Historic New England City of Gloucester Community Preservation Project Application Narrