢._'• . .:;_ At 1 P..DLe'd161iLt.w1lI be:4eerYAd.ls :.:OGta';..Nk1fTrrnttoalgblt pmllate exeislrfes.<tomgrrow-at.111gh tbr:Franklin•.buUdl(tr: bi!a:ors:'Ola r ,` In1.the sgbard formes'br.te:e ooutaslofa.:,alsltt,> a:c X.--sq. >that 1 niron I'tanbrs' society"tor the,BoseL,R?0naat tr of B%niyorltT;.of' the "tali:. bi s unetI9W of wasblristoa square=::and ftiltlly:; . tltti::<'fluti= wst street. :, ...".. . . Pt 3Ci:the':. OTBMlarri �lP - ' lnoodlt►ts4 : 9+1t1t:;:;.... t�yaoW The y Ail,edestal-lit tTla eGyh� s'hugs Y•seaAt wU1 be Elvers,fdr the fourth:and I, boulder which:wslrhs':'�botlt eo toils, several ,., .. .• ::.- hne..�basn'. /fl.paidoa. �days; tlrne; and for the Roger Consentsmtly goo Beata wtll�be reserred- fa hai>;s:.bsen hrotta<hc'�rord:•the -Pose tamp;; oft tt( avenue Thy":Inril llonn' to`Dopr nt'ai:tyests sli►uq-1 �-last: week and have::Bien-'Wended, the to11ow1g� wan Orn►ly-mount on the pedestal by 41�tlp4tllshed•persons .Senator henry ' Kialbeii broth of.IW*m. 'IC 1s_of Ggtisit.Lodge, Cloy. lions of Mgasacha- .4 birosase to feeL.t hrti'hy and faces the setts,,Oov.'PothleY• ,of.Moft IsianA, ;• �:aw 4%9L-.t?le dl I ftorn which.Canaiit F�on,- Ati�ustue.;...Y.: (lardner; D[,: C; alld. >14.(olla etti q,.to Ba1sa1.', :' M+i'or.John F:�Itmsy..of SaIW..Mar-. !: An.el4e progt'am.l►A*be4n.pee- cr Herman.A..3dacDonald of Beverly, `Jirsilo"too pafedl.b ,AOGer;.Conant. Yamlit the pe"went arid... Yecretary or-the �teoel�ai0voocibi nd the•folfo*ln[.Witt be M65whusetts Hlatgrlcal "ofy,'the M �' ttH ord day: At 11 A. X,'In Vowea lnstgtute: _the New $agland the::&eoend Vnitartan ahu)rCh,._Mere HlstorlcM :. Oeneaiosteiar society: 'the : a >> tNel'•w'� �' wW..bia,afl.hou#'aF,aplr{opr.ste iervlcq, prealdohZ and llbrarlan of the Mass• ��: . wlttl'lin and Itistruodve exer- ohusatfs' Antl4utirlein atialsty.-anti the ^ 3fe,iJ,t claee .? _ ' Mai offload at the ColonlaY B'amltln' u• r" ssIYR� AF U Il the:coni*ny wM rppor.101 poclatipi'4• I!R7�� . mAchetes,. while tote do s; eight In number, flanked .us 'on bpth'olden• r !lgil� tffAK YYl[valllna 'arena t�n'.hnnrriettd ��c_ - E.M. Winkler Stone In Architecture Properties, Durability Third, Completely Revised and Extended Edition Corrected 2nd printing me, Notre Dame, With 219 Figures, Some in Color and 63 Tables are set in "Stone- tone in a fountain the finish of the :s fossil fragments bluish-gray color, The blocks stand planes and cross- z)ck. Continuous, ositioned between Secondary surface )f gypsum are the stone. (gabbro) facing a ondary crusts of -)lied by the pool In May 1986. Springer rt' 226 Stone Decay by Plants and Animals i t - Root + t \ + •+ LH H t • •�`►ayMineralClay fragment•+1 •+H+ i—� H+�►H+ a H ! \ / `\ H_,/ •+Ca,Mg,K,etc. Fig. 8.5. Biochemical interaction of a plant root with a silicate mineral grain. (Keller 1957) '- �f tend to produce corrosive organic acids, and also prevent drying of the 'j masonry beneath. �j 8.4 Physical Plant Action �` --- ---- "_ - Fig.8.6. Abandoned mi Ferns, grasses, and small.trees tend to find a foothold on buildings; they are supplied with nutrients from simple plants, like bacteria and algae, on and gj between the stone blocks. The growing plant can exert high growth pressures, plant (Taylor and . 'V destroying and wedging along crevices and mortar joints on older buildings, 15 atm (220 psi) sh especially in areas of ample moisture supply. Plant-root wedging along rock lets. Roots tend to cracks is well known. Vegetation interfering with historic structures was chemically with th discussed b Goeldner(1984). The ressure of a growing plant root or a tree y ( ) P g g P while they seek a w r trunk is surprisingly high. Gill and Bolt (1955) distinguish between axial and radial pressures of plant roots for corn, beans, and peas. Though such crop I' plants are not associated with building stones, they give an indication of 6 potential axial and radial pressures. 8.5 Boring by A, Axial pressures on root tips are measured along the long axis of the root; maximum pressures of about 19atm (278psi) were recorded along Intertidal marine z, bean root tips. tide, are endangere Radial pressures of roots are perpendicular to the long axis, and are walls of stone or c( l one-third to one-fourth of the axial pressure. The pressures become effec- temple of Jupiter S tive as soon as growth is inhibited. Figure 8.6 shows a quartzitic millstone is marked by two c fractured by the radial pressure of a growing tree trunk. The effective root today about 30 ft al and trunk surface is much larger for radial pressure than for axial pressure: that the temple was the wedging force is therefore high, causing cracks and joints to widen 1800 years (Dvorak and allow easier access for moisture. The root pressure equals the plant distinctive excavatic osmotic pressure in growing cotton, peas, and peanuts. The approximate chete worms, snail; root pressure is about 10% lower than the measured osmotic pressure of a (1975). Most borers i I . f I aimals Boring by Advanced Animals 227 •+ +0+ •,�" + - +• Mineral +�+ fragment II 0+ i A I P� f - -ate mineral grain. (Keller 1957) I _ ' tlso prevent drying of the 1 I_old on buildings; they are Fig.8.6. Abandoned millstone broken by a growing tree trunk.Spring Mill State Park,Indiana tcteria and algae, on and I :ert high growth pressures, joints on older buildings, plant (Taylor and Ratcliff 1969). A continuous average radial pressure of -root wedging along rock 15 atm (220 psi) should be expected by advancing plant roots and root- h historic structures was i lets. Roots tend to grow along rough stone surfaces, where they interact jwing plant root or a tree chemically with the minerals to extract nutrients through surface attack -iguish between axial and I while they seek a weak joint or crack. 1 peas. Though such crop .'y, give an indication of 8.5 Boring by Advanced Animals Ong the long axis of the ,i) were recorded along Intertidal marine zones, the shoreline between the hi h tide the long axis, and are tide, are endangered by rock borers. This is the zone above manmade sea ,pressures become effec- I walls of stone or concrete, or partly submerged historical monuments. The 's a quartzitic millstone f temple of Jupiter Seraphis on the Mediterranean shore near Naples, Italy, runk. The effective root is marked by two distinct rows of densely spaced boring mussels, located than for axial pressure: today about 30 ft above the present sea level (Fig. 8.7). There is evidence s and joints to widen that the temple was submerged twice into the intertidal zone during the last essure equals the plant 1800 Years (Dvorak and Mastrolorenzo 1991). The systematic description of .guts. The approximate i distinctive excavation characteristics for boring fungi, algae, sponges, poly- Osmotic pressure of a !' chete worms, snails, bivalve clams, and sea urchins is' given by Warme f (1975). Most borers dig for protection (Fig. 8.8). Deep and closely spaced Technical Studies in the Arts, Archaeology and Architecture R Conservation o Historic Buildings Bernard M. Fedden CBE,D Univ,FSA,FRSA,AA Dipl(Hons),FRIBA Formerly Director,International Centre for the Study of the Preservation and the Restoration of Cultural Property(ICCROM),Rome i i l s f Butterworth Scientific London Boston Sydney Wellington Durban Toronto 9 Botanical, biological and microbiological causes of decay This chapter includes information on plants,bacteria The architect may well come into conflict with a lichens, algae and mosses and fungi; because of the client who is a keen gardener and puts the life of his damage they cause,fungi are given fuller treatment. plants before the maintenance of his building—or the architect may himself think the building looks better covered up. In such cases it is good practice to insert Botanical causes of dewy galvanized vine eyes and use stainless steel straining wires. Alternatively, the plants can be grown on Ivy,creepers and other forms of plant life can cause—) frames; an advantage of this is that when superficial damage if allowed to grow freely.Ivy drives a bull maintenance of the wall is required the frame can be healed-fnovinto-crumbiing masonry and causes dis- unfixed and the plants bent forward intact on the integration. Fresh ivy tendrils can, when forcibly frames. removed, pull off a weak surface of brickwork or The roots of trees and bushes can cause blockages plaster,so the plant should be cut and killed and then and local ground dampness by finding their way into left several weeks until it has lost its adhesive strength. rainwater drains. In extreme cases, when rainwater On the other hand,.the rather familiar sight of a drains are broken by roots, the leaking water can boundary wall covered with ivy should be studied cause sandy types of soil to wash away from below carefully because the ivy may in fact be holding up the foundations.Conversely in clay soils there is the well- wall, and if it is removed the wall itself may fall to known fact that trees, particularly poplars, can pieces.On buildings proper,rather than garden walls, damage foundations by excessive withdrawal of ivv must be kept in check to prevent its growth getting ground moisture in summer, resulting in ground out of control. When it is cut, the stem should be shrinkage and foundation movement with sub- treated with a strong weedkiller so as to poison the sequent cracking of walls and partitions. Trees and roots and prevent its sprouting again. plant growths can overwhelm historic buildings and Stonecrop and wallflowers are pleasant, but they sites in the tropics, where constant maintenance is usually indicate decay and poor maintenance.Indeed required to hold them back the presence of growth often indicates that the poin- ting has perished,in which case it should be renewed as soon as feasible, incorporating a toxic agent in the Biological and microbiological causes of mortar if plant growth is a constant nuisance. decay Some kinds of wall-climbing plants do not damage f masonry directly but must none the less be kept away Bacteria and lichens can cause the decay of building from the eaves and gutters to avoid blockages.These materials by producing acids which react chemically include Ampelopsis veitchii,a form of Boston ivy with with the structural material. Examples of this are small ovate or trifoliated leaves,which is often incor- sulphate-producing bacteria which grow on stone, rectly referred to as Virginia creeper; Hydrangea and lichens and mosses which produce acids that r . petiolaris, a climbing hydrangea; and Hedera attack lead and also low-silica glass.Algae, moss and canariensis, Canary Island ivy. The last is evergreen lichens all grow on brick and stone masonry and build and can be grown over underburnt brickwork that is up humus in which larger and more damaging plants decaying due to frost as a form of protection. can grow.There is an added risk from dampness and M • •• 1 .1 1: 1 d .� •K Jk 1 •1 � Fly': � � I-- • � ;. Rika Smith McNally and Associates November 14,2001 Conservators of Objects and Sculpture 8 Morse Lane South Natick,MA 01760 Tel(508)650-5739 SOS!Assessment H.H.Kitson's Roger Conant,First Settler of Salem f � - Y Detail of four drill holes in front of sculpture. One of the holes (second from left)is drilled twice: There is corrosion on the inner edge of the holes. The holes may be an original foundry repair (which would then have been plugged with lead) or are from a horoscope examination (there were some oral reports of this at the SOS!assessment,but no record or other information is available). Rika Smith McNally and Associates November 14,2001 Conservators of Objects and Sculpture 8 Morse Lane South Natick,MA 01760 Tel(508)650-5739 SOS!Assessment H.H.Kitson's Roger Conant,First Settler of Salem f, ii g i Bucket lift at assessment provided by the City of Salem. Rika Smith McNally and Associates November 14,2001 Conservators of Objects and Sculpture 8 Morse Lane South Natick,MA 01760 Tel(508)650-5739 SOS!Assessment H.H.Kitson's Roger Conant,First Settler of Salem w - Reverse of sculpture. H.H. Kitson Scul tor. "Roger Conant First Settler of Salem" 1906- 1913. Salem Massachusetts List of Sources: Page I of 3 Inventory Records: Massachusetts Historical Commission Inventory Form C—Object. Salem, Form No. 937-Roger Conant Statue prepared by Lisa Mausolf(1997). Smithsonian Institution Research Information System. Long view for Smithsonian American Art Museum Inventories of American Painting and Sculpture. Henry Hudson Kitson 1863-1947, sculptor. "Roger Conant(1593-1679) is Settler of Salem,"(sculpture). Manuscript Materials: City of Salem. Annual Reports for the Year Ending December 31, 1913. [p. 141 Director of Finance account on expenses under special appropriation. p. 246 Director of Finance account on boulder for Conant Statue.] The New York Historical Society,New York City, NY. Manuscript Collection: Henry Hudson Kitson Papers, 1887-1934. Contract between Samuel Morris Conant and Henry Hudson Kitson(February 28, 1906). The Peabody Essex Museum, Salem,MA, Phillips Library. Conant Family Papers MS. Collection MSS#0.430. Letter: Kitson to Samuel Moms Conant(06/20/ 1907)discussing interest in subject, destruction of preliminary figure,progress on second figure. Photographs: Essex Institute negatives #4090; 93004,4568 and three additional prints. Roger Conant Family Association. Invitation and tickets to Fifth Reunion and Dinner held on January 31, 1913. including frontal and side view photos of bronze figure. January 10, 1913. Roger Conant Family Association, Inc. Programme of the Unveiling of the Statue to Roger Conant by the Roger Conant Family Association,Inc. June 17, 1913. Smithsonian Institution Research Information System. Long view for Smithsonian Institution Archives and Manuscripts Catalogue. Archives of American Art:Henry Hudson and Theo Alice Ruggles Kitson Papers. Publications and Web: D'Amario, Alison.. "Roger Conant and Salem." Salem,MA: Salem Witch Museum. http://www.salemwitchmuseum.com/education/conant.html Gardner,Frank A. Roger Conant: Salem 1626. The Leader of the Old Planters. Salem: Roger Conant Co-operative Bank. 1926. H.H. Kitson Sculptor. "Roger Conant First Settler of Salem" 1906- 1913. Salem. Massachusetts List of Sources: Page 2of 3 Gillespie, C.B. Illustrated Histo[- of Salem and Environs issued as the Souvenir Edition of the Salem Evening News. Salem Evening News: 1897. [frontispiece showing sculpture site prior to installation of Kitson's statue.] Naumkeag Directory. 1913. p. 90"Historical Events of Salem." "Salem's Founder. Who is that Cloaked Man? Roger Conant 1592-1679." http://www.salemweb.com/roger.hbn. Shipton, Clifford K.Roger Conant: A_ Founder of Massachusetts Cambridge, MA: Harvard University Press. 1944. Visitor's Guide to Salem. Salem: The Essex Institute. 1922. p. 173 Visitor's Guide to Salem. Salem: Essex Institute, 1953. News Clippings: "The Fine Arts. Mr.Kitson's Statue of the First Settler of Salem." The Boston Transcript. September 10, 1910. "Kitson's Statue of Conant. His Bronze Figure of the Colonial Governor of the Cape Ann Colony to be Shown Here." The Boston Transcript. November 20, 1912. "Mr.Kitson's Conant Statue." The Boston Transcript. January 17, 1913. "Statue of Roger Conant Unveiled. Set in Temporary Position in the Forecourt of the Art Museum." Boston herald February 1, 1913. "Roger Conant Statute Will Be Unveiled and Dedicated with Exercises Tomorrow." Salem Evening News. Monday June 16, 1913. "Statue in Honor of Salem's First Settler,Roger Conant, is Dedicated and Unveiled." Salem Evening News. June 18, 1913. "Conant Tablet Dedicated," The Salem Evening News. June 20, 1914. Welty, Eudora. "Salem and Its Founding Father." The New York Times. March 1945. [Review of Roger Conant: A Founder ofMassachusetts,by Clifford K. Shipton. Cambridge, MA: Harvard University Press. 1944.1 "Conant was a Settler,Not a Witch." Salem Evening News. Thursday,April 9, 1992. "For the Record." Salem Evening News, October 27, 1999. [police report on oil stains.] H.H. Kitson. Sculptor. "Roger Conant First Settler of Salem" 1906- 1913. Salem,Massachusetts List of Sources: Page 3of 3 Manganis, Julie. "Men Charged with Vandalism During Prayer Service." Salem Evening News. Thursday,October 28, 1999. Manganis, Julie. "Vandalism Charges Dropped Against Men from Church." Salem Evening News. December 8, 1999. Gershman, Dave. "Cost Study To Repair Conant Statue to be Done Next Month." Salem Evening News. October 23,2001. Burke,Alan. "Saving Roger Conant." Salem Evening News. December 4, 2001. Gershman,Dave,Alan Burke and Paul Leighton. "Historical Board Seeks the Hole Truth." Salem Evening News. December 7, 2001. McAllister, Jim. "Plenty of Tall Tales Surround Salem's Most Famous Monuments." Salem Evening News. March 6,2002. Gershman,Dave. "Two women raise money to save statue of Conant from pollution." Salem Evening News, October 30, 2003. Dalton,Tom. "Saving the Statue. Roger Conant to get repairs." The Salem News,June 24,2004, p. A2. Dalton,Tom and Anna Scott. "Who Shot Roger Conant,"in Reporter's Notebook Section. The Salem News, June 25,2004,p. A2. McCabe, Kathy. "Grants to Help Preserve Heritage. 20 Essex County projects to benefit." The Boston Sunday Globe July 4,2004,Globe North Section,p. 1. Dalton,Tom. "Return of the Natives: Conants Visit." The Salem News Aug. 6,2004,p.A2. Dalton, Tom. "Green with Envy?Statue Given Makeover."The Salem News,May 27, 2005,p. 1. Cardin, Dinah. "Who Bronzed Roger Conant?" North Shore Sunday,May 29,2005,p. 7. McCabe,Kathy. "Taking a Shine to County's First Settler. Salem Statue Receives a Polished New Look" The Boston Sunday Globe,June 12,2005, Globe North Section,p. 1. Compiled by Lance Kasparian(11/02/2005) FORM C - OBJECT -. Assessor's number USGS Quad Area(s) Form Number Massachusetts Historical Commission 937 80 Boylston Street 35- Salem Boston,Massachusetts 02116 � Salem I i Salem Common •bborbood or village) Location Washington Sc West � er Conant Statue P 91 Public ❑ Private )bject (check one): ❑ monument - ❑ milestone composition ❑ marker oUS shrine dary marker u uul�i (specify') Sketch Map Date of Construction 1913-1914 Draw a map showing the object's location in relation Salem Evening News Source g to the nearest cross'streetsandlormajornatural Henry H.Kitson (statue) }�features.. Sbow all buildin between ect and � n o� Designer/Sculptor Edmund Garrett (tablet nearest intersection or r f a r, Pbel eery Materials Bronze, Granite Boulder too 6A Alterations (witb dates) none AY �tr �o ' tt/ X tti 6 ts� r good (some deterioration) Condition Moved ® no ❑ yes Date ,it ISO. s /X Acreage O,. /fill� Setting triangular island at The Jac i O '-;;;;,- corner of Washington Sq. West and 05 3 !tf .tt Brown Street Recorded by Lisa Mausolf 'lot � Organization Salem Planning Dept. S t. o f � Date (month/year) llec. 1997 3 � � �tart �, Q�.ob' ,. •:y�y. is �i 9 Mann kin tbir f r... Follow Mauacbtcrcm Historical Commiuion Stana!indructionrfo►'comQ S ;CT FORM f other similar types of objects within the qGN ASSESSMENT ect, and evaluate in terms o , .tribe the design features of the obj nunity. the Conant Monument was erected -ated at a triangular island at the comer of Washington1913. Square West and Brown Street' heroic bronze figure of Salem Common)in 1913. The monumevnntiCOco�vered.ists f'The bo a ten uldewheighs about Conant and ,ng Washi tons ngton Square( on a huge boulder,now stan g ter Conant with hat and cape Highland p�venue. The statue is oriented to face east,the direction from which from the Page farm,° deterioration including several holes on the east side of the statute. The base 1ght There are signs of d Kitson. followers came to Salem• Henry,he statue on the south side is inscribed with the name of the sculptor, „of bronze,produced by Edmund H.Garrett, punted east side on the of the boulder is a"sculptured Norman shield marker oston artist and sculptor. to curbing and the statue is surrounded by island is outlined by an iron Picket fence restg n granite 1e small triangularsand other perennial plants, "antings including rhododendrons,azal RSTORICAL NARJIATI history of the object, and how it relates to the development of the community•settlement at Naumkeag,now '+:xplain the r1' commemorate Roger Conant,the leader of the Association.is on.eThe statue was mounted Phis monument was erected in 1913 to bHenry H Kitson for the Conant Family 1913 Salem,in 1626. The statue was design em. Culminating eight years of effort,the statue was dedicated o of on Ferguson on the pedestal by Kimball brothers of Sal founder,to the memoryFamily Association. Harvard College who died in 1905)and on behalf off SalConant ° em e� News, with exercises at the Second Church. ItHary veiled in honor of the family giant 1l,followed by the Pageant News, Conant(a descendant and freshman OOaas held at Franklin Ha 1914 Salem Evenin After the dedication a dine 13 . The tablet on the monument was dedicated in separate exercises on Tune 2 , 6/18119 ) 612011914). ' on which the monument stands was acquired by the City of Salem in 1922. he land 1 ENTIRE INSCRIPTION (if applicable): ROGER CONANT BORN 1592-DIED 1679 THE FIRST SETTLER OF SALEM 1626 "I was a means,through graCe assisting me,to stop the flight of those few that then were with me, and that by my utter denial to go away with them,who would have gone,either for England or mostly for Virginia." g Register of Historic Places. If checked,you must attached a completed Recommended for listing in the National Reg National Register Criteria Statement form. Town property Address 1VENTORY FORM CONTINUATION SHEET Salem Washington Sq. West Area(s) Form No. .4assachusetts Historical Commission - Jassachusetts Archives Building I� 937 20 Morrissey Boulevard Boston, Massachusetts 02125 3IBLIOGRAPHY and/or REFERENCES `Conant Tablet Dedicated", Salem Evening ews, June 20, 1914. 1914. `Historical and Interesting Events of Salem, 1900 to 1914". Salem: He M. M S�m1E ' Company, 16, 1913. ve "Roger Conant Statue Will Be Unveiled and Dedicatedw i�Exercisesed and Tomorrow", led", Salem Evenin News, June 18, 1913. "Statue in Honor of Salem's First Settler,Roger Visitor's Guide to Salem. Salem: Essex Institute, 1953. i WebPAC: Long View<script> s= "Artist Browse=Kitson Henry Hudson 1863 1947 sculptor";p=s... Page 1 of 2 . Smithsonian Institution Research Information System Long View For Smithsonian American Art Museum Inventories of American Painting and Sculpture Your Search: Artist Browse=Kitson Henry Hudson 18631947 sculptor Displaying Record: 39 of 76 [Select Catalogs] [New Searchj [Previous Pagel [Next Pagel [Brief View) Artist Kits n HenU Hudson 1863-1947, sculptor. Gorham Manufactuing Company. founder. Title Koger Conant(1592-1679) 1st Settler of Salem, (sculpture). Dates 11911.Dedicated June 17, 1913. Medium Scul ture: bronze;Base: stone boulder. Dim [5cu1 tore: approx. H. 8 ft.;Base: approx. 8 x 6 x 12 ft. (On sculpture, right side,below cape:)HENRY KITSON FECIT 1911 (On sculpture, left side of bronze base:) COPYRIGHTEDMENRY H.KITSON 1911 (On plaque,front of base:)ROGER Inscription CONANTBORN 1592 DIED 1679/THE FIRST SETTLER OF SALEM, 1626/1 was a means, through grace assisting/me, to stop the flight of those few/that then were here with me,/and that by my utter denial/to go away with them,who/would have gone either for/England, or mostly for Vi inia" sigged A standing portrait of Roger Conant holding with his proper right hand resting on a tree stump. Description Caught by the wind,his long cape billows around him. The sculpture rests atop a large boulder in the middle of a small traffic circle. The boulder is surrounded by a low wrou��t iron fence. Portrait male --Conant, Roger—Full. qu h Subject Occupation --Political--Governor Dress--Historic--Pilgrim Dress Object Outdoor _� �Y Type Administered by City of Salem,Public Works Department, One Salem Green, Salem, Owner Massachusetts 01970 13297;8;2 Located Brown Street&Washington Square West, Salem,Massachusetts 13298;8;2 Remarks The sculpture was funded by the Conant Family Association.For related reading see: "Visitor's Guide to Salem," Salem: Essex Institute, 1937, pg. 201. Condition Surveyed 1994 October. Treatment needed. Index of American Sculpture,University of Delaware, 1985 Car-lock,Marty, "A Guide to Public Art in Greater Boston," Boston: Harvard Common Press, 1988. References Save Outdoor Sculpture,Massachusetts survey, 1994. National Park Service,American Monuments and Outdoor Sculpture Database, MA5030, 1989. Monumental News, Jan., May 1913. Dlustration Image on file. 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Description 2.5 linear ft. (5 boxes) Restrictions Access: open to qualified researchers at The New-York Historical Society. ¢ Permission This collection is owned by The New-York note Historical Society. Permission to publish materials must be obtained in writing from the Library Director of The New-York Historical Society, 170 Central Park West, New York, NY 10024. Arrangement Collection is organized into the following series: I. Correspondence, II. Subject Material, III. Legal Documents, IV. Financial Records, and V. Visual Materials. Historical Henry Hudson Kitson and his wife Theo(dora) note Alice Ruggles Kitson were sculptors in the Boston, Massachusetts area. Henry was born in Huddersfield, England (1863?) and emigrated at the age of 13 to New York City to work as a stone carver in his older brother Samuel's business. During the 1880s Kitson moved to Paris to study and began to exhibit his work both in the Full Record Page 2 of 5 U.S. and Europe, winning awards and receiving prestigious commissions. Kitson took on students when he returned to the U.S., among them Theo Ruggles (1871-1932) from Brookline, Mass. whom he married in 1893. They each developed their own successful careers as notable monument and portrait sculptors by the turn of the century, but they also collaborated on occasion. They had two daughters and a son. Three years after Theo's death, Henry married Maria Louise Hobron who died one month before he did. Related Other Kitson material can be found at the Material Archives of American Art, Smithsonian Institution; the Metropolitan Museum of Art Library; and the Minnesota Historical Society. Summary Correspondence, contracts, legal documents, photographs, sketches, details, blueprints, invoices, receipts, clippings, pamphlets, notes, calling cards, advertisements, negatives, proofs, postcards, prints, bank statements, cancelled checks, financial records, and an account book of Henry Hudson Kitson and Theo Alice Ruggles Kitson, 1887-1934 (bulk 1902-1909 and 1920- 1931). Materials relate primarily to Henry's work as a.sculptor of public monuments. Most of the correspondence is to Henry Kitson from organizations and individuals who commissioned work from him. Frequent correspondents include Blewett Lee (Lt. Gen. Stephen Lee memorial), Thomas Bradley (Company H, 124th Regiment, New York Volunteer Infantry monument), L.L. Conant (Roger Conant statue), Wendell Endicott (Henry Endicott tablet), the National Society of New England Women (Pilgrim Maiden statue), Mead, Mason & Co. (Iowa Civil War memorial at Vicksburg), and the Roman Bronze Works. The subject series consists of research, notes, and printed matter mainly concerning models or subjects for the Kitsons` work. Legal documents Full Record Page 3 of 5 consist of contracts, acknowledgements of copyright applications, and a subpoena. In the financial records series are invoices and receipts from providers of materials and services to the Kitsons in their work, account book, life insurance and loan records, rent receipts, and two utility bills. Of the visual materials, the bulk are undated and.unidentified. The identified items include photos of Lt. Gen. Lee, Governor Nathaniel Banks, the Capt. John Parker statue, and a series of head shots of Calvin Coolidge. Subjects represented in sketches include the Endicott tablet and details of the pedestal for the Newburyport "Volunteer". Most of the blueprints pertain to the Sir Richard Saltonstall monument. Indexes Finding aid available in repository. Su_ bject Banks Nathaniel Prentiss --1816-1894 -- CSH Statues. Bradle Thomas W. Conant, Levi L. --(Levi Leonard),`-1857-1916. Conant Roger, --1592-1679 --Statues. Coolidge, Calvin --1872-1933 --Portraits. Endicott H. Wendell __(He Wendell --1880- 1954. Endicott, Henry Bradford, --1853-1920 -- Monuments. Lee, Blewett, --d. 1867. Lee Stephen D. --(Stephen Dill), --1833-1908 -- Statues. Parker John --Captain --Statues. Mead Mason & Co. Roman Bronze works [New York, N Y.} United States. -Army. --New York Infantry Regiment, 124th (1861-1865). --Company H. Monuments -- United States. Memorials -- United States. Scul ture American -- 19th cen SculiDture, American -- 20th century. Pil inns (New Plymouth Colon -- Monuments. Full Record Page 4 of 5 Minutemen Militia -- Monuments. United States -- History -- Civil.Warms 1861-1865 -- Monuments. Genre/Form Correspondence. Photographs. Le al documents. Contracts. Sketches. Detail drawings. Invoices. Receipts. Blueprints. Clippings. Pamphlets. Notes. Visiting cards. Negatives. Prints. Postcards. Bank statements. Checks. Other author Kitson...Theo Alice Ru les 1876-1932. (s) Location Call Number Status NYHS NYHistSoc Kitson Papers Non- Available MssColl circulating Related resource- h :Hdlib.n u.edu:8083/n hsead/servlet/SaxonServlet? source=kitson.xml&s le=saxon01n20_02.xsl Contents- Finding aid 1 11 21 31 Previous Next The Salem Common Neighborhood Association Post Office Box 8608 Salem,Massachusetts 01971 May 10,2005 The New York Historical Society � d - Manuscript Department 170 Central Park West New York,'NY 10024 Roger Conant Statue Restoration Committee s Dear Sirs: Roberta Clement, Co-chair In June 1913, the bronze sculpture Roger Conant First Settler of Salem, designed by Maryann Curtin noted sculptor Henry Hudson Kitson, was gifted to the City of Salem, Massachusetts by Co-chair the Conant Family Association. Michael Coleman President,Salem Common After ninety-two years of exposure to the natural.elements had taken a toll on the statue, Neighborhood Association the Salem Common Neighborhood Association decided to raise $30,000 for its Lance Kasparian restoration. Recently, the association hired Rika Smith McNally & Associates, Chair,Salem Historical conservators of objects and sculptures, to perform the restoration. Work starts Monday, Commission May 16,2005. Honorary While researching the statue's history,the neighborhood association learned the New Hon.Stanley J. Usovicz,Jr. York Historical Society's collection includes"A Guide to the Kitson Papers 1887-1934". Mayor of Salem Box 3,Folder 5,Legal Documents 102-1931,contains a copy of the signed contract for the Roger Conant statue.The neighborhood association is most interested in obtaining a Advisors copy of this original contract for its records. Dr.Emerson Baker- Can you advise the Salem Common Neighborhood Association the procedure and cost Chair,Salem State College History Department for obtaining a copy of the contract?I can be contacted at the above address,during the day by telephone at 617.573.1748, or by email at Michael.p.coleman@elis.state.flia.us. Douglas J.Bollen Superintendent Salem Parks&Recreation Thank you very much for your help. Department David Kayser Curator,Salem Maritime Sincerely, National Historic Site Dean Lahikainen /�I "'"" '✓�y Carolyn&Peter Lynch Curator of American Michael P. Coleman Decorative Art Peabody Essex Museum President Richard Rennard Superintendent Salem Department of Open Space . Commissioned by the Conant Family Association and designed by sculptor,Henry Hudson Kitson(1863-1947),the bronze figure,ROGER CONANT FIRST SETTLER OF SALEM was cast in 1911 by the Gorham Manufacturing Company of Providence,Rhode Island and first exhibited at the Boston Museum of Fine Arts in January of 1913. In the following spring the bronze figure and sixty ton stone pedestal quarried from the Page Farm off Highland Avenue were erected in Washington Square by Kimball Brothers of Salem. -This monument was dedicated in public ceremonies and donated to the City of Salem on 17 June 1913. The bronze tablet mounted on the front of the pedestal was designed by painter and illustrator, Edmund H. Garrett(1853-1929)and dedicated in separate.exercises on 20 June 1914. Yage 1 of 1 From: mssdept@nyhistory.org Sent: Thursday, May 12, 2005 4:28 PM To: Coleman,Michael (EHS) Subject: Kitson contract for Roger Conant statue Dear Mr. Coleman, A photocopy of the Henry Hudson Kitson contract dated 28 Feb. 1906 for the statue of Roger Conant, First Settler of Salem, has been mailed to you free of charge. Best of luck with your restoration project. Sincerely, Loraine Baratti Manuscript Department, Library New-York Historical Society 170 Central Park West New York, NY 10024 Voice: 212-873-3400, ext. 265 www.nyhistory.org N-YHS Presents: Byrdcliffe: An American Arts and Crafts Colony - March 15 to.May 15, 2005 First Ladies: Political Role and Public Image -March 15 to June 5; 2005 1.- First Ladies of New York and the Nation-March 22 to July 31,2005 istory.org o file:/nlehs-fp-bos-0011users$lmcolemanlSCNA1SCNA%20Roger%20Conant%20E-Mails... 10/28/2005 MIS AGR},'Mir;,�IT ?tide this T� � �!` 0&33.- of I'ebruary,(l 1906 by and between Henry Hud:ion Kitson Of Boston, Yassachu- setts � pixty of the first part, and Samuel Norris Conant of ! Pawtucket , Mode Island, p rty of the second Part i�IT. �SATH i � as follows: ! II In con sideratie n of t'`�e or ten th()i'Ec,rid to he paid by the part;- of the second part ,as Ilareinaft ar - I il.rovided, t'he said Kitson agrees to furnish to t`ie i rArty of the second part a statue of Roger� - Conant to be cast in' stand f . arc. bronz.e, said statue to be at least- eight (8) feet ir. heiAt , and substantially in «ccordance with a Model heretofore sub- mitted. to and approved by the party -of the second cart , said I statue to t e made in an artist-ic and workmanlike mannar _,nd i ' to 're delivered such place in V-ie State of gassac::ii9et , t s as nay tierdesign4ted by tree - I- i r�ry of tee second part . I g T71e I'a.rt of y the_._. �cQn�_ f -..._ - . __.._ a I tl-je sum of ten thous-and dollars ( 1000) , of wt,.ich two thous� j y and dollars ( '2,GOQ) is to be paid on the execiztiorL of t;pis P a X r i !� gree':ent, three thousand doll. .rs ( 3,000) on the c.cm-)letion -. of the statue in clay, and the balance five thousand dollars on F, e i r � celivpry.. at Salem of the completed statue in bronze . � z �{ It is fiirt;li--r agreed thet the benefits and oblir;ations cf .. '° sc .,.,I t - ;^ �i �'.Rv;• �"._ ','#.. •r'� �f� _ �� -.•i• �J �R� t��.i���l-c� }7 �4'' •. shall ar;ply tp the legal ]"epr@9P,lifcitiVP.S res ectiV parties . e �. •�i> off= APE' to paid part ips have caused heir, names , 1 and. seals; to be hereto set the d.a.y and year first above writtFr. l a ...... ...... "v --- s, is Si '- t i! i kt it 1 is r- tf f� k' ,k n r60kESEMCH'PUP.PQ$tb 6NLY For permission to i,oe in pubkatkm,pkaa"writa to 1hs-Ubmry Office. MAnge ►it D40a.ftwd.The Now-YoeK FPS storm society 170 Central"Park Weet,New York.NY 10024 � F' I SOLID BRONZE STATUE OF ROGER CONANT, WHO CAME TO PLYMOUTH IN 1623, WAS GOVERNOR OF MASSACHUSETTS BAY COLONY IN 1625, AND ONE OF THE FOUNDERS OF SALEM, MASS., IN 1626. it Boston Mass., January 10, 1913. f A Reunion of the Roger Conant Family Association will be held at Hotel Vendome,Corner of Commonwealth Avenue and Dart- mouth Street, Boston, on Friday, January 31 st, 1913. Dinner will be served promptly at half-past one, and .a brief business meeting will be held immediately thereafter. t .E ! rf =< n `', S L � It is proposed to place the Conant Statue on its final pedestal, in Washington Square, Salem, Mass., about next May, and dedicate same, with fitting ceremonies, at some date in ,June. The purpose of this Reunion is to give the members of the Family an opportunity to view the Statue, which is now on exhibition at the Museum of Fine Arts, on Huntington Avenue, Boston, and to decide upon appropriate plans for the dedication ceremonies. It is therefore earnestly requested that every member of the Family attend this im- portant Reunion. The Dinner at the Vendome will cost $2.00 per plate, and you will please send your order for tickets, accompanied by your remit- tance, to Charles M. Conant, Treasurer, No. 836 Old South Building, Boston, Mass. Please send in your request for Dinner Tickets at once, in order that the hotel may be definitely advised how many plates to serve. r' Most cordially yours, SAMUEL MORRIS CONANT, President. CHARLES MILTON CONANT, Sec'y-Treasurer. FRED O. CONANT, FRANK A. GARDNER, �^ WILLIAM M. CONANT, FRED H.-CONANT, HAMILTON S. CONANT, LEONARD H. CONANT, CHARLES A. CONANT, EDMUND B. CONANT. LEVI L. CONANT, JOSEPH F. CONANT, LEWIS S. CONANT, THOMAS O. CONANT, .-, CHARLOTTE H. CONANT, THOMAS CONANT, , Committee. r-` r �t�,, ;� •• r �1.,s.1» �?r.- r_ Tfi�k..k/.` o �' �;.` � ; .Y.� Yx. :r�I f S to iv t d `x1 to ?_Z -------_._�... _.......-.,.....__._.....d.:.............____'._.._.-._.._..._......�....__.,... ... _..... .. .. n n r-z FIFTH r-• REUNION AND DINNER per C lltattt JIMA# Aollorlatbarc HOTEL VENDOME. BOSTON, MASS, rti FRIDAY, JANUARY THIRTY-FIRST, NINETEEN HUNDRED AND THIRTEEN \ E RECEPTION AT 1 P.M. DINNER AT 1.30 P.M. THE ROGER CONANT STATUE BY HENRY H. KITSON IS TO BE ON VIEW AT THE MUSEUM OF FINE ARTS HUNTINGTON AVENUE, BOSTON AFTER JANUARY 20. 1913 PLEASE VISIT AND INSPECT THE STATUE BEFORE ATTENDING THE DINNER, , AT THE VENDOME, AT 1.30'P.M..JANUARY 31, 1913 5l M�f - ��;. �I'`'�-�k.