Left: American. Wainscot Chair, second half 17th century. Painted oak, 48 1/8 x 26 3/4 x 23 1/2 in. (122.2 x 67.9 x 59.7 cm). Brooklyn Museum, Dick S. Ramsay Memorial Fund, 51.158.  Right: Replica chair created for the Brooklyn Museum by Peter Follansbee, joiner.

Mr. Follansbee visited the Museum in March of this year to examine the chair and take measurements.  His goal:  accurately recreate the work of 17^th-century craftsmen, whose techniques can be observed on the chair in details like original handmade pins and joiner’s marks on the legs.

Detail of original hand carved pins and joiner’s marks from the original.

Details of the replica chair during construction at Peter Follansbee’s workshop. Images courtesy of Peter Follansbee.

While Mr. Follansbee started replicating the chair, conservators began an examination to determine the original paint scheme.  Although many of these chairs are now painted black or other dark colors, it is unlikely that this was done by the original craftsmen.  We wanted the completed replica chair to accurately reflect what the original would have looked like before centuries of use.

Several paint samples were taken from various locations on the chair and made into cross-sections.  Cross-sections are an important tool for conservators, allowing us to view the different paint layers and coatings and the order in which they were applied to the surface.  Paint samples are mounted in resin, polished and examined with a polarized light microscope.

The cross-sections revealed that the chair had received several applications of paint and varnish.  The earliest paint layers appeared to be a bright red and a darker brown followed by multiple applications of the black paint. Red paint was also observed underneath the black paint on the surface of the chair.  Natural resin varnishes, which appear green under ultraviolet light illumination, are also visible as later applications in the cross-sections.

Left: Detail of paint cross-section in visible light from the back of the chair showing the lowest red and brown paint layers, followed by multiple layers of varnish and black paint.  Right: Detail of paint cross -section in ultraviolet light from the back of the chair showing the lowest red and brown paint layers, followed by multiple layers of varnish (which appear bright white/green) and black paint.

According to Chief Curator, Kevin Stayton, and Curator of Decorative Arts, Barry Harwood, these chairs could have been painted or left unpainted after manufacture.  In addition, painted surfaces may have been applied shortly after construction but not by the craftsmen who built them and reflect the history and use of the chair.  Although the earliest application of paint is red, it could not be determined when this layer was applied.

Following a discussion between conservators, curators and Mr. Follansbee, the replica chair was not painted.  We hope that the contrast between the natural and wonderfully hand carved oak of the replica and the patinated original will highlight the intricacy of the handcrafted details, create a closer representation of the chair’s original appearance and accentuate the historic changes that objects such as the Wainscot chair can undergo before entering the Museum’s collection. The replica chair has been coated with oil & turpentine to protect the wood so that it can be appreciated by Museum visitors.

Dismantling of the Schenck House. Records of the Department of Decorative Arts. Objects. Installation: Schenck House, [11] press and photographs (1933-1964).

Dutch culture has had its fair share of influence on us here at the Brooklyn Museum. One of the largest objects in our collection, the Schenck House features prominently in our connections to Dutch-American history. This month the Brooklyn Museum Libraries and Archives are reflecting on the ways Dutch history has influenced our collections, we are currently highlighting published and archival materials documenting the ongoing influence of the Dutch.

Sunday News clipping on Schenck House restoration, May 12, 1963. Records of the Department of Decorative Arts. Objects. Installation: Schenck House, [11] press and photographs (1933-1964).

In celebration of the ongoing influence of Dutch arts and culture, the Museum Libraries and Archives are highlighting a recent archival accession, a collection of documents regarding the Jan Martense Schenck House. These documents have recently been processed and are now available [pdf] to the public for research. Included in this collection are images of the Schenck House on its original location in Brooklyn; letters from numerous Schenck family descendents who have visited and supported the Schenck House over the years; and newspaper clippings from the 1964 Museum installation. We have also produced a list of published resources [pdf] on the Schenck House and Schenck family genealogy in the Museum Libraries. If you would like to schedule a visit to see any of these materials, please send us an e-mail. We are open to the public for research on Wednesdays, Thursdays and Fridays.

Schenck descendant Edith Schenck DeLozier visiting the Schenck House in 1964. Records of the Department of Decorative Arts. Objects. Installation: Schenck House, [07] corresp: A-G (1961-1974).

If you are a Schenck descendant please let us know, as we always enjoy hearing from Schenck family members!

Museum libraries and archives are rich storehouses of textual and visual information. This is very true of the Brooklyn Museum Libraries and Archives which function as the “story tellers” of the Museum by providing histories about objects in the collection of the Brooklyn Museum. Hidden within the Libraries and Archives are a myriad of stories concerning the Schenck houses, which were recently renovated and reinstalled on the fourth floor of the Museum.

Photograph by Reverend William Edward Schenck. From Account of my trips to Holmdel, N.J. & Flatlands, L.I. by William Edward Schenck.

