Paints + Coatings: Ashland Mansion at Henry Clay Estate

PAINTS + COATING ASHLAND MANSION at HENRY CLAY ESTATE Investigation + Analysis

Henry Clay Estate : History Museum, 2020

Alexa Jane King Student Topic Paper HP 613: Historic Structural Systems & Building Materials Professor R. Travis Rose October 21, 2020

PAINTS + COATINGS

Contents 4

The Basics of Paints + Coatings.

7

The McDowell Era.

9

Interiors of Ashland Mansion.

12

Exterior of Ashland Mansion.

15

Exterior of the Smokehouse + Keeper’s Cottage.

18

Ice Houses.

20

Conclusion.

21

Bibliography.

22

Images Bibliography.

2

PAINTS + COATINGS

Henry Clay Estate : King : 2014 3

PAINTS + COATINGS

The Basics of Paints + Coatings.

S

ince the beginning of human history, paints + coatings have been used to decorate and protect buildings and objects. However, throughout the centuries, the formulas for paints

+ coatings have progressed through several iterations, starting from natural ingredients to the combination of natural + synthetic ingredients.1 Keep in mind that coatings can be paints, but paints cannot be coatings. Paints are liquified mixtures produced by blending three main components - pigments, binders, and solvents - that develop a film over a surface. An additional component is known as "additives," which are optional.2 The components used in formulating "coatings" are resins (binders), solvents, pigments;3 though, pigments in coating systems commonly used "white" or "filler" pigments. Fillers pigments are transparent but may optically have a glossy sheen.4 There are several different coatings, but the ones relevant to

historic preservation are paints, lacquers, primers, sealers, stains, and varnishes.

Pigments are dry colored powders that also add thickness to the paint + coating

mixtures. There are three types of pigments - "natural organic" (indigo, madder, and bone black), "natural inorganic" (yellow ocher, raw sienna, and azurite), and "synthetic" (vermilion, lead white, and cobalt blue).5 A common misconception about pigments is that pigments are only serve for aesthetic purposes, but pigments also offer beneficial properties such as light fastness, weather stability, heat resistance – to name a few. Moreover, additives enhance paint + coating formulas by stabilizing ultraviolet light, preventing mildew + microbial growth, or protecting as a fire-retardant.6

Solvents, or the "vehicle," play a significant role in the entire painting + coating system.

There are two different types of "vehicles" or "liquids" used to create the "base" of paints

1. Martin E. Weaver, “Painting and Coatings,” In Conserving Buildings: A Manual of Techniques and Materials (New York: Preservation Press, John Wiley & Sons, Inc., 1997), 216.

2. Weaver, “Painting and Coatings.” 216-220.

3. W. Scholz, “Paint Additives,” in Surface Coatings (Springer, Dordrecht, 1993), 539-540, https://link. springer.com/chapter/10.1007%2F978-94-011-1220-8_31.

4. Gordon Bierwagen, “Surface Coatings,” (Encyclopedia Britannica 2013), https://www.britannica. com/technology/surface-coating/Pigments.

5. Weaver, “Painting and Coatings.” 216-218.

6. Helen Turner, “Paints + Wallcoverings,” (lecture, University of Kentucky, Lexington, KY, October 13, 2015).

4

PAINTS + COATINGS

+ coatings - solvents or water. Paints + coatings are commonly classified as either waterbased or solvent-based (or "oil-based").7 Solvents and water are volatile liquids that dissolve the other components (pigment + binders/resins) to create mixtures. Solvents contribute to the "viscosity" or, in other words – the thickness or spreadability and adhesion of paints + coatings. When preparing to use paint + coatings, the viscosity must be considered when selecting painting tools. Once a paint or coating finish is applied onto a substrate, the liquid (vehicle) will evaporates as the film dries.8 Conservators must identify the substrate's material and match it with the appropriate painting + coating base to prevent unwarranted reactions.

Correspondingly, the paints + coatings' base directly determines the types of binders

used in the formulation. Binders, or the "glue," binds with pigments and are diluted by the solvents. All binders, regardless of origin, are classified as either aqueous or nonaqueous.