��� �s' Sri. a � • fA a>,�- xlV .1. ✓ ".] r ,��' Y e1 0412114'. nt) C?.. rY l '�rKa��,.t✓ ✓a+: C ,e✓ FS�. s• LY7 r'fit �-#� . .t]�`��t.i•` a�� ; -rfA,{r � i '�,'srr�?, �'. � ii" rt�,..y�il, " � �t4 x*�•.i+^�et rat' SA EMM. "_• �✓, rr- - Jq ef • r `OC61Tf ) tr . s PROGRAMME �4 _ of the Unvef din of the statu4 to .. ROGER CONANT t. by the • �' ROGER CONANT FAMILY ASSOCIATION, -Inc.' 4 � x y7y DUNE 171h, 1913 vw - SAL£M, MASSACHUSETTS ' , # } r� 4 . t LT � i4 #PF g t dwPE�iF�',-OD �:._�. ter_ _ - — r� .tom. d'`<`'�_J •,t9�: �. r' r--, 7CIL. r` �4 r *:; r� ROGER CONANT Born in East Budlei,h, Devonshire, England, April, 1592. Came to America, 1623. Sertled in Salem, 1626. Died in Beverly, Novernber 19, 16 9. "To the sterlin,4 integrity of `Roger Conant, therefore, was Salem indebted for the first English inhabitants.' —DRAKE'S H[STORY of BOSTON. i :- ,.., d EIAD U _ _ s` Ll r^ r` - = Q = 5 t 'fyd ul r+`• f��''-Y �` yt` -� ^�c� Y'� _ �„] � Yam„ �r-w� It ■r■ � r- ma 71 -} � iii try� a3 R F"' _ '•r j;,.. i r v� PS. Liz -- e i r - END OF THE 175, r. i / �..: r� e �y "I shall yet live to see it an English nation." SIR R'aLTER-RALEIGA TO CF_CIL. x i3 }t:i �ir:: .-s :1±.!� �ii1fil in f,dSt �� i5.e3..s11i ti. Came trf. �y A I If C 't' _ T'j' c . ..,_i ���A��.f.i �,.,..,;, ; .` "2'o the sterling a indebte lx: ILA 191 {Y r- y �+ 4 _ -''�"{{-fir , "l'y;� ` �- •� ••tip. �'i•.7'�.Y„• � •' �•� - _ n�Y.Tv" -Y.�� `�- ; ... sue. J - � tx� L► a tr � v.lfF �_ ' r � t�r.r-J, f•X TES r Zervicez SECOND UNITARIAN CHURCH :J r' 10.'0 O'CLOCK Organ pre[ube (until eleven o'clock). 1� Z - 1praper Rev. ALFRED MANCHESTER LJ c Pastor of the Second Unitarian Church •` y V � Raaresses Dr.. WILLIAM M. CONANT H Vice-President huger Conant Family Association Q W t SAMUEL MORRIS CONANT President Rover Conant Family Association V Hon. ARAM J. POTHIE Lo R ~�r m z Guy ernur-:-f Rhode I=land 7 3 FREDERICK ODELL CONANT � y -'-Historian of the Conant Family t '• REV. CHARLES L. GOODELL, D.D. J U j' \ew York L;tN y1 :� Y. L mpmn :5eneoiction _ -.- - ..-.. ,....r _.... ' r ®fficero ano ¢ommitteeo ROGER CONANT FAMILY ASSOCIATION Uncurpurated Febmary 27, 1913) N. I'o-'s, Gr)�- :R, Governor of SAMUEL MORRIS CONANT, President TUS P. GARDNER, WILLIAM M. CONANT, M. D., Vice-President Hon. HER-.IAN HAMILTON S. CONANT, Secretary ,it and Secre.ary CHARLES EDWARD CONANT, Treasurer ;es Institute, the FREDERICK ODELL COAST, Historian :he President nd ,ociet)-, and the ,nilies. Councillors FREDERICK 0. CONANT CHARLES B. CONANT CHARLES A. CONANT FRED H. CONANT LEN71 L. CONA\'I' LEO\ARD H. CONANT LEWIS S. CONANT EDIMUND B. CONANT HARRY W. CONANT JOSEPH F. CONANT HA;tkY A. CONANT ALONZO G. CONANT GORDON C. CONANT ARTHUR P. CONANT DR. FRANK A. GARDNER The Officers and COuncillors-constitute the Council s of special ticets 0.5, I.-12. 5.01, .46, VIA V) Y. r - f t i t d .... - - .- Y`. ..a.�? ram. 6•t�'.. i �, y� .�.,1� �,' .- - �.. /• `` � - z . ......... P2� wA ILA n7x saaies, Villiliarp Committee tMim WILLIAM \I. CONANT Mys.ARTHUR P. CONANT Mus. SA'I\,I EL MORRIS CONANT 11Ix.s. FRANK A. GARDNER MRs. I-IAMlL,rON S. CONANT Mj—. GEORGE itL THORNI TON MRs. CHAS. EDWARD CONANT \I1;;CHARLOTT1S CONANT MRS. FRED 0. CONANT MRs. E. 13. CONANT MRs LEVI L. CONANT Uxs. CLt1KENCE M. )UYCE MRs. LEWIS S. CONANT '\Isss MARY E. CONANT MRs. HARRY A. CON:INT \I7_= CLARISSt1 CONANT 3' t MRs. FILED H. CONAN"T �li_s GRACE F. HA'I'HE1WA1' MRs. LEONARll H. CONANT Xli_sLUCIE M. GARDNER � 4 j llizs. ED\fUND B. CONANT 'MR_. HARRY T. CONANT t a�} IIRs. JOSEPH F. CONAN'T MRs. HARRY"CONANT - "�.•gyp„ � IMRs. ALONZO G. CONANT \Ir_-_ELIZABETH CON ANT NVEST Fr = z o programine 760ges, Vchets WILLIAM M. CONANT Q U SAMUEL bS. CONANT tiI. CONANT CHARLES E. CONANT r JOSEPH F. CONANT F WALLACE B. CONANT FRED H. CONANT AUGi:STUS B. CONANT O 1 R A .11. CONANT 0 =s V.inner Uransportation MRs• JOSEPH F. CO .1\,T DR_ NC\L M. CONANT - MRs. FRED H. CONANT CHARLES E. CONANT Miss LliC[E '.M. GARDNERHAMILTON S. CONANT ' Abarshals HAMILTON S. CONANT E. B. CONANT PEI IL iN JU ..... i vO rT- �r,,T - �F i THE BROOKUNE PRINT printers BROOKLINE. MASS. i d lsr-�•: - A 1; E"l, S �v t b..�`AlF- . S' _WebPAC: Long View<script> s= "Author Keyword=henry hudson kitson and .../noscript Page 1 of 3 Smithsonian Institution Research Information System Long View For Smithsonian Institution Archives and Manuscripts Catalog Your Search: Author Keyword =henry hudson kitson and aaa.lf. Displaying Record: 2 of 3 [Select Catalogs.] [New._Search] [Previous._Pagel [Next Page] [Brief View] Creator/Author Kitson,Henry Hudson, 1863-1947 Title _ Henry Hudson and Theo Alice Ruggles Kitson papers, [187+1979. Physical 5.61inear ft. (partially microfilmed on 3 reels) I Description: reels 3929-3931 Sculptors; Boston,Mass. Henry Hudson Kitson's actual name was Harry Kitson. i!Theo(dora)Alice Ruggles became his student in 1886 at the age of 15; in 1893 Bio/Historical f they were married and were notable monumental and portrait sculptors by the turnl Note Erothy the century. They had three children: Theo (also known as Babsy or Babbins),and John. Three years after Theo's death, in 1935, Henry married Marie Hobron. ;,Biographical material, correspondence,writings, art works, legal and financial ilrecords, scrapbook,photographic and printing material, and printed matter. IlBiographical materials include a copy of Henry Hudson Kitson's birth certificate; f his confirmation certificate; a copy of the death certificate of his father, John Kitson; a photograph of the honorable mention certificate received by Theo 'Ruggles (Kitson) for "Young Orpheus" from the Societe des Artistes Francais, 11890; a letter of reference for her from sculptor George F. Bissell, 1901; her will; 'calling cards from those who attended her funeral, 1932; biographical data on .!Henry Kitson; genealogical data on the Kitson family; an incomplete list of works Iby the Kitsons compiled by Dorothy Patricia Cavanagh; and a diary by Henry j .'Kitson, 1902-1904, containing brief entries'pertaining to his daily life and work. liPersonal and professional correspondence includes letters from Theo to Henry 11from.Paris, 1890, including an illustrated letter to "my own darling child" (? Menry Kitson) describing her award ceremonies at the Salon, an illustrated letter Ijto her father, written from Rome, describing the city, a letter from Henry Kitson 11'to Miss Tower, ca. 1899, about putting the Minutemen Memorial in Tower Park, ;;Lexington, Mass., letters from him to his wife, 1903, and to "Babsy" (his j i ;daughter, Theo), undated, with sketches for constructing a fence and a stone wall, la letter from Alexander J. Schottes, 1905?, containing descriptions and sketches Hof the studios of Daniel Chester French, Charles Grafly, Augustus Saint-Gaudens i I and Louis Saint-Gaudens, copies of letters from Kitson to the secretary of Queen Wilhelmina of Holland requesting photos preparatory to making a bust of the Queen, letters from the War Dept.to the Kitsons about their work at Vicksburg, Miss., and letters to Theo from the Gorham Manufacturing Company.. Posthumous correspondence includes letters to the Kitsons' son John, his wife Helen, and her sister,Dorothy P. Cavanagh, from sculptor Lee Lawrie, sculptor .,Milton Horn and his wife, Estelle. i http://www.siris.si.edu/webpac.../wgbroker?0830131604040222224+1+search+select++1+ 08/30/2001 WebPAC: Long View <script> s= "Author Keyword =henry hudson kitson and .../noscript Page 2 of 3 1Writings include a poem by Henry Kitson; a description of a "Visit to a Bronze Foundry" (Gruet, Fils, Paris), author unknown, undated; reminiscences by sculptor Lee Lawrie; and a remembrance of Lawrie by Dorothy P. Cavanagh, 1963. Summary !Art works include a childhood sketch by Theo Kitson of her home in Brookline, Massachusetts; sketches of animals; several sketches by her, possibly for I monuments; unidentified sketches, chiefly of possible monument designs, probably by one of the Kitsons; a rendering by an architectural firm of a bas-relief Idesigned by Henry Kitson, 1935; 2 caricatures of Kitson by Hiram Jay; an etching by Robert Kitson, 1891; various sketches of Japanese figures and costumes by !Hiroshi Yoshida, 1910; and 2 pastels by T. (?) Walser of"Stonegate" (?), home o ;'the Kitsons in Framingham Centre, Mass. Legal records 1895-1940, include specifications for the Soldiers'Memorial, ;.Vicksburg, Miss., numerous contracts for works by the Kitsons, copyright receipts and certificates, and deeds for sale of real estate. Financial records, 1882- r 1946, include invoices for casting for Henry Kitson, his bank statements, 1931- 1!32, and his promissory notes. !!A large scrapbook, 1888-1954, annotated by Dorothy P. Cavanagh, contains j clippings, genealogical information on the Kitson family,photos of works by the 1 Kitsons,personal photographs, correspondence, including letters from Henry ! Kitson to his future wife, 1892, and postcards to her and their children, a ! .humorous resolution about the "Regiment of Macaroonies," written by Henry ! Kitson's friends in Paris, 1888, invitations, agreements for sculpture, copies of speeches given at the University of Minnesota for the Student Soldier Memorial Nonument dedication. Photographs are of the Kitsons, their family, homes, studios,Paris, ca. 1900, and ;their work, including photos of oxen hauling the granite boulder for the base of !the "Volunteer"by Theo Kitson from Quincy, Mass. to Vicksburg, Miss., 1904, !land scenes of the dedication of the monument. In addition, there are 7 photos of "Work in Progress" by Ellin and Kitson and Company for the Equitable Building, IiNew York, 1887, a photo of the Astor Memorial, Trinity Church,New York, ;!which the firm also worked on, and 6 undated.photographs of works by Samuel ;Kitson. ;Printed materials date from 1884-1979. j�UNMICROFILMED: Glass negatives of the Kitsons'work, 4 steel dies for bas- Ireliefs; 1 printer's plate and 4 books owned by the Kitsons. !,Microfilmed material must be consulted on microfilm. Use of unmicrofilmed Restrictions i material requires an appointment and is limited to Washington, D.C. storage ifacility. IThe donor, Dorothy P. Cavanagh, was the sister of the Kitsons' daughter-in-law .Helen(wife of John), and was writing a biography on the Kitsons up until her Provenance !death in 1986. The microfilmed material was originally loaned by Cavanagh June 287 1982 and September 12, 1986, and then donated upon her death by her nephew and executor,Paul Bennet. The unmicrofilmed material was donated by !Cavanagh in 1973 and 1976. _ Additional 1135mm microfilm reels 3929-3931 available at Archives of American Art office Forms I'and through interlibrary loan. Location of l FAssc. MaterialAdditional Kitson letters also located at: New York Historical Society. 1111 http://www.sins.si.edu/webpac.../wgbroker?0830131604040222224+1+search+select++1+ 08/30/2001 WebPAC: Long View<script> s= "Author Keyword =henry hudson kitson and .../noscript Page 3 of 3 Kitson, Samuel James, 1848-1906 Scul ture ..American Sculptors --Massachusetts Subjects _Scuip ureModern. 19th-century--United.States Sculpture, Modern--20th century--United States Bronze sculpture, American Memorials j Bronze founding -- —- — __ -_--_- _ _.._..__.. r— I Art works I Photographs Form/Genre i1Dares IScra by ooks j ;�Ske_tches �Krtson, Theo _-AliceRuggles, 1876 1932 ICo-creators Cavanagh, Dorothy, 1907-1986 Repository Loc. Archives of American Art, Smithsonian Institution, Washington, D.C. 20560 --.__......_....................__.........................._. . .......... ......._. Repository Collection Code Call# C po y Format Archives of American Art Archives of American Art Collection - Circulation Data _ !mg236138 Available (Checked In i I [Select..Catalogs].jNew_Searchj. [Previous_Page]__[Next_P.a_.gej.