TREATMENT AND MOUNTING OF CERES, A LARGE MURAL PAINTING ON FABRIC BY JOHN NORTON
SOURCES OF SUPPLYAluminum (;Honeycomb) rigid support:
Met-L-Wood Corp., Chicago, ILBalsawood:
Baltek Corp., 10 Fairway Court, P.O. Box 195, Northvale, N.J. 07647“Jade 403” PVA emulsion:
AABBITT Adhesive, Inc., 2403 N. Oakley Ave., Chicago, IL 60647.Epoxy adhesive (;for bonding balsa to aluminum, EA-20-45 epoxyn adh.):
CP Copolymer Chemicals, Inc., 12350 Merriman Rd., Livonia, MI 48150.Cotton duck canvas (;10 ft wide, 11½ oz. per sq. yard):
Mauritzon, Inc., 2950 W. Chicago Ave., Chicago, IL 60622.“Aerosol OT” 10%:
Fisher Scientific Co.“Soluvar Matte” varnish:
Binney & Smith (;formerly Permanent Pigments Co.), Easton, PA 18042.“Acryloid B67 in naphtha:
Rohm & Haas, Philadelphia, PA.Double rollers:
Lawrence Keck, Ornamental Frame Repair, 131 Allen Street, New York, N. Y. 10002.Paint Remover:
ACE Hardware Stores.
1. John Norton was born in Lockport, Illinois, March 7, 1876. He died in Charleston, South Carolina, January 7, 1934. In 1935 friends of the artist arranged for a private printing by The Lakeside Press, Chicago, of “John W. Norton, American Painter.” It contains “A Brief Biography Of His Life” by Thomas E. Talmadge, and “An Appreciation Of His Work” by Tom Lea, together with reproductions of drawings, paintings and mural decorations. The notes on John Norton's life and work in this paper are from this book.
2. His first major mural was in 1909, in the Cliff Dwellers Club. Other murals by Norton are in the Library of Loyola University; Chicago Daily News building; The Tavern Club Lounge; the Logan Museum, Beloit, Wisconsin; and in Birmingham, Georgia.
3. Ten sketches preceded the final Art Deco design of “Ceres.” Norton's preliminary sketches with colored crayon and watercolor seldom exceeded 2″ scale. The final sketches were either oil, tempera, India ink with watercolor or pastel.
4. The rigid support was composed of 8 sections, constructed of aluminum skins with a honeycomb core of resin-impregnated paper, and ¼″ thick end-grain balsa attached to its face; cotton duck fabric was attached to its rear. The eight sections were joined (;tonguein-groove) with steel bars, in 2″ × 2″ hard wood which framed each section.
5. Mr. Don De Phillips of Cushman & Wakefield did a magnificent job of pulling everyone and everything together as project expediter.
6. Turner Construction Co., Chicago, Illinois.
7. “Jade 403” is now designated as “#834-403N.” It is a modified PVA resin emulsion, made by AABBITT adhesives, Inc., 2403 N. Oakley Ave., Chicago, Illinois 60647.
8. Select grade, kiln dried “Belcobalsa Rigid End Grain,” ¼″ thick panels 24″ × 48″, from Baltek Corp., 10 Fairway Court, Northvale, New Jersey 07647. Adhered to front side of rigid support with epoxy adhesive EA-20-45.
9. Extra large rollers were designed and constructed by Lawrence Keck, Ornamental Frame Repair, 131 Allen Street, New York, New York 10002.
10. Schmit Iron Works, Chicago, Illinois.
THIS CONSERVATION PROJECT required the cooperation of numerous individuals representing differing concerns: the CBOT; insurance brokers; the manufacturer of aluminum support; construction company carpenters; the project expediter; building management; two architectural firms; steel workers; loading dock personnel; numerous secretaries; and picture frame manufacturer. Each in their own way made important contributions to this undertaking.
Of utmost significance were the volunteer assistants without whom this project would not have been successfully realized. They were: Elizabeth Buschor, Maria Giavonnoni, Barbara Hall, Gary Hulbert, Beverly Perkins, Gregory Peterson, Else Pomerantz, Lorette Russenberger, Marie-Helene Guggemheim Satter, Ann Shaftel, Steve Starling, Stan Schmidt, Rick Strilky, Faye Wrubel, Aneta Zebala. To each of them I express my deep gratitude.