One can find several fascinating books, photographs and other documents in the Libraries and Archives that tell about the Schenck family and the houses they lived in. Highlights include photographs from the Historic American Building Survey and an original journal by Jane Malbone Schenck who wrote about what her life was like in Brooklyn in the 1800’s. A selection of these documents are currently on view in the Library display cases on the second floor of the Museum.

These documents are of great interest to many, including architectural historians of Brooklyn who want to know what Brooklyn looked like when the Schenck houses were built more than 330 years ago. These documents tell us about the houses, the transfer of owners and families and the re-emerging of the architecture through refurbishments and significant structural transformations. The photographs tell us about the transformation of the surrounding landscape from sweeping meadows to a Brooklyn neighborhood. They also provide evidence of how the houses have looked as they have been installed at the Brooklyn Museum.

Jan Martense Schenck House reinstallation. Brooklyn Museum Archives. Records of the Department of Decorative Arts.
Exhibitions: Schenck House reinstallation, 1971.

2008 is the 185th anniversary of the founding of this institution as a library (the Brooklyn Apprentice’s Library) and we are planning a series of talks about the history of the Library and the rare and unique collections held in this repository. We will be focusing on the materials related to the Schenck family in this upcoming series. Please email us at library@brooklynmuseum.org if you would like to know more about the talk or Schenck related materials in the Libraries and Archives.

For a complete history on the Schenck Houses, see Kevin Stayton’s book, Dutch by design : tradition and change in two historic Brooklyn houses : the Schenck houses at The Brooklyn Museum, available in the Museum Libraries. Additional installation images of the Schenck house can be found in our online exhibition index.

These slides show the Jan Martense Schenck House as it is being installed in its new location on the 4th floor. In the first few slides, you see the side view of the Nicholas Schenck House, grandson of Jan Martense.

The first step was to lay out the floor boards on a new substructure The boards were originally white pine (Pinus Strobus).

The next step was to erect the posts and braces that form the structure of the walls. These were made from oak (Quercus).

The posts (vertical elements) and beams (horizontal elements) were joined with mortise and tenons that were pinned.

Rigging and scaffolding was used to lift and position the very heavy timbers.

After the wooden sub-structure was built, the interior walls and window frames were inserted.

The attic floor is held up by supports called H bends.

Because the ceiling in the new gallery is higher than its former gallery , a new roof substructure had to be built, matching the pitch of the original roof.

Because of the new height, new roof shingles needed to be added and painted to match the shingles from the 1960 installation.

After paint cross section analysis and on advise of the Curatorial Department, the house was painted red, including the trim as would have been the convention in the 17th c.

Lisa Bruno
Objects Conservator

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John has also provided several web resources:

Old Dutch Houses of Brooklyn, Maud Esther Dillard (Brooklyn, 1945)

Lefferts Historic House (Prospect Park Website)

The Wyckoff House Museum

Lott House Restoration and Information

In my own travels on the web for this project, I noticed that Christopher Gray wrote this article for the New York Times about John and his house:

Streetscapes/2138 McDonald Avenue, Brooklyn; Preserving a Sense of Dutch Heritage in Gravesend

The Brooklyn Museum Schenck houses are now open! Catch what Carol Vogel has to say in the New York Times.

The Brooklyn Museum’s Schenck family houses have had a profound personal effect on me. In 1990, I was the editor for a book on the Schenck houses called Dutch by Design, written by curator Kevin Stayton. I found that book and the houses it was about so fascinating that I not only taught myself Dutch but I also wound up buying an old Dutch Brooklyn farmhouse of my own.

The book had five chapters. Kevin had countless fascinating illustrations lined up for chapters 1,2, 4, and 5, the chapters dealing specifically with the houses themselves. But almost no illustrations were planned for the middle chapter, a general history of the Dutch in Brooklyn. I suggested that we find Dutch houses still standing out in the streets of Brooklyn and use photos of them as illustrations. “Sure,” said Kevin. “Go knock yourself out.”

Finding the houses was not as difficult as it might seem. A book published in 1945, Old Dutch Houses of Brooklyn by Maud Esther Dillard, provided pictures and addresses of all the Dutch Brooklyn houses standing then, and I had only to see if they were still there. Most, sadly, were gone, but some, miraculously, had survived—and in the strangest places.

Hubbard House, circa 1915

Take 2138 McDonald Ave., the so-called Hubbard House, an 1830 Dutch farmhouse down under the elevated tracks of the F train in Gravesend. There, in 1990, I met Theresa Lucchelli, a wonderful cat-fancying former cocktail waitress who had lived in the house since 1904 and remembered Gravesend as a rural paradise. I asked her if was okay with her if I approached the Landmarks Commission about making the house a landmark. “Sure,” she said. “Go knock yourself out.”

Hubbard House, 2002. Compared to the 1915 photo, the house looks somewhat different. The lean-to on the left side in the photo of 1915 had a second story added to it in 1924.