Aqueous binders are soluble in water (water-based), while nonaqueous binders (solventbased) are soluble in solvents such as mineral spirits. There are three types of binders natural resins (proteinaceous glues), drying oils (linseed), or synthetic resins (alkyd). Natural resins and drying oils are standard binders used in historic paints + coatings.9

When assessing the condition of paint + coating surfaces, conservators categorize the

severity of the paint failure based on three classifications - class I, class II, and class III. Class I states that no paint removal is required; however, minor blemishes need to be touched up, and it is necessary to remove + clean areas affected by dirt, biological growth, stains, and insects.

Class II surface conditions require minor paint removal because of damage to the top layers of paint. Surface conditions listed under this category are crazing, intercoat peeling, solvent blistering, and wrinkling. Paint + coating conditions found under "class III" are peeling and cracking/alligatoring, which entails total paint removal.10

7. Weaver, “Painting and Coatings,” 218.

8. Weaver, “Painting and Coatings,” 218.

9. Weaver, “Painting and Coatings,” 218-219.

10. K. D. Weeks and D. W. Look, “Preservation Brief 10: Exterior Paint Problems on Historic Woodwork,” National Parks Service, accessed October 31, 2020, https://www.nps.gov/tps/how-to-preserve/briefs/10paint-problems.htm.

5

PAINTS + COATINGS

There are three methods for removing paints + coatings - abrasive, thermal, and

chemical.11 The abrasive process requires scraping and sanding tools (manual or mechanical) on the affected surfaces such as putty knives, paint scrapers, and various sanding tools. It is essential to know when to use mechanical tools appropriately; For example, if the affected surfaces are flat (doors, window sills, and siding), orbiters and sand belts are the preferred tools.12 Conservators used the abrasive method when preparing the surfaces for paints + coats or removing a small painted area. When sanding, be sure to select the correct sandpaper grit and type based on the substrate's material.

The thermal method utilizes heat to soften the paint for total removal, and then the

abrasive method is used. Conservators will use this method for "class III" paint failures. The tools used for this method are electric heat guns (curvilinear or decorative surfaces) and electric heat plates (flat surfaces).13 Similar to the thermal method, the chemical approach is also for "class III" paint damages. Avoid this method unless the other two methods are unsuccessful. Using chemical paint strippers are extremely dangerous and can cause health + safety issues. There are two types of paint strippers - solvent-based and caustic. After applying the paint strippers to the paint + coating surface, the paint layers will soften and morph into "sludges." Remove sludges by means of water, sanding, scraping, or the combination of all three. Must wear protective gear (goggles, gloves, and face mask) when handling these chemicals and be careful when cleaning up and disposing of the toxic sludges.14

In all, understanding the information about the chemical, physical, and performance

characteristics of paints + coatings, the classifications of paint failures, and the methods of removal of paints will be beneficial when addressing paints + coating surface conditions at the Henry Clay Estate.

work.”

work.”

11. Weaver, “Painting and Coatings,” 226.

12. National Parks Service, “Preservation Brief 10: Exterior Paint Problems on Historic Wood13. National Parks Service, “Preservation Brief 10: Exterior Paint Problems on Historic Wood14. National Parks Service, “Preservation Brief 10: Exterior Paint Problems on Historic Woodwork.”

6

PAINTS + COATINGS

The McDowell Era.

Original building : 1811 Rebuilt building : 1857 Remodeled interiors : 1882 Restored : 1991-1992 Registered historic Landmark : 1961 Architectural styles : Italinate + Federal Architects : Labtrobe, Benjamin H.

Lewinski, Thomas figure 1. Henry Clay Estate

figure 2. Floor Plan of the Ashland Mansion

7

PAINTS + COATINGS

E

ven though the paints + coatings utilized at the Henry Clay Estate are not all original,15 this site is still worth visiting when exploring paint + coating finishes. This report aims to

share the paints + coatings at the Henry Clay Estate by assessing the conditions and providing remedies for the damaged surfaces. This assessment will concentrate on four distinct areas the mansion’s interior and exterior, the smokehouse, the keeper’s cottage, and the ice houses.