[Brief View]. Smithsonian Institution Research Information System. http://www.siris.si.edu/webpac.../wgbroker?0830131604040222224+1+search+select++1+ 08/30/2001 Salem Witch Museum Education- Salem, Massachusetts Page 1 of 2 rX Salem witch Trials Roger Conant and Salem ttager Conant A handsome statue of Roger FAQS Conant, the founder of Salem, stands outside the Salem Witch Museum. Because of the statue's proximity to the museum and because of his cloak and hat and generally impressive appearance, Roger Conant is often mistaken for a participant in the Salem witch trials. Nothing could be farther from the truth. We know that Roger Conant was baptized in All Saints Church in the parish of East Budleigh, Devonshire, England on April 9, Statue of Roger Conant in front of the 1592. His father was the leading Salem Witch Museum merchant of Clayton, a neighboring parish. Family tradition says that as a boy young Roger met Sir Walter Raleigh. Later Conant and his young family came to New England probably arriving in Plymouth in 1622. The Dorchester Company established a fishing settlement on Cape Ann during the winter of 1623-24 under a charter with England. Located at Stage Point, now Gloucester, the company invited Roger Conant to join them in 1625 as their governor"for the management and government of all their affairs at Cape Ann". After a year's residence, Conant became convinced of the need for a more permanent settlement and found an ideal site at the mouth of the Naumkeag River(now the City of Salem). There the settlement thrived and grew by farming as well as fishing. When Governor Endicott arrived in 1628, he incorporated Conant and his men into the new government. (The Dorchester Company went into bankruptcy in 1627 and became the Massachusetts Bay Colony in 1629 under charter from England). Known as the Old Planters, Conant and his followers lent continuity to the new settlement and can be considered the founding fathers of Naumkeag, renamed Salem for"Shalom"or Peace on June 29, 1629. Roger Conant died on November 19, 1679 considering himself"...an instrument, though a weak one, of foundering and furthering this colony..." http://www.salemwitchmuseum.com/education/conant.html 08/30/2001 Salem Witch Museum Education Salem, Massachusetts Page 2 of 2 After Conant's death, the colony suffered through the witch trials of 1692. As the world grew smaller in the 18th-century, Salem took a leading role in developing international trade routes and enjoyed a period of prosperity and fame. The 19th-century saw the advent of immigrants who enriched the business and cultural life of the city as shipping was replaced by rail transportation. Born in Salem on July 4, 1805, Nathaniel Hawthorne took inspiration from his native streets. By the 20th-century Salem had grown from a colony struggling with crisis to a cosmopolitan city. Today Salem is a city of fascinating complexity.Traces of her history can be seen everywhere from the 17th-century buildings, the priceless items brought back from exotic ports by Salem ship captains, the extraordinary architecture and the multi-ethnic character of her streets. The city of Salem attracts visitors today as the harbor and rivers and fields of Naumkeag drew Roger Conant over 300 years ago. Director of Education, Alison D'Amario facts@salemwitchmuseum.co.m Salem Witch Trials roger Conant FAQs Washington Square, Salem, Massachusetts 01970 (978)744-1692 Home About the Museum Education 1692 Sites Tour Store Last updated August 2001 http://www.salemwitchmuseum.com/education/conant.html 08/30/2001 I-z co cC co H tT1 J V O CU O r'� � A$ � � ✓4 cd ,., J r O Ci) ti o 0 0 i F � t w F i pe F T 4' 3 ..:b:X.�l'..:..-ter. .�,..:•4_.> .e..� .. �- .__... �- -- .� rhh5`•.• ..-:M,m._,g17i...��� M'.^W1e�99�{D�F8�5,. „Kroy�ti�% ....�- � -__ •_'� u ✓ " "O u O u ` " cd �1. bCA C ^ v •C o C -W bA'O .�. (Uy .U [ 0 O>, N 'r O •� bD C w ti'il y > t✓i, 'Ly 1U.. N bD. , 3�` O 'O. R. N O ~ Qj O � 4) " C r C; O y ° 'N C c.... p -0 wcl L A-n v O (� '�. v u ca O O x+ -Z y ' p n v ✓ ✓ C O aj >`i--.5 U .a y C bD cd V] x 4 v C) •M �.{ O y O D U ✓ ..0 E 1°. O al u 'z '0 u O •[ Qto y .C y In .n is G � v o 3U u °' v d � ° E a E gxfl E n. 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K -0 C3 > V :1 p"�C'•�' S N G '° •[ o ou >cd o °GN n N bn yc G an'i -0r�n o V b O O 0 > CE o N o � 0 G cd v g OO bnc. UO G H uaN N u C oWca m ao o U� 0NGcd bQ n bn+� t. In. V G W Cd t. O a) 0 G.y U J ~ N .0 Ou O � ° 'G N L7 0 ai 'C U 3I G 0Gd 4. N '+G p O � `°� acbEnn GNN tiN U "CcOO O aJu 0 G ,I ai O N a G >O G . G .+ .� G ' 0 p bD 0 Cdp° fdl.0 ;O O -; bD.� 2001 ASSESSMENT AWARD FINAL REPORT Response to Questions: What were the particulars of your assessment project: Who was involved? The Project was initiated by the Salem Common Neighborhood Association(SCNA)and the Salem Historical Commission (Hiscom). The Hiscom prepared grant application and conservator solicitation materials and historical research. The SCNA contacted conservators, checked references and coordinated procedures with the Salem Dept.of Pubic Works. The Chair of the Hiscom,President and 3 members of the SCNA and owner of the nearby Salem Witch Museum were present on the day of the inspection. Overall,how successful do you.feel your assessment project was and why? In what ways has your assessment award been useful to your organization? The SOS!assessment has successfully determined the physical conditions of the bronze statue and stone pedestal and provided recommendations for treatments along with budget costs. The assessment has also provided opportunities for SCNA and the Hiscom to meet and discuss common interests. In what ways did the community become involved with the project? Community involvement has been limited thus far while needs are being assessed and fundraising. plans developed. The Mayor and Ward Councilor provided letters of support for the project. The Police Department reviewed police reports about recent vandalism incidents. Unfortunately,police reports could not confirm the origin of the holes in the front of the bronze figure, and the local newspaper has printed a story promoting claims that a homeless man shot the statue because his daughter said it was making a lewd gesture. Lending perspective to this unfortunate story, popular local historian Jim McAllister provided and interesting feature article entitled, "Plenty of tall tales surround Salem's most famous monuments." Forensic investigation of these holes will be sought during treatment. How has your organization used the assessment to increase public awareness about the need for preservation? Up to now, the statue has had little maintenance other than installation and care of the landscaping around its base, which has been provided by a nearby private institution, the Salem Witch Museum. The SOS Assessment has created opportunities for the SCNA, the City and Salem Witch Museum to begin discussing broad interests and obligations with respect to the statue. Did the SOS!Award amount cover the cost of the assessment? If not,please identify any additional source(s)of support including corporate donations and local business assistance. Describe any in kind contributions that supported your assessment project. The SOS!Grant covered all conservator costs. In addition, the City of Salem Department of Public Works provided a bucket lift`truck and operator for approximately 3 hours. Are there plans for treatment and/or maintenance? Have steps been taken to start fundraising? The SCNA and Hiscom have developed a four-step fundraising plan: a.) non-local corporate grant support; b.) in-kind services from the City DPW and Police Department for staging and police details, c.) Targeted fundraising appeal to local civic leaders and businesses; d.) Public appeal and fundraising programs. Salem,Massachusetts. Roger Conant Statue Condition Assessment,11/14/2001. IMAGES AND PRESS List of Local Newspaper Articles: Gershman,Dave. "Cost Study to Repair Conant statute to be done next month. Salem Evening News,Tuesday,10/23/2001,p. A2. Burke,Alan. "Saving Roger Conant." Salem Evening News, Friday,12/04/2001,p. A3 Gershman,Dave,Alan Burke and Paul Leighton. "Historical board seeks the hole truth." Salem Evening News,Friday 12/07/2001,p.A2. Dalton,Tom and Alan Burke. "Reporter's Notebook." Salem Evening News.,Friday 12/14/2001, p. A2. McAllister,Jim. "Plenty of tall tales surround Salem's most famous monuments" Salem Evening News,Wednesday,03/06/2002. For Color photography see assessment report submitted by Rika Smith McNally and Assoc. Salem,Massachusetts. Roger Conant Statue Condition Assessment,ll/14/2001. Essex National!lcritage Commission 140 Washington Street Salem.M1193aehUSe1t3 0l970 T Es"X National Phonr:(978)740-0444 Herltega Vax:(978)744-6473 Area Email:in1'o(71esscxhcritagc.o1'g We6ske:—\Y.essexheritage.org May 19, 2004 Mr. Lance Kasparian Salem Common Neighborhood Association 1 Arbella Street Salem,MA 01970 Dear Mr. K arian: Congratulations! It is with great pleasure that we inform you that the Salem Common Neighborhood Association has been awarded a 2004 ENHC Partnership Grant in the amount of $6,000. This is the seventh year of our grant program and we are pleased to help organizations such as yours achieve your goals. Please plan to join Congressman John F.Tierney and the ENHC staff at the Partnership Grant Awards Breakfast on Monday,June 14, at 8:30 a.m. at Lynn Heritage State Park, 590 Washington Street,Lynn. Directions and a map are enclosed. Please RSVP to Gretchen at 978-740-0444 or gretcheng(a,essexheritage.org and let us know how many people from your organization will be attending. Your Partnership Grant is subject to the attached "Grant Implementation and Reporting Requirements." Please look them over carefully before you sign the grant acceptance form. The federal government mandates adherence to certain provisions. Please note that the grant period begins on July 1, 2004 and that all deliverables must be completed by June 30,2005. The ENHC requests that you delay press announcements related to your 2004 Partnership Grant until one week after the breakfast. We would like the opportunity to make the first announcement. We will provide you with a sample press release with your contract. Please confirm your acceptance of this grant award, compliance with federal laws and regulations as applicable, and any condition referred to above, by signing the enclosed acceptance form. Please mail or fax the acceptance form to ENHC by June 4,along with a copy of your IRS non- profit determination letter. If you have any questions,please call Allison Bates at 978-740-0444 or email allisonb(a)essexheritage.org. Sincerely, Thomas M. Leo rd Annie C. Harris President Executive Director Enclosures 0 �(o V The Commonwealth of Massachusetts William Francis Galvin, Secretary of the Commonwealth Massachusetts Historical Commission July 15,2004 Allison Bates Project Manager Essex National Heritage Commission 140 Washington Street Salem,MA 01970 RE: Sculpture restoration,Roger Conant Statue,Brown Street at Washington Square West, Salem,MA;MHC#RC.35400 Dear Ms.Bates: The Massachusetts Historical Commission has reviewed the information you submitted,received June 30,2004,concerning the proposed project referenced above. The object at the corner of Brown Street and Washington Square West,historically known as the Roger Conant Statue,is located in the Salem Common Historic District and is listed on the State and National Registers of Historic Places_ After a review of the information submitted,MHC staff have the following comments. The proposed project involves removal of corrosion,washing,repatination,and waxing of the bronze sculpture. After a review of materials submitted and MHC files,I have determined that the proposed project will have"no adverse effect" (36 CFR 800.5(b)on the Roger Conant Statue. These comments are offered to assist in compliance with Section 106 of the National Historic Preservation Act of 1966,as amended(36 CFR 800). Please do not hesitate to contact Jeffrey Harris of my staff if you have any questions. Sincerely, S Brona Simon Deputy State Historic Preservation Officer Massachusetts Historical Commission xe: Salem Historical Commission 220 Morrissey Boulevard,Boston, Massachusetts 02125 (617)727-8470 • Fax: (617)727-5128 www.state.ma.us/sec/mhc The Salem Common Neighborhood Association Post Office Box 8608 l Salem, Massachusetts 01971-8608 15 May 2005 I .1� x Bill Steelman . I �. Essex National Heritage Commission 221 Essex Street, Suite 41 Salem,MA 01970 Roger Conant Statue RE: Interim Report—Roger Conant Statue Restoration, Salem Restoration Committee Koberta Lfement,Co-chair Dear Bill: Maryann Curtin,Co-chair Attached is the Interim Report with attachments for the 2004 Heritage Michael Coleman,president Commission Partnership Grant to the Salem Common Neighborhood Salem Common Neighborhood Association and the City of Salem for restoration of the Roger Conant Association Statue. Lance Kasparion,Chair Salem Historical Commission Please feel free to call if you require additional information or would like Honorary to discuss this matter further. Hon.Stanley J.Usovicz,Jr. Mayor of Salem Sincerely, Advisors Dr.Emerson W.Baker,Chair Salem State College History /Wio� Department Douglas J.Barren,Director Lance Kasparian Salem Parks&Recreation Salem Historical Commission, chair Department' work: 978-970-5132 David Kayser,Curator. Salem Email: LKA01 @comeast.net Maritime National Historic Site Dean Lahiakainen, Carolyn&Peter Lynch Curator of American Dernrattve Art, Peabody Essex Museum Richard Rennard,Director Salem Cemetery and Shade Tree Department Commissioned by the Conant Family Association and designed by sculptor,Henry Hudson Kitson(1863-1947), the bronze figure of ROGER CONANT FIRST SETTLER OF SALEM was cast in 1911 by the Gorham Foundry of Providence,Rhode Island and unveiled on 13 February 1912 at the Boston Museum of Fine Arts.In the following year the bronze figure and sixty ton stone pedestal quarried from the Page Farm off Highland Avenue were erected on Washington Square by Kimball Brothers of Salem. This monument was donated to the Citizens of Salem and dedicated in public ceremonies on 17 June 1913. The bronze tablet mounted on the pedestal was designed by painter and illustrator,Edmund H.Garrett(1853-1929)and dedicated in separate exercises on 20 June 1914. ENHC PARTNERSHIP GRANT(FY 2004) Page 1 of 2 INTERIM REPORT—Roger Conant Statue Restoration,Salem Bulleted Facts • ENHC Grant Year-FY 2004 • Date of ENHC Contract— 2005 • Name of Sculpture Conservator — Rika Smith McNally Assoc., Conservator of Objects & Sculpture, 59 Fountain Street,Box 55,4 h Floor East, Studio 15, Framingham,MA 01702 • Date of Contract with Conservator—April 26,2005 • Start Date of Construction- May 16,2005 Narrative In September 2001, the Salem Common Neighborhood Association (SCNA) and the Salem Historical Commission were awarded an $875 grant from the S.O.S! Save Outdoor Sculpture program sponsored by the Smithsonian Art Museum and Heritage Preservation of Washington, D.C. This provided a professional art conservator to assess conditions of the bronze figure and st6itz pedostal mad deArdlop resforadoli specifications. In 2003, a fundraising campaign was launched. Donations presently amount to $16,145.59, including major contributions and pledges from the Campbell Soup Company, Hawthorne Hotel, Salem Witch Museum, Salem Rotary Club, Danvers Savings Bank, Heritage Bank and Beverly Cooperative Bank. In addition, in June of 2004, the ENHC awarded a Partnership Grant of $6,000. In February of 2005, SCNA signed a Memorandum of Agreement with the City of Salem. By this agreement, the City, as owner of the statue, pledged $7,000 toward the project and granted permission for SCNA to contract for restoration work. In March 2005; SCNA issued a competitive solicitation to a list of five conservators pre- qualified by SOS? Save Outdoor Sculpture. Proposals were received from Tuckerbrook Conservation, Lincolnville, ME and Rika Smith McNally Associates, Framingham, MA. The Tuckerbrook proposal of$11,067 covered a cleaning, repair and microcrystalline wax treatment for the bronze figure and inscription plaque. The McNally proposal of$25,840 covered cleaning, repair, chemical re-patination, acrylic lacquer coating and:.paste wax treatment for the bronze figure and inscription plaque. The McNally proposal was determined to provide better protection for the bronze and more control in restoration of its original patina. In June of 2004, the City of Salem and Salem Witch Museum removed invasive vine growth from the statue as recommended by the S.O.S!Save Outdoor Sculpture condition assessment. On April 22,2005,McNally Associates and Baker Environmental Testing, Inc. performed an internal inspection of the bronze figure with boroscope and video camera and submitted a written report and compact disc of the video examination. ENHC PARTNERSHIP GRANT(FY 2004) Page 2 of 2 INTERIM REPORT—Roger Conant Statue Restoration, Salem Financial Documentation (The following items are attached): • Proof of availability of matching Funds — Photocopy of Heritage dank Savings Account Passbook indicating balance of$18,145.59 on May 12, 2005. This amount includes the first installment of$2000 from the ENHC. • Copies of invoices received to date — Photocopy of invoice from Rika Smith McNally Associates(4/25/2005)in the amount of$7,000.00 • Copies of payments made to date—Photocopy of City of Salem Check#113780 (5/12/2005) to Rika Smith McNally&Associates in the amount of$7,000.00 • Calculations of in-kind matches — No in-kind goods or services have been used on this project. Press No press releases have been issued since award of the ENHC grant in June 2004 Miscellaneous(The following items are attached): • Copy of Memorandum of Understanding between SCNA and City of Salem(Feb. 25,2005) • Copy of Contract with Rika Smith McNally Associates(April 26,2005) • Copy of Work Schedule • Copy of Boroscope Examination Report(April 22,2005) (end) The Salem Common Neighborhood Association Post Office Box 8608 I , Salem,Massachusetts 01971-8608 � a=Y� 21 June 2005 Bill Steelman �t Essex National Heritage Commission 221 Essex Street, Suite 41 Salem, MA 01970 RE: Final Report—Roger Conant Statue Restoration, Salem Roger Conant Statue Restoration Committee Dear Bill: Roberta Clement,Co-chair Attached is the Final Report with attachments for the 2004 Heritage Commission Maryann Curtin,Co-chair Partnership Grant to the Salem Common Neighborhood Association and City of Michael Coleman,president Salem for restoration of the Roger Conant Statue. Salem Common Neighborhood Association Please feel free to call if you require additional information or would like to discuss Lance Kasparian,Chair this matter further. Salem Historical Commission Honorary Sincerely, Hon.Stanley J. Usovicz,Jr. Mayor of Salem Advisors Lance Kasparian Dr.Emerson W.Baker,Chair Salem State College History Salem Historical Commission, chair Department work: 978-970-5132 Douglas J.Bollen,Director Email: LKA01@comcast.net Salem Parks&Recreation Department. David Kayser,Curator. Salem Maritime National Historic Site Dean Lahiakainen, Carolyn&Peter Lynch Curator ofAmerican Decorative Art, Peabody Essex Museum Richard Rennard,Director Salem Cemetery and Shade Tree Department Commissioned by the Conant Family Association and designed by sculptor,Henry Hudson Kitson(1863-1947), the bronze figure of ROGER CONANT FIRST SETTLER OF SALEM was cast in 1911 by the Gorham Foundry of Providence,Rhode Island and unveiled on 13 February 1912 at the Boston Museum of Fine Arts. In the following year the bronze figure and sixty ton stone pedestal quarried from the Page Farm off Highland Avenue were erected on Washington Square by Kimball Brothers of Salem_ This monument was donated to the Citizens of Salem and dedicated in public ceremonies on 17June 1913. The bronze tablet mounted on the pedestal was designed by painter and illustrator,Edmund H.Garrett(1853-1929)and dedicated in separate exercises on 20 June 1914. ENHC PARTNERSHIP GRANT(FY 2004) Pagel of 3 FINAL REPORT—Roger Conant Statue Restoration, Salem BULLETED FACTS ENHC Grant Year-FY 2004 Date of ENHC Contract— 2005 Name of Sculpture Conservator—Rika Smith McNally Assoc.,Conservator of Objects&Sculpture, 59 Fountain Street,Box 55,4`h Floor East, Studio 15,Framingham, MA 01702 Date of Contract with Conservator—April 26,2005 Start Date of Construction- May 16, 2005 End Date of Construction—May 27,2005 NARRATIVE In September 2001, the Salem Common Neighborhood Association(SCNA)and the Salem Historical Commission were awarded an$875 grant from the S.O.S!Save Outdoor Sculpture program sponsored by the Smithsonian Art Museum and Heritage Preservation of Washington,D.C. This provided a professional art conservator to assess conditions of the bronze figure and stone pedestal and develop restoration specifications. In 2003, a fundraising campaign was launched. Donations of totaling about$17,000 were received, including major contributions from Campbell Soup Company, Hawthorne Hotel, Salem Witch Museum, Salem Rotary Club,Danvers Savings Bank,Heritage Bank and Beverly Cooperative Bank. In addition,in June of 2004,ENHC awarded a Partnership Grant of$6,000. Also in June of 2004, the City of Salem and Salem Witch Museum removed invasive vine growth from the statue as recommended by the condition assessment. In February of 2005, SCNA signed a Memorandum of Agreement with the City of Salem,whereby the City as owner of the statue,provided$7,000 to the project and permission for SCNA to.contract for restoration work. In March 2005, SCNA issued a competitive solicitation to five conservators pre-qualified by SOS?Save Outdoor Sculpture. Proposals were received from Tuckerbrook Conservation, Lincolnville, ME and Rika Smith McNally Associates,Framingham,MA. The Tuckerbrook proposal of$11,067 covered a cleaning, repair and microcrystalline wax treatment for the bronze figure and inscription plaque. The McNally proposal of$25,840 covered cleaning,repair, chemical re-patination, acrylic lacquer coating and paste wax treatment for the bronze figure only. The McNally proposal was determined to provide better protection for the bronze and more control in restoration of its original patina and verbally approved. ENHC PARTNERSHIP GRANT(FY 2004) Page 2 of 3 FINAL REPORT—Roger Conant Statue Restoration, Salem NARRATIVE(continued) On April 22,2005, McNally Associates and Baker Environmental Testing, Inc.performed an internal inspection of the bronze figure with boroscope and video camera and submitted a written report and compact disc of the video examination. On April 26,2005, a contract was signed with Rika Smith McNally Associates, including an amendment in the amount of$3,000 for treatment of the inscription plaque and mortar around the base of the figure, bringing the total contract cost to $28,840. An interim report was filed with ENHC on May 15,2005. Between May 16-27, scaffolding was erected around the sculpture and the bronze was cleaned,re- patinated,coated with lacquer,hot microcrystalline wax and cold paste wax. The patina color was based on review of historic black&white photographs and discussions with members of the committee,the curator of Asian Export Art at the Peabody Essex Museum and the Curator of the National Park Service. Personnel from the Salem Park&Recreation Department were trained by the Conservator on annual maintenance requirements including re-application of paste wax. On June 12,2005,the statue was re-dedicated with a program,including remarks by Douglas Conant, CEO of Campbell Soup Corp. and a descendant of Roger Conant. On June 17,2005,the Conservator submitted final post-treatment reports describing all materials and techniques used in restoration, including"before"and"after"photographs. Six copies of this report were made and will be deposited with the following local institutions: Essex National Heritage Commission The Peabody Essex Museum, Phillips Library Salem Public Library Local History Collection Salem Historical Commission, Local Cultural Resource Inventory Salem Park and Recreation Department Administrative Files National Park Service, Salem Maritime National Historic Site Library. The Salem Common Neighborhood Association will maintain and hold all grant related records (including financial documentation)for a minimum of three years following completion of grant project, (June 2008). FINANCIAL DOCUMENTATION_(The following items are attached): Copies of Invoices/Bills Received—Photocopy of invoice from Rika Smith McNally Associates (6/12/2005)in the amount of$21,840.00. This is in addition to the prior invoice(4/25/2005)in the amount for$7,000. Copies of Payments Made—Photocopy of SCNA Check#24519(06/21/2005)to Rika Smith McNally& Associates in the amount of$21,840. Calculations of in-kind matches—No in-kind goods or services have been used on this project,however, the City of Salem Cemetery and Shade Tree Department removed vine from the base of the statue and cleaned the pedestal. ENHC PARTNERSHIP GRANT(FY 2004) Page 3 of 3 FINAL REPORT—Roger Conant Statue Restoration, Salem PRESS Dalton,Tom. "Saving the Statue. Roger Conant to get repairs." The Salem News(June 24, 2004),p. A2. Dalton,Tom and Anna Scott. "Who Shot Roger Conant,"in Reporter's Notebook Section. The Salem News(June 25,2004),p. A2. McCabe,Kathy. "Grants to Help Preserve Heritage. 