Auditorium Theatre :: Theatre Restoration

THEATRE RESTORATION

The Auditorium Theatre Council is excited to share with you the details of our major ongoing restoration project. Peruse the photos from each phase and stayed tuned to auditoriumtheatre.org for the ongoing progression of events and pictures from the current restoration project.

Phase 1 Restoration - Summer 2001

A major part of the 'phase 1' restoration this summer included painting the house of the theatre to the original color schemes and finishes chosen by the theatre's designer Louis Sullivan—this is no easy feat. Robert A. Furhoff, a widely respected expert in paint analysis and restoration, joined the ATC team to begin core sampling, which is a process that involves taking numerous paint samples from every surface for examination.

Like a cross-section of a tree trunk, which tells its age and history, so the samples of the Auditorium surfaces tell a chronology of a building repainted numerous times. Furhoff examined the paint samples under a microscope to determine the composition of the samples; then matched the findings with first-hand written accounts and light values of early photographs.

One of Furhoff's most interesting discoveries involves the reducer curtain, which forms the frame of the stage proscenium. The ATC and veteran historians originally believed that the reducer curtain was painted completely with gold leaf or gold paint, as pictured below. After Furhoff's research, it was found that the reducer curtain was painted with several shades of ivory and the composers' names were the only areas that received gold leaf touches.

After the completion of the core sampling, Robert Furhoff's results were examined and approved by the Illinois Historic Preservation Agency, the Landmark Preservation Council of Illinois and the Commission on Chicago Landmarks as well as by Louis Sullivan historical expert Tim Samuelson, Curator of Architecture and Design at the Chicago Historical Society.

Once the approval process was completed, results were taken to restoration painting contractor, EverGreene Painting Studios, Inc. EverGreene created "mock-up" sections that would display the proposed color schemes and finishes. Two "mock-up" areas, the stage right reducer curtain and ceiling arch in the house left balcony were painted. After the mock-up sections were completed, the aforementioned committee reviewed them.

With the mock-up sections complete, EverGreene Painting Studios, Inc. assembled a 15-member team of artisan painters chosen for their expertise in renovation painting and their abilities in a variety of painting disciplines, such as stenciling, gilding, glazing and plastering.

Six stories of scaffolding were erected in the theatre and a floor was laid across the top to give painters the vantage point to work above the seating area. Work then began on the restoration and preservation of Charles Holloway's mural that stretches across the proscenium, Louis Sullivan's stencils above the organ screens, and returning the ceiling arches and fascia panels to their original color schemes.

Holloway's mural of life-size figures depicts one's journey from life to death and displays the motto "The utterance of life is a song, the symphony of nature." The mural was cleaned and minor touch-ups were placed on top of an isolating varnish that separates "touch-up" from original. The stencil patterns above the organ screens were faded from many years. Evergreen cleaned the surfaces, and preserved the original stencils by covering them with a glaze. Artisans then traced the stencils and reproduced them on sanded canvas panels.

While artisans worked on cleaning and preserving Charles Halloway's mural and Louis Sullivan's stencils, others returned the ceiling arches and fascia panels to their original Sullivan color schemes.

Some of the ceiling arches required repair, especially the holes for light bulbs; and then gold leaf and several gradations of old ivory were added to the base coat. Additionally, a remarkable stencil of gold leaf was added to the fascia panels on the inside of each arch. This Louis Sullivan stencil was literally "brought back to life" after being painted over many years ago.

Artisans receive the 23-karat gold leaf, which is secured between two pieces of tissue paper. After the surface is sprayed with an adhesive called size. The gold leaf is pressed and smoothed against the intended surface.

With the Auditorium Theatre Council committed to the restoration and preservation of this historic landmark, this summer's restoration efforts were just the beginning. Future renovations will continue in the summer of 2002 and as the theatre's performance schedule allows.

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	THEATRE RESTORATION The Auditorium Theatre Council is excited to share with you the details of our major ongoing restoration project. Peruse the photos from each phase and stayed tuned to auditoriumtheatre.org for the ongoing progression of events and pictures from the current restoration project. View the May 14, 2002 Press Release on the Phase 2 Restoration Effort View photos of the Restoration Effort Phase 1 Restoration - Summer 2001 A major part of the 'phase 1' restoration this summer included painting the house of the theatre to the original color schemes and finishes chosen by the theatre's designer Louis Sullivan—this is no easy feat. Robert A. Furhoff, a widely respected expert in paint analysis and restoration, joined the ATC team to begin core sampling, which is a process that involves taking numerous paint samples from every surface for examination. Like a cross-section of a tree trunk, which tells its age and history, so the samples of the Auditorium surfaces tell a chronology of a building repainted numerous times. Furhoff examined the paint samples under a microscope to determine the composition of the samples; then matched the findings with first-hand written accounts and light values of early photographs. One of Furhoff's most interesting discoveries involves the reducer curtain, which forms the frame of the stage proscenium. The ATC and veteran historians originally believed that the reducer curtain was painted completely with gold leaf or gold paint, as pictured below. After Furhoff's research, it was found that the reducer curtain was painted with several shades of ivory and the composers' names were the only areas that received gold leaf touches. After the completion of the core sampling, Robert Furhoff's results were examined and approved by the Illinois Historic Preservation Agency, the Landmark Preservation Council of Illinois and the Commission on Chicago Landmarks as well as by Louis Sullivan historical expert Tim Samuelson, Curator of Architecture and Design at the Chicago Historical Society. Once the approval process was completed, results were taken to restoration painting contractor, EverGreene Painting Studios, Inc. EverGreene created "mock-up" sections that would display the proposed color schemes and finishes. Two "mock-up" areas, the stage right reducer curtain and ceiling arch in the house left balcony were painted. After the mock-up sections were completed, the aforementioned committee reviewed them. With the mock-up sections complete, EverGreene Painting Studios, Inc. assembled a 15-member team of artisan painters chosen for their expertise in renovation painting and their abilities in a variety of painting disciplines, such as stenciling, gilding, glazing and plastering. Six stories of scaffolding were erected in the theatre and a floor was laid across the top to give painters the vantage point to work above the seating area. Work then began on the restoration and preservation of Charles Holloway's mural that stretches across the proscenium, Louis Sullivan's stencils above the organ screens, and returning the ceiling arches and fascia panels to their original color schemes. Holloway's mural of life-size figures depicts one's journey from life to death and displays the motto "The utterance of life is a song, the symphony of nature." The mural was cleaned and minor touch-ups were placed on top of an isolating varnish that separates "touch-up" from original. The stencil patterns above the organ screens were faded from many years. Evergreen cleaned the surfaces, and preserved the original stencils by covering them with a glaze. Artisans then traced the stencils and reproduced them on sanded canvas panels. While artisans worked on cleaning and preserving Charles Halloway's mural and Louis Sullivan's stencils, others returned the ceiling arches and fascia panels to their original Sullivan color schemes. Some of the ceiling arches required repair, especially the holes for light bulbs; and then gold leaf and several gradations of old ivory were added to the base coat. Additionally, a remarkable stencil of gold leaf was added to the fascia panels on the inside of each arch. This Louis Sullivan stencil was literally "brought back to life" after being painted over many years ago. Artisans receive the 23-karat gold leaf, which is secured between two pieces of tissue paper. After the surface is sprayed with an adhesive called size. The gold leaf is pressed and smoothed against the intended surface. With the Auditorium Theatre Council committed to the restoration and preservation of this historic landmark, this summer's restoration efforts were just the beginning. Future renovations will continue in the summer of 2002 and as the theatre's performance schedule allows. back