To begin, it helps to understand how Ashland’s history and the preserved historic artifacts directly influenced the curation of today’s Henry Clay Estate.

The Ashland Mansion has undergone more than a few construction phases and design

iterations due to the “multi-generational layers” formed by Henry Clay’s descendants, who resided in the home. The Henry Clay Estate’s latest restoration project, from 1991 to 1992, renovated the architecture + interior design of the mansion based on the McDowell era.16 Anne Clay McDowell, Henry Clay’s granddaughter, and her family played a significant role in preserving the site’s multi-generational layers as a way to honor James Clay (Anne’s father), but most importantly - Henry Clay. For example, the McDowells purposely conserved the mansion’s exterior Italianate + Federal architectural style and the interior Italianate carrara marble fireplaces, design executions completed by James Clay. Likewise, the McDowells kept the spirit of Henry Clay alive by furnishing and decorating the interiors with most of Henry Clay’s belongings.17

The McDowells were among the wealthiest families in Kentucky, explaining why the

family valued social status and decorum. 18 The McDowell family extravagantly designed the interiors to explicitly flaunt their social position and taste for design by incorporating trendy decorative styles and finishes. The interiors were elegant, lush, and eclectic; and composed of popular decorative styles such as the late-Victorian, Eastlake, and Aesthetic,

15. “Eric Brooks, Site visit at Henry Clay Estate, October 2, 2020.

16. “Ashland Restoration Raises Interpretive Questions,” History of a House Museum, April 18, 2014, https://historyofahousemuseum.com/2014/08/18/ashland-restoration-raises-interpretive-questions-3/.

17. “The Mansion, “ Ashland : Henry Clay Estate, accessed October 21, 2020, https://henryclay.org/ the-mansion/.

18. Henry Clay Estate, “The Mansion.”

8

PAINTS + COATINGS

while most of the furnishing were family heirlooms.19 The McDowells made their mark on the Ashland Mansion by modernizing the structure’s building systems with advanced technologies such as indoor plumbing, central heating, and gas + electric lighting. The McDowells purposefully remodeled the first-floor’s central rooms - entry hall, central staircase, dining room, and drawing room –to provide more space for their large-scale parties. The “open floor plan” concept was also a trending architectural and interior design concept - another reason for modifying the rooms. 20

Interiors of Ashland Mansion.

T

he McDowells were so proud of their home that they photographed the interiors. These well-preserved interior photographs aided the restoration efforts to restore the interior

furnishings and finishes based on the McDowell period.21 For example, a photograph depicted

a painted nineteenth-century stencil pattern on the drawing room’s plaster walls. Since the 1991 restoration, these walls were restored because moisture damage. The moisture then evaporated and left behind chunky alkali salt deposits (efflorescence) on the plaster’s surface, damaging the paint.22 Another interior space that currently suffers from efflorescence surface damage is the billiards room. The painted wall surface is peeling and damaged by water stains and alkali salt deposits in the upper corner above the door entrance, where the drawing-room connects to the billiards room. To hide the water stains, the Henry Clay Foundation had the area temporarily painted over until they have funds to stop the water ingress.23

However, until the water ingress is blocked, the alkali salt deposits will continue

to fester, and additional water damage will spread to the unaffected wall areas. First, to

19. Henry Clay Estate, “The Mansion.”

20. “Straddling the Victorian and the Avant-garde at Ashland,” History of a House Museum, February 16,2020, https://historyofahousemuseum.com/2020/02/16/straddling-the-victorian-and-the-avant-garde-at-ashland/.

21. “Giving the Impression that Henry Clay,” History of a House Museum, June 15, 2020, https://historyofahousemuseum.com/2020/06/15/giving-the-impression-that-henry-clay-may-return-at-any-moment-5/.