Theresa died at the age of 95 in 1997, and the Landmarks Commission never has done right by her house. But after her death I bought and renovated the place with help of a private group known as the New York Landmarks Conservancy, and now I sometimes sit by the fire there of an evening as the F train rumbles past and reflect that I owe it all to the Schenck family houses at the Brooklyn Museum.

A: A whole lot of people!

In future posts, we’ll describe how the Schenck House was moved, but right now we are in the thick of preparing the entire floor to re-open to the public. A great deal of dust was generated from the construction of the past two years. Melanie Tran has been vacuuming chairs in the Danbury Room. Melanie is a volunteer in the Conservation Lab, who is interested in attending a graduate training program in art conservation. Getting experience in a conservation lab is one of the requirements for a graduate program.

The Danbury House, or Room, ca. 1775. Wood, brick, plaster. Brooklyn Museum, Henry L. Batterman Fund, 15.511

Jason and Jim,  two of the Museum’s art handlers, have been working with our current intern from the University of Delaware graduate program in art conservation, Jakki Godfrey. They are reinstalling the doors on a piece of furniture called a kas. The kas was recently treated anoxically for a pest infestation. The object was placed in a chamber and the oxygen was exchanged for argon gas, causing the wood eating insects to be exterminated. This technique has the advantage of not leaving toxic residues behind.

The vacuuming and reinstalling will continue for the next couple of weeks. Please come and visit when the rooms open!

The Jan Martense Schenck House is scheduled to re-open to the public in July. It has moved from its original location on the 4th floor to a new location that situates it next to the house of Nicholas Schenck, the grandson of Jan Martense. For those of you who have been coming to the Brooklyn Museum to visit the house since you were kids, and for those of you who have been bringing your children to visit the house, you may notice a bigger difference than simply the change in location. The house, formerly a dark blue when first installed at the Museum has been entirely re-painted deep red, including the trim!

The Jan Martin Schenck House came into the collection in 1950, and was assembled in the 1960’s on the 4^th floor of the Museum in the location that is currently occupied by Judy Chicago’s The Dinner Party. When assembled at the Museum, some of the wooden siding was included in the architectural components, but new siding had to be reproduced at the museum to completely finish the house. At that time, the house was painted dark blue, with a white trim.

To make way for the construction of The Elizabeth Sackler Center for Feminist Art which houses The Dinner Party, The Schenck House was disassembled and moved. Jim Boorstein of Traditional Line, an architectural conservation firm, was contracted to undertake this part of the project.

Detail of paint cross section showing the lowest red, and green paint layers, followed by several layers of white.

So why did we change the color from the dark blue to barnyard red? Obviously, any wooden frame house that remained standing in Brooklyn from the 17^th century to the early 20^th, would have been repaired and repainted numerous times as part if its maintenance and up-keep. In trying to understand the paint scheme, we took paint cross sections from the oldest existing pieces of wood siding that were present. This is a way to see what was the paint layer sequence. A small piece of paint is mounted into resin and polished smooth so that the layers can be seen in cross section underneath a polarizing light microscope. This work was done for us by Jamie Martin at Orion Analytical.

It needs to be said that we do not know the age of the wooden siding, and it is unlikely that it is part of the original siding from 1675-1677 when the house was thought to have been built, but it was a place to start.

Our original question was, “Why did they paint the Schenck House blue in the 1960’s installation?”. In examining the cross section, we found no evidence of a blue paint layer in the oldest existing paint from the house. Underneath the uppermost blue layer, which was applied by the Museum, were many layers of white paint, followed by a broken up green layer and an equally distressed red layer directly on top of the wood siding.

Consulting with Dr. Barry Harwood, Curator of Decorative Arts, it was thought that the numerous layers of white represent the painting scheme from the 19th c. onwards, as white was a popular color to paint a wood frame house, during that time period. The green and the red layers could therefore represent the colors the house was painting in the time before the 19thc. From this physical evidence on the cross section, and with the Curatorial expertise provided by Dr. Harwood, regarding the history of 17th and 18th c. houses, the Museum came to the decision to repaint the house red, to represent the oldest known existing paint color.

Dr. Harwood, and Museum Designer Lance Singletary worked with the Museum’s painters to achieve a color and a surface texture that would be in keeping with 17th c. housing painting practices.

We hope you enjoy visiting the newly painted, and newly installed house!

Lisa Bruno, Objects Conservator

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One of the great things about my job is coordinating materials for the website. For Schenck, we had four hours of video footage from the 2004 de-installation, so I created this short slideshow of the de-installation process using iMovie. I personally found it interesting to see how much video quality has changed in the past three years. This was filmed on what was considered a high-end consumer camera back in 2004, but you can see it’s pretty grainy and we’ve kept the images small to avoid further distortion. Still, it serves as a pretty good record of the process of taking the house apart for storage. If you are curious to know more about the de-installation process, David Owen wrote this Talk of the Town article for the September 2006 issue of the New Yorker.

The 2007 re-installation was also well documented and with much newer technology, so we’ll be posting some great shots from that process in the next month.