20 Essex County projects to benefit." The Boston Sunday Globe(July 4, 2004),Globe North Section, p. 1. Dalton,Tom. "Return of the Natives: Conants Visit." The Salem News(Aug. 6,2004),p.A2. Dalton, Tom. "Green with Envy? Statue Given Makeover." The Salem News,(May 27,2005),p. 1. Cardin,Dinah. "Who Bronzed Roger Conant?" North Shore Sunday(May 29,2005),p. 7. McCabe,Kathy. "Taking a Shine to County's First Settler. Salem Statue Receives a Polished New Look." The Boston Sunday Globe(June 12,2005), Globe North Section,p. 1. Copy of Dedication Program(June 12,2005). MISCELLANEOUS (The following items were submitted with the Interim Report): Copy of Memorandum of Understanding between SCNA and City of Salem(Feb. 25,2005) Copy of Contract with Rika Smith McNally Associates(April 26,2005) Copy of Work Schedule Copy of Boroscope Examination Report(April 22,2005) 4 S l � a s Dalton,Tom. "Saving the Statue. Roger Conant to get repairs." The Salem News(June 24, 2004),p. A2. B Savingthe' statue 91 PI Roger Conant to get repairs pI BY Tom DALTON ing,the 91st anniversary of the L STAFF WRITER 1913 dedication of the statue de- vi signed by artist Henry Kitson for a SALEM—There is irony in the the Conant Family Association to statue of Roger Conant,the tow- "This is the beginning,"Kas- ering cloaked figure who looms parian said. "This is the first of menacingly in front of the Salem step." tt Witch Museum They will cut the vine back this w It was Conant who founded summer and remove it next fall. Salem in 1626 and who held its Then they will hire experts to re- a: small band of English settlers to- store the bronze statute and its 60- gether when some wanted to flee ton stone pedestal.Both appear for home or,more likely,Vir- sturdy but are starting to show _ ginia.In the bronze statue,Co- signs of age and hear.The most nant's huge hand holds an oak notable blemishes are the small stump with the powerful grip of a holes in Conant's cloak,rumored man who will not let go. to be bullet holes but believed now W All these years later,Roger Co- to be missing casting plugs. PI nant is being tested again.It is an Righting Roger is a huge an- el insidious vine — a Virginia dertaking but well worth it,back- Ri Creeper of all things=_that has ers say. wrapped itself around the Conant "Everybody knows the statue," statue and its massive rock base said Michael Coleman,president and threatens,in time,to do what of the Salem Common Neighbor- $i cold winters and lack of will could hood Association."Every day, not there's somebody out there tak- C. "It's destroying the base of the ing a picture of it.It's just a U statue,"said Lance Kasparian, shame to see the streaks on it and n chairman of the Salem Historical the lines." a. Commission The city board and The neighborhood group has the Salem Common Neighbor- begun raising the estimated hood Association,whose mem- $30,000 it will cost to restore the hers live all around the statue, statue.A donation,M'fact,was yi are leading the fight to save the made last Thursday by a passing 8 landmark:"It's an attractive vine, motorist who stopped to ask why 9 but it's got to come off." so many had gathered at the stat- Over the next few weeks,the ue.When he heard,he volun- city and the Salem Witch Muse- teered to pay for a sign explain- 5` um,which has tended to the ing why`the vine trust go. tl small traffic island around the "It's going to be traumatic,re- 8 statue,will start to remove the moving it,"Kasparian said of the vine that threatens the city's lush green vine,which turns t' founder. rust-colored in the tall. f In a small ceremony.last week, Donations may be sent to:The s members of the statue restora- Salem Common Neighborhood tion committee looked on as the Association,Roger Conant Stat- D first pieeo of vine was clipped. ue Restoration Fund,P.O.Box h They-Ptet early Thursday morn- _8608,Salem,MA 01971-8608. P P Dalton,Tom and Anna Scott. "Who Shot Roger Conant,"in Reporter's Notebook Section. The Salem News(June 25, 2004),p. A2. BYTOM DALTON AND ANNA SCOTT ' E' J STAFF WRITERS # a 7 V SALEM—Sometimes the City _ I Council is really smart.And sometimes the City Council is, well,not so smart. Like Monday night,when they ' held a public meeting on the r homeless shelter's controversial l plan to move i REPORTER'S to St.Mary'$. ' NOTEBOOK The huge crowd that came includ - ed a lot of elderly.Yes,that was 89-year-old Paul Cultrera standing File photo in back through most of the gru- it was a standing-room only crowd at Monday night's forum on the eling three-hour meeting. It's a miracle the meeting didn't Cromble Street Shelter's planned move.to St.Mary's Church. deteriorate into a replay of the National Spelling Bee.Do you re- nant just won't die. After a story "'Phis definitely happened,"he member that?Do you remember on the statue restoration ap- said."I saw the gun." Akshay Buddiga,the 13-year-old peared this week saying the boy from Colorado who passed holes are most likely missing Sky-sniper attorney retires out and then jumped back up casting plugs,a Marblehead prosecutor Brian O'Keefe has from the floor to correctly spell man begged to differ. seen his share of the limelight the word"alopecoid"?It's amaz- Richard Day,62,said he was in a over the years,including twice ing a dozen old folks didn't hit "notorious"Salem watering hole prosecuting the notorious"sky the floor and start spelling"in- a decade ago when he heard the sniper"Alfred Hunter,who shot human treatment-" truth about the statue."We and killed his wife in their Dan- Isn't there a bigger room some- were all sitting there and(two vers home,then stole a plane where with seats?How about the men)said they just got drunk and strafed the North Shore and police station?How about the Vis- and shot Roger Conant.Simple Boston back in 1989- itor Center?How about anywhere as that.Everybody laughed But after nearly 25 years of but council chambers? about it,(but)I didn't think it sending the bad guys bye-bye, was so funny." O'Keefe is handing in his badge, Who shot Roger Conant? Day,a statue maker,went over retiring from the Essex County The urban legend about the bul- the next day to check out the District Attorney's office at the let holes in the statue of Roger Co- holes in Conant's cloak. end of the month.O'Keefe,55,a McCabe, Kathy. "Grants to Help Preserve Heritage. 20 Essex County projects to benefit." The Boston Sunday Globe(July 4, 2004), Globe North Section,p. 1. A � Y ° 09% ps 8 p 81 a Sob c , 8. w E � En Y N V1 H 'on +� a Uca � cd + O b0 � v gt �y coo o, aM60. � � a > 'c O r�' N •[V"a p d' O L O y 0 %. a C4 Nw ow ,a A U 9 O , td [/1 >I O V Y �+'C7 �O+ _ bA yy ri O F a woo l 3r ° o U - cn _ a McCabe, Kathy. "Grants to Help Preserve Heritage. 20 Essex County projects to benefit." The Boston Sunday Globe(July 4, 2004), Globe North Section,p. 1. B JULY4, 2004 BOSTON S UNDAY G LOBE Grants to help preserve county's heritage ►[;RANTS "This is a first step toward un- raised In the same amount.But ContinvedfivmPage I derstanding what is important to there is also less red tape than The project,a joint effort by a community.It's not focused on with other public grant programs, the city and Salem Common an individual building or area of they said. ' Neighborhood Association,re- open space It's looking at the en- "Even though it requires a ceived$6,000.The money will be tire environment of a neighbor- match,there is a lot Iess paper put toward the$30,000 renova- hood or road....It could help tre- work involved than with some of tion ofthe statue,erected in 1913. mendously with land planning the grants that Mass.Historic An art conservator,qualified to and development.It will let a de- [Commission]puts out,said Eliz- work with bronze and stone,will veloper know what is important abeth Mulholland,a preservation clean and refinish the statue. in a community." specialist working with the i "We're hoping that the work can The grants aim to help com- Daughters of the American Revo- Aii be done next spring,"Kasparian munities take care of history— lution to restore the Samuel Hol- said. and blaze new trails,too.This -N .. �.c.wii; , ten House in Danvers. The commission says the mon- year,the program,now in its sev- A grant will help repair the The group will use the money ey does more than polish history. enth year,was expanded to in- to fix the foundation and drainage It entices private financial clude trail and arch' NahantLim,avingSand a ofthe p archival/historical Nahant Life Saving Station. on the historic house at the inter- support for historic,cultural,and records projects.A bike path from section of Center and Holten natural resources around Essex Saugus to Lynn,part of Bike to the earliest orphans known in streets.A period garden also will County,the state's second oldest the Sea trail that starts in Malden, Gloucester,by looking up histori- be built,she said. settlement.The public invest- got$5,000 to plan the Essex cal records, organizer Mally In Nahant,a town committee ment also could pay off economi- County portion of the trail.The Mann said. will pool the$10,000 with a cally,helping to boost home sales Haverhill Historical Society re- "Me kids will have to write a $5o,0o0 grant from the Massa- and lure businesses to a region, ceived$3,500 to spruce up But- journal,"said Mann,who started chusetts Historic Commission to they say. tonwoods Trail with new benches, the after-school program 10 years repair the siding,trim and porch "We're trying to get people to viewing areas,and landscaping. ago."They'll pick a name of a of the Queen-Anne style Life Sav- think about these historic re- The Merrimack Valley Planning child from the list[of orphans] ing Station,formerly used by the sources and open spaces as not Commission&Eight Towns by and become that child for the Coast Guard,and built around just pretty places to look at;said the Bay received $4,000 to year.They'll go into the archives 1900.The goal is to renovate it in- Annie Harris,executive director produce an interactive Web-based and look up what that child'.life to a community center.Bids for ofthe commission."They contrib- recreational guide and a hard co- was like.They'll see from the vital the project will be opened on July ute to the quality of life in Essex py map for kayakers and canoe- records that Gloucester was a 14,said Esther Johnson,chair- County.They influence people's ists to navigate the Great Marsh community much larger than we woman ofthe station committee. decisions about where they want in Newburyport. know it today.It spread all the "We're thrilled with the to live,or where a business:wants Topsfield Historical Society re- way to Lawrence." support,"Johnson said. "We to be ceived$1,500 to do an archive Mann said the grant money is know there were organizations Another step in that direction and preservation survey at Gould helpful to a small,independent that applied and didn't get fund- starts this month.A state consult Barn.The Manchester-Essex Con- program."It establishes you as an ed.We're working hard on our � ant will visit 20 communities in servation 1Yust received$2,000 to entity in the community.I can get own to raise money,from founda- July and August to identify Herit- research deeds in the two towns, the bus[rental]at a better rate, tions and individuals,who have fj age Landscapes,or spaces and and plan for open space paths crafts materials,even the pizza I been very generous....The Life I places that make a community and recreation.In Gloucester,My feed them.This grant helps a lot." Saving Station is very special to it special.Identifying streetscapes, Small World,an after-school pro- Others say the grant program Nahant" I scenic byways,and neighborhood gram,will use$3,500 to help mid- has value greater than money. — 1 architecture could help with land- die-schoolers research the lives of The grants do require a match, Kathy McCabe can be macked by tI use planning,Harris said. indentured children, meaning private funds must be e-maifatkmwabe@gdobe.com Dalton, Tom. "Return of the Natives: Conants Visit." The Salem News(Aug. 6, 2004),p.A2. LOCAL - Salem ate ' Return of the natives: Conants visit BY TOM DAI,TON S"17AFF WRITER SALEM—When tourists come to Salem,they 4 T r t '.ti~3 often have their picture taken standing in front of the Roger Conant statue. It's kind of like standing next to Cinderella's Cas He in Disney World,or posing with a sparrow on - your head at Capistrano. Even so,a photo taken this week was kind of special. On Wednesday,a family from Cleveland stood in front of the statue and had its picture taken.But they weren't just any family. ' -^ This was the Conant family,descendants of our founding father. "I know Roger had nine sons,but we don't know ; which one we came from,"said Debby Conant,wife ; n of David Conant,a 17th-generation descendant. _i The Conants brought their 13-year-old twin 1`" NEY/Staff photo boys,Michael and Matthew,here to expose them to a.` last week. a little family history.It didn't take long for the . s boys to realize they are minor celebrities in a aw F nd.The Salem. ' j „ Hill held When Salem Trolley tour guide Richard Sorrell realized he had Conants on his bus,he treated ae in years them like royalty. Y It was in "He was just thrilled that he had Conants riding before that, with him,and he talked with the boys about how edition was important their(ancestor)was,"Debby said.She f Victor said the family enjoyed its stay and the kindness of and his so many locals who told them about dear old Courtesy photo i in the Roger. The Conant family from Cleveland poses beneath the ere the golf Speaking of Mr.Conant,the drive continues to Roger Conant statue in Salem.From left to right are Jay. raise money to restore the statue. Debby,Matthew,Michael and David Conant. ;heir own The group has raised$20,000 of the$30,000 it ex- H kinds of pects to need. benefit the Roger Conant Restoration Fund. Blanchette, On Saturday,Sept.4,from 9 a.m.to noon,the For table rentals or information,call(978)745-5907. in children, Salem Common Neighborhood Association will Work on the statue is expected to begin next an early hold a citywide yard sale on Salem Common to spring. ..........................._......__...................._................._.................--..._..........._..................._._. _ ....._...._._ . Dalton, Tom. "Green with Envy? Statue Given Makeover." The Salem News, (May 27, 2005),p. 1. A E �b b �/� 04 $ z W a dp�b� I ^ -4-j '� z $ o o r , �,,,•� _ r.� m Cg u�ubio•°Cio 'oho.b a E .w i At 0mW7h a� C / Alf.—VA U—i CR �t W N gj L Dalton, Tom. "Green with Envy? Statue Given Makeover." The Salem News, (May 27,2005),p. 1. B At0 Friday,May 27,20o5 THE SAf.FM NEWS NR Salem statue gets long-needed makeover C-Iinuafrom Page Al — — — -— makeover than the Salem t om a bond Av „�p5fr ha SJIQIj h Neighborhood Aasoq ton, Ids 1 CaW,he a bend of residents who live near the statue and have spent ldlDk more/fin d>� >>, treasuthree re ears trying to save a city Aw b+f ei,Sl71211tjg o,f the tJ; They sold"Rescue Roger-but- )7 rt t�s held fandralser$got Brenta el and cured donations including pf - - one hnm a descendant,ppy� -— - - co R.bell's�C(Lealdent of Camp had pa be just the right tempera_ I Last Friday-,members of the � to do their pe neighbotitood organization had "There really IS an art to it ba the thrill of a lifetime They as- said MCNAR;who alsobas cared eo cendedthescaRoldi elveWdon for several gosto a small island In Washington cludingthe va Square and gut UP dose per- aahvela- or mstion statue near the Public sonal with the statue they have Garden and the statue of former worked so bard to save 1. euanSen.SdwardRve.for c � "He does look beautiK*said 7)or ant t��Curtin,who c-ba#red �p tank she did a superlative ent ger,Coitanf'Stathe perlative on Restoratioit Comtir#tree....h lob"said Michaei Coleman, by Robet�tA;.G! g7tt Pres#itentoftlteSalemCommon ne, ement.Thiresf¢ra Ne#ghborhoodAsaociak#on. . stn tion sli'e sard, made Roger Arg eouldn t ask[or,anything for sParkie irevealeddetails noter maze" � the a ga dWlllle Chin sit2 kOs' T Sefghel>vark the con- se rvator also solved one of the the his tByt;d city s gt eat It is lust those deta#ls11JA .theholes.Mil �ce-149 . 1 c make this statue so remartabie "They.weren't bppet-hole geu lythey say:it is also those details McNally said with lSrial# s, bur as o� tu7y.after near- side, one hole had cfi mks, w 1 neglect Add r?qt shelikely.h►dicaflon of a w�eatIDB hrto the"bronze A' repair a whe on,a leaf Now that Rogers "bit toalty what would have green coat he shoiikt look t>}ore desidned,ti that things like the .human'andless.l ea satellite of - des id his shoes and veins in his. will hands would have been gone eu- "bGeSOl.he look more gQ"a -- MdVallysatd Pmitansettier shesatd> a Roger was a com-. The stelae shotild.letam its: plea t oodlooks;#bz �gbertent•Mc yCafs'tbCaereritc= Nally asd:mensbe35.»f the.:Na➢yhaa.#rainedritworsfh Satept ing t n ndo librariesup.scurry- bow totivaa6andpollsfiit wit. 1ntPvnet:Butcher✓ss saes The l#�alleywax o tb atehocoiorphatogr~aphs .Olds him : that na4 ne tixonze da3ps wtth the whin and r#44@i8 ed description,so was T1. .i�Nal#y had to scavenge for ° iby'theConaht Atinut$tletalls,like tlta kisti}of > Dm lilttoit lch ltais used hi the tthode is- > who ado dt trig�,; Pack R+ �`I where, uian sta( duIt Is theitftnilraThead warm �Before a ma �om#ngtgSaitt iCwasex4#bitecl disre She Saud.that . 094" a�Marcum of Fine Arts iu SfreE of the btonae.Before t rem# dro.v apBde��e statue was- Eo wear. x?7T be ;for Stilem washed,strained with n l moron Juno 12—Just three vest pads andt treated to 2tii)h y pn ,days lldOm that ether.-staple Ss with blowtgrebes.Theb nze exPectedtobeunveiledin upon the p '.' - i_ pollef Cardin,Dinah. "Who Bronzed Roger Conant?" North Shore Sunday(May 29, 2005),p. 7. Who bronzed Conant?Ro er �' . It may not be as glamorous as the -- ——.new stirtue coming to town,but a — I V witch—as historic as the'6Os may seem to some—can't outshine a bronze sculpture of Salem's earli- e�-t Settler. The 11m Onat statue outside Salem's Witch Museum has long confused those who would like to I believe the imposing scul lure of the t - Massachusetts Bay Colony settler Was created in memory of the city's witch history. But it really just commemorates plain old history and the beginnings ofa community.You may have spotted Conant getting a facelift _ tlrese days—a bronzing chemical has been added,starting at his feet, to cure the green effects ofacid rain, and the mortar is being repaired at the stone base,which was drained all those years ago from a nearby farm. _ It's the first time the statue has . had a touchup since it was erected in ROGER, ROGER—Conant gets a facelift. PHOTO BY DINAH CARDIN .hate 1913,says Rika Smith McNapy, whose sculpture conservator fum But this is the beauty of public art, gotten"pitted-,out of.Framing am is thri]led to un- says the chairman ofthe city's his- the powe fu detZils like thel folds tin dertake the task of cleaninga g such a toric commission,standing beside his seemingly wind-swept cloak, well-known icon,famous for Kodak the srtatue last week. moments, would no longer be visible.The re- "It makes people stop and think," cent work has unearthed some fad- The recent sprucing up,however, says Lance K(asperbin. Ing traits,such as lare has nothing to do with that national- And makes them honk their horns statue's massive hand. veins in the ly debated 9-foot bronze statue of at the restoration team as the drive Samantha Stephens, y The�30>�0 restoration project is p ns,of"Bewitched" by,giving a shout-out for the statue, funded by Essex National Heritage farne,coming to town next month, which apparently several people and the Salem Common Nei= notes McNally. have. chbor- Qver the years,feelings for the The name Salem comes from the hood Association.As Midi Cale- Conant statue have run hot and cold Hebrew word for"peace"and is �'president o fthe association, and some have questioned whether said to have come out of the peace- handed out"Save our Statue"but- is it is serious art.Others have said that ful agreements for the area formally still seeking last c{nations.hesaid to redcdhe p a Conant's importance was perhaps known as Naumkeag,reached by tion of the statue is planned for June overblown by American sculptor Conant and other respected leaders 12—a few days before Samantha NfflY 10ison.And still others have ofthe time. complained that the giant figure is Had the restoration not taken Stephens is scheduled to soar into Salem. fir-too dark and sinister. place soon,the statue would have —Dirrcr/r Ccnclrtt McCabe,Kathy. "Taking a Shine to County's First Settler. Salem Statue Receives a Polished New Look." The Boston Sunday Globe(June 12,2005), Globe North Section,p. 1. B Conant statue e ts a makeover ►CONA14T rWitch City"said Gabriel Ciociola, "The Roger Conant restoration chairman of the neighborhood as- is a good example of the type of n" �O7t Page I died 13 years before the sociations Common Committee."I project we like to support,"said trials,will be Douglas R.Conant,a appreciate its duality. It has a Thomas M.Leonard,president of descendant who now is the chief kitschy side,and a very serious the commission."It's going to pre- executive officer of Campbell Soup history.I think Roger will present serve that statue from age,and the Co.Conant was the largest donor a nice contrast to Samantha the elements,so that generations will to a fund-raising campaign by the witch statue." be able to appreciate it." Salem Common Neighborhood "He's been buffed and waxed," Getting Roger Conant into t Association to restore the historic Clement said."He's never looked shape was no simple task.There statue. Conant left Cape Ann in better.You can appreciate the de- are no original plans of the statue. 1626 to establish Salem. tails of the sculpture much better RIM Smith McNally, a Rraming- Over the last three years,the than before:' ham-based conservator,had to re- group sold"Rescue Roger"but- The Conant Family Association search the original chemicals used tons,held yard sales,asked local commissioned the statue of its Pu- to make the statue. She used an businesses for money, and re- ritan ancestor in 1911.It was cre- original photograph to help deter- ceived preservation grants,includ- ated by Henry Hudson Kitson,an mine the color,a walnut shade of ing$6,000 last year from the Essex English-born sculptor whose other brown,she said. National Heritage Commission in works include the Lexington Min- Over five days,battling torren- Salem. uteman statue.Eyes fixed on the tial rains last month,McNally and "We wanted it to be a commu- horizon, Conant strides into the her crew meticulously restored nity effort,"said Roberta Clement, wind.His long cloak blows around Roger. The statue was washed, cochairwoman of the restoration him,as his right hand rests on an scrubbed with nylon pads, and committee."It was quite an expe- oak trunk Before its unveiling in heated at 200 degrees with blow- rience. We learned a lot about Salem,the statue was displayed at torches.The warm surface helped public art and sculpture, and the the Museum of Fine Arts in Bos- cleansing agents work their magic. need to take care of it!' ton. "If the surface isn't warm, the The`Bewitched"statue,a Crib- "It's probably the most promi- chemicals don't take,"McNally ute to the late actress Elizabeth nent piece of public art in Salem," said. Montgomery, is a gift from the Ciociola said."But for so long,peo- Once cleansed, the statue was network to the Witch City.But TV ple couldn't really appreciate its buffed and waxed with a protec- Land has agreed to maintain the fine details.With the restoration,a tive coating.In the future,it won't statue,ensuring that Samantha re- lot more people will realize just be so hard to keels Conant looking mains in mint condition, despite what the statue is" exposure to harsh New England Conant's place in local historybow All it will take is a little el- exposure winters. It will be unveiled helped the restoration proje city workers to clean e. lh he stas atue Wednesday at noon at Lappin qualify for historic preservation each year with,of all things,bowl- Park in downtown Salem, grants. Early on.,the neighbor- ingalleywax. Samantha might be the new hood group received$800 from "Ail they have to do is reapply it bronze on the block,but Roger Co- Save Outdoor Sculpture,a nation- every year,"McNally said. "It's a pant fans say their hero won't be al heritage program. wonderful wax.It doesn't alter the upstaged by a twitchy-nosed TV The project last year received surface, or turn yellow.. . He character.It's just a coincidence the grant from the Essex National should be easyto take care of." that the two statues will be cele- Heritage Commission,which pro- f brated duff days apart,they said, vides matching funds for preserva- Kathy McCabe can be reached at II "I like the fact that Salem is the tion projects in Essex County. kmccabe@globe.com Copy of Dedication Program(June 12,2005).B o R 68 w c � V m cS � � �•n �'� � s D U 9id � x o Cl � t x m 3 a x a x m �v •o of¢ y•p ryi[Z bC'i V C ¢ JE a•c m .o asp. 3 e N �_m s o V �m ss $ S� mcmi .F S emote a c � a e � y95 m .8 � o od � •0 _ � o� e 8 o � mme3 °� ad U a a•S e °�yvc,�b' ra E" q' gOi•v.b' Fes+ Uxh �� Ei.5•°�v F