22. Eric Brooks, interview by author, October 2, 2020.

23. Eric Brooks, interview by author.

9

PAINTS + COATINGS

figure 3. Drawing-room

figure 4. Close up image of stencil pattern

remedy water ingress, seal the exterior masonry with waterproof barriers (plastic sheeting) before removing the damaged paint and plaster. Once the paint and plaster are removed, eliminate any remaining efflorescence and debris from the masonry wall and surround areas with a stiff bristle brush. Then clean the affected area with a specified cleaning solution that is capable of removing the alkali salt. The severity of the billiards room's damage may require a robust acidic cleaning solution containing 35% commercial-grade calcium chloride and 1 to 3 parts of water.24

Next, rinse off the cleaner with water and allow it to dry for at least seven days, but in

some cases, the curing time may last up to 30 days. Also, check for any cracks or structural damages that may require repointing or repair.25 After correcting cracks and structural damages, and the moisture meter reading is less than 10%26 and, apply an acrylic masonry primer to the masonry substrate.27 Once the primer has had sufficient time to cure, patch the void with plaster and let the plaster set for approximately ten weeks.28 After the plaster has set, apply the acrylic masonry primer on the plaster's surface. Once the sealer is dried

24. “Paint Efflorescence,” Dulux, accessed October 29, 2020, https://bit.ly/3jPgEiJ.

25. “Alkali Resistance – Burning / Discoloration,” Sherwin-Williams, accessed October 29, 2020, https:// bit.ly/2HY2DlA.

26. Dulux, “Paint Efflorescence.”

27. Sherwin-Williams, “Alkali Resistance – Burning / Discoloration.”

28. Dulux, “Paint Efflorescence.”

10

PAINTS + COATINGS

figure 5. Paint efflorescence damage in Billiards room

figure 6. Deteriorated anaglypta wallpaper

for the recommended length of time, finish the wall with the appropriate paint formulation, color, and stencil pattern. Unfortunately, the billiards room walls are not finished with the decorative paint + coating finishes from the McDowell era.

The last interior paint finish that was examined was the original anaglypta wallcovering

in the entrance hall. This anaglypta wallcovering has embossed "Japanesque" patterns, and the textured surface is paintable.29 The paint finish applied to the wallcovering surface is a profoundly rich reddish-brown historic color known as "Pompeian Red." Constant abrasion and exposure to moisture over time has caused the wallcoverings to become brittle and chip, and there are spots where the wallcoverings slowly dissolved off. The suggested remedy is to cover the wallcoverings with plexiglass to preserve the original wall finishes, leaving approximately ¼ air gap.30

29. Henry Clay Estate, “The Mansion.”

30. Eric Brooks, interview by author.

11

PAINTS + COATINGS

figure 7. Entrance Hall showcasing the “Pompeian Red” + Eastlake staircase

figure 8. Chipped anaglypta wallpaper

Exterior of Ashland Mansion.

In terms of exterior paints + coatings found on the façade of the Ashland mansion, the

first example is the main entrance's Georgian-style door that abuts to the polygonal bay with flanking windows. The front door is said to be ash31 made from the ash trees located on the property. 32 Ash trees are hardwood trees with a hardness rating of 1200.33 Ash is known for its rot-resistant properties and does not lose its texture and grain once stained and sealed.34 It appears that the finish coating of the door is fading and discoloration in certain areas, perhaps due to wear and UV exposure. Furthermore, it is the "Tyrian purple"35 colored door facing the keeper's cottage has also lost color pigment in its painting system.

The most suitable remedy is to restore the doors' painting + coating systems only if the

door is not historically significant to conserve. Before refinishing the doors, the prep work and

31. “Lavishly Furnishing the New Ashland,” History of a House Museum, May 28, 2019, https://historyofahousemuseum.com/2019/05/28/lavishly-furnishing-the-new-ashland-5/.

32. “National Register of Historic Places Inventory – Nomination Form,” National Register Digital Assets, National Register of Historic Places, accessed October27, 2020, https://npgallery.nps.gov/NRHP/AssetDetail?assetID=ca2f5bc0-1940-48a1-8cb6-d8b83c07eee9.

33. “Properties of Ash Wood,” Sciencing. August 08, 2019, https://sciencing.com/properties-ash-wood-5463688.html.

34. Sciencing, “Properties of Ash Wood.”

35. Mark Cartwright, “Tyrian Purple,” Ancient History Encyclopedia, July 21, 2016, https://www.ancient.eu/Tyrian_Purple/.

12

PAINTS + COATINGS

figure 9. Discolored Georgian Ash Door (left) figure 10. Discolored “Tyrian purple” door (above)

steps suggest detaching the door from the frame and removing the hardware. Next, remove the existing coating system by sanding the entire door (abrasive method), wash-down with a mild detergent, and then rinse off with water.36 Once the door has dried, apply the appropriate painting + coating system. For example, the Georgian Ash door's coating system may consist of a base layer of stain and then finished with a protective coating like polyurethane.

The Tyrian purple-colored door's painting system will consist of a primer layer and the

topcoat as paint. Ideally, the paint + coating systems are of high quality formulated to deter water, ultra-violet rays, and wear. If these doors are restored, the painting + coating systems would be similar to those selected during the 1990s renovation. It is also essential to use the same color pigment; if the color pigment is unknown, it will then visually match the color according to the Munsell color notation system.37

36. Janice Lew, “Rehab It Right! Historic Windows & Doors,” Utah Heritage Foundation. Accessed October 30, 2020. https://preservationutah.org/images/Historic_Windows_and_Doors_-_Property_Owners_Guide. pdf.

37. Weaver, “Painting and Coatings,” 227.

13

PAINTS + COATINGS

figure 11. Corroding cast-iron heraldic dolphin

One of Ashland's Italianate exterior elements are the cast-iron heraldic dolphin

downspouts.38 Due to external forces, the cast iron downspout is heavily corroded (rustjacking), and the protective coating is flaking off the cast iron. Today Alkyd paints are used to form protective coatings for metals; however, unlike the traditional linseed oil paints that contained lead, Alkyd paints are not as durable or long-lasting. Since this cast iron element is a waterspout, applying a high performing zinc-rich primer will prolong protection. A practical method is to use a zinc-rich primer, add an epoxy base coat, and apply two urethane coatings layers. When applying paint to the heraldic dolphin downspouts, the most effective application technique is to brush the paints + coatings onto the clean cast-iron surface.39

38. “Unusual Architecture and Dolphins at Ashland,” History of a House Museum, March 6, 2017, https://historyofahousemuseum.com/2017/03/06/unusual-architecture-and-dolphins-at-ashland-3/.

39. John G. Waite, “Preservation Brief 27: The Maintenance and Repair of Architectural Cast Iron,” National Parks Service, accessed November 1, 2020, https://www.nps.gov/tps/how-to-preserve/briefs/27-cast-iron. htm.

14

PAINTS + COATINGS

figure 11. Discoloration + stains + biological attack on exterior of Smokehouse

Exterior of the Smokehouse + Keeper’s Cottage.

T

he smokehouse and the keeper’s cottage are historic brick buildings coated with whitewash tinted with yellow pigment. During the 1991 renovation, the conservators

formulated a “whitewash” or known as “limewash” recipe inspired by the historic whitewash used on the Ashland Mansion and other buildings during James’s era.40 Limewash consists of lime putty and water to create a mixture to apply to the historic masonry walls. Builders would produce historic lime putty from locally burned lime to create “quicklime,” and then combined with water, resulting in a creamy consistency.41

Limewash coatings in 19th-century buildings were popular not only because the

40. Eric Brooks, interview by author.

41. Sloane Taliaferro, “Documentation and Testing of Nineteenth-Century Limewash Recipes in the United States” (master’s thesis, Columbia University), 6.

15

PAINTS + COATINGS

coating was attractive but also for its beneficial properties. Property owners had limewash applied to buildings and barns because of its antiseptic, alkalinity, and protective properties.

Limewash is considered a “healthy” and “sanitary” material that prevents bacteria’s growth and decreases the presence of disease and illness within its proximity.42 Limewash acts as a sacrificial material that absorbs the historic bricks, unlike other paints + coatings that only adhere to the substrate’s surface. Historic brick is much softer than today’s brick, making it prone to a faster deterioration rate. Once limewash thoroughly penetrates the masonry wall, it strengthens and consolidates the soft + porous historic bricks to prolong deterioration.

Furthermore, limewash is a permeable coating that helps masonry walls breathe, which means that it quickly cycles water + moisture through the substrate and coating to prevent efflorescence or subflorescence.

figure 12. Peeling on exterior of keeper’s cottage (top left); figure 13. Efflorescence on exterior of smokehouse (middle); figure. 14. chalking on exterior of smokehouse; figure 15. Green surface stains from biological attack of fungi on keeper’s cottage

42. Taliaferro, “Documentation and Testing of Nineteenth-Century Limewash Recipes in the United States,” 10.

16

PAINTS + COATINGS

Limewash is coated on buildings approximately three to five times using designated

limewash brushes and reapply limewash yearly.43 When examining these structures, various surface conditions to the limewash coating were apparent such as discoloration, chalking, peeling, vanadium stains, and biological growth. After researching limewash, it is evident that these structures are not adequately maintained. The previously mentioned conditions were preventable if only these structures were routinely cleaned and coated yearly.44 Overall, the combination of the limewash coating surface failures is considered “class III.” The entire exterior surface will need to be completely restored with a few fresh coats of limewash.

To begin this process, the biological growth (mold, mildew, and algae) located at the

base of the keeper’s cottage will need to be cleaned off. Biological fungi can thrive in damp and shady areas; also, not having efficient drainage systems below the building’s base can cause moisture to accumulate. A cleaning solution that contains 1 cup of non-ammoniated detergent, 1 quart of bleach and 1 gallon of water will help remove the biological growth.

Scrub the cleaning solution with a medium-soft bristled brush, and then rinse off the affected area with water.45

After removing the biological growth, detach the flakes of peeling limewash with a

paint scraper. Next, work on removing the powdery chalk, which is on all exterior surfaces of these buildings. To mention, “moderate chalking” is a natural process of how paints + coatings age;46 however, excessive chalking is not good because limewash slowly disintegrates, leaving the soft + porous historic brick vulnerable to deterioration. Chalking is caused either by the formulation of the paint or by excessive exposure to UV rays.47 Again, to remove chalking, create a cleaning solution that contains ½ household detergent to 1 gallon of water and then scrub off the powdery film with a medium-soft bristle brush. Rinse the masonry walls with

43. Taliaferro, “Documentation and Testing of Nineteenth-Century Limewash Recipes in the United States,” 10.

44. Taliaferro, “Documentation and Testing of Nineteenth-Century Limewash Recipes in the United States,” 11.

45. National Parks Service, “Preservation Brief 10: Exterior Paint Problems on Historic Woodwork.”

46. National Parks Service, “Preservation Brief 10: Exterior Paint Problems on Historic Woodwork.”

47. Weaver, “Painting and Coatings,” 222.

17

PAINTS + COATINGS

water and allow it to dry entirely before reapplying a fresh limewash coating. 48

Ice Houses.

W

hen assessing the Ice Houses, the painted surface conditions discovered were crazing, rust jacking, and solvent blistering. Crazing is listed as a “class II” in terms

of surface condition severity. Crazing is described as microcracking of small hairline cracks appearing on the paint layer’s top surface, which is caused when there are multiple layers of paint on top of the wooden substrate, which causes the paint not to expand and contract with the wood.49 Crazing can occur if the surface was not adequately prepared before painting, or there are multiple layers of paint, or poor quality of paint was used, or excessive exposure to the sun. Over time, the cracks will become more profound as the wood fights to contract and expand cycles, causing moisture to enter into the cracks and be absorbed into the wood, causing the wood to swell even more.50 The paint will then be considered “class III” due to cracking and alligatoring. Based on the images, the wood’s surface was not prepared, exposed to the sun, and multiple paint layers.

The other mentioned condition was the rusted hinges of the ice houses’ doors. The

accumulation of corrosion and rust has caused the surrounding painted surface to become discolored or chip away. If the hinges are historic hardware, it is best to restore the hinges by cleaning and removing the rust. However, if the hinges are not of historical significance, then replace them with stainless steel hinges. The last paint failure to mention is the blisters.

Generally, solvent blisters develop if the paint dries too quickly before the volatile solvents could evaporate.51 Alternatively, other forms of blisters can accumulate if the surface is improperly prepared or if the multiple layers of paints are incompatible, causing water or

work.”

work.”

48. National Parks Service, “Preservation Brief 10: Exterior Paint Problems on Historic Wood49. Weaver, “Painting and Coatings,” 222.

50. National Parks Service, “Preservation Brief 10: Exterior Paint Problems on Historic Wood51. Weaver, “Painting and Coatings.” 222.

18

PAINTS + COATINGS

figure 16. Paint blisters

figure 17. Rust-jacking

figure 18. Crazing

19

PAINTS + COATINGS

vapor to get trapped behind the film. 52

Considering the proximity of various failures (crazing, peeling, and blistering)

to each other on the painted wooden surfaces of the Ice houses, the overall classification of severity is “class III.” This classification means that all the paint should be removed by utilizing the abrasive method. Before sanding the surfaces, remove all the metal hardware.

Since the metal hardware is painted, the paint will have to be removed first so the rust can be removed to restore the hardware. To prevent crazing and blistering of the painted surfaces, the substrate should be adequately prepared and cleaned before applying compatible primer and paint coats. Another tactic to prevent crazing is to allow plenty of drying time for each layer before applying the next coat. Also, exterior paints should specify the recommended outdoor temperature range and humidity percent ideal for exterior painting. It is essential to follow these guidelines because paint failures such as blistering can occur if the paint dries too quickly.

Conclusion.

E

ven though the Henry Clay Estate's preservation efforts of the paints + coatings were more restoration projects than conservation, the Henry Clay Estate is still a great case

study when studying paints + coatings. It is fascinating how the socio-cultural, environmental, and economic factors of the 19th century influenced the selection of paints + coating systems within the interiors + exterior of the Ashland Mansion along with the surrounding structures.

It goes to show that paint + coatings are not only significant in terms of history and aesthetics, but also aids in the preservation of health and historic building structures.

52. Weaver, “Painting and Coatings,” 222.

20

PAINTS + COATINGS

Bibliography.

"Alkali Resistance - Burning / Discoloration." Sherwin-Williams. Accessed October 29, 2020.

https://bit.ly/2HY2DlA. "Ashland Restoration Raises Interpretive Questions." History of a House Museum, August 18,

2014. https://historyofahousemuseum.com/2014/08/18/ashland-restoration-raises-in

terpretive-questions-3/.

Bierwagen, Gordon P. "Surface Coating." Encyclopædia Britannica, October 28, 2016. https://

www.britannica.com/technology/surface-coating/Pigment.

Brooks, Eric, and Alexa King. Site visit at Henry Clay Estate. Personal, October 2, 2020.

Cartwright, Mark. "Tyrian Purple." Ancient History Encyclopedia. Ancient History Encyclo

pedia, October 31, 2020. https://www.ancient.eu/Tyrian_Purple/.

"Giving the Impression That Henry Clay 'May Return at Any Moment.'" History of a House

Museum, June 15, 2020. https://historyofahousemuseum.com/2020/06/15/giving-the-

impression-that-henry-clay-may-return-at-any-moment-5/.

"Lavishly Furnishing the New Ashland." History of a House Museum, May 28, 2019. https://

historyofahousemuseum.com/2019/05/28/lavishly-furnishing-the-new-ashland-5/.

Lew, Janice. “Rehab It Right! Historic Windows & Doors.” Preservation Utah, n.d. https://

preservationutah.org/images/Historic_Windows_and_Doors_-_Property_Owners_

Guide.pdf.

"The Mansion." Ashland: Henry Clay Estate. Accessed October 21, 2020. https://henryclay.

org/the-mansion/.

"National Register of Historic Places Inventory – Nomination Form." National Register of

Historic Places. U.S. Department of the Interior. Accessed October 27, 2020. https://

npgallery.nps.gov/NRHP/AssetDetail?assetID=ca2f5bc0-1940-48a1-8cb6-d8b83c07eee9.

"Paint Efflorescence: Dulux." Dulux. Accessed October 29, 2020. https://bit.ly/3jPgEiJ.

Scholz, W. “Paint Additives.” SpringerLink. Springer, Dordrecht, January 1, 1993.

https://link.springer.com/chapter/10.1007/978-94-011-1220-8_31.

Sloane, Taliaferro. "Documentation and Testing of Nineteenth-Century Limewash Recipes in

the United States," 2015.

"Straddling the Victorian and the Avant-Garde at Ashland." History of a House Museum,

February 16, 2020. https://historyofahousemuseum.com/2020/02/16/straddling-the-

victorian-and-the-avant-garde-at-ashland/.

Turner, Helen. "Paints + Wallcoverings." Lecture, October 13, 2020.

21

PAINTS + COATINGS

Waite, John G. “Preservation Brief 27: The Maintenance and Repair of Architectural Cast

Iron.” National Parks Service. U.S. Department of the Interior. Accessed November 1,

2020. https://www.nps.gov/tps/how-to-preserve/briefs/27-cast-iron.htm.

Walsh, Elliot. “Properties of Ash Wood.” Sciencing, August 8, 2019. https://sciencing.com/

properties-ash-wood-5463688.html.

Weeks, K D, and D W Look. “Preservation Brief 10: Exterior Paint Problems on Historic

Woodwork.” National Parks Service. U.S. Department of the Interior. Accessed Octo

ber 31, 2020. https://www.nps.gov/tps/how-to-preserve/briefs/10-paint-problems.htm.

Woodwork.” National Parks Service. U.S. Department of the Interior. Accessed October 31,

2020. https://www.nps.gov/tps/how-to-preserve/briefs/10-paint-problems.htm.

Images Bibliography.

Figure 1. Henry Clay Estate - Main Entrance 1960s . National Register of Historic Places In

ventory – Nomination Form. U.S. Department of the Interior, n.d. https://npgallery.

nps.gov/NRHP/AssetDetail?assetID=ca2f5bc0-1940-48a1-8cb6-d8b83c07eee9.

Figure 2. Floor Plan of the Ashland Mansion. National Register of Historic Places Inventory

– Nomination Form. U.S. Department of the Interior, 1975. https://npgallery.nps.gov/

NRHP/AssetDetail?assetID=ca2f5bc0-1940-48a1-8cb6-d8b83c07eee9.

Bright, Wendy. Figure 3. Drawing-Room. Pinterest. Accessed October 20, 2020. https://www.

pinterest.com/pin/434245589042401876/.

Figure 4. Close up Image of Stencil Pattern. October 2, 2020. Photograph.

Figure 5. Paint Efflorescence Damage in Billiards Room. October 2, 2020. Photograph.

Figure 6. Deteriorated Anaglypta Wallpaper. October 2, 2020. Photograph.

Figure 7. Entrance Hall Showcasing the “Pompeian Red” + Eastlake Staircase. n.d. http://de

koration.mytrendd.site/entrance-hall-ashland-henry-clay-estate-lexington-kentucky/.

Figure 8. Chipped Anaglypta Wallpaper. October 2, 2020. Photograph.

Figure 9. Discolored Georgian Ash Door. October 2, 2020. Photograph.

Figure 10. Discolored “Tyrian Purple” Door. October 2, 2020. Photograph.

Figure 11. Discoloration + Stains + Biological Attack on Exterior of Smokehouse. October 2,

2020. Photograph.

Figure 12. Peeling on Exterior of Keeper’s Cottage. October 2, 2020. Photograph.

22

PAINTS + COATINGS

Figure 13. Efflorescence on Exterior of Smokehouse . October 2, 2020. Photograph.

Figure. 14. Chalking on Exterior of Smokehouse. October 2, 2020. Photograph.

Henry Clay Estate. Henry Clay’s House. History of a House Museum, 2019. https://

henryclay.org/history-of-ashland/.

Figure 15. Green Surface Stains from Biological Attack of Fungi on Keeper’s Cottage . Octo

ber 2, 2020. Photograph.

Figure 16. Paint Blisters . October 2, 2020. Photograph.

Figure 17. Rust-Jacking. October 2, 2020. Photograph.

Figure 18. Crazing. October 2, 2020. Photograph.

Keeper’s Cottage [Personal photograph taken in Henry Clay Estate, Lexington, KY]. (2014,

August 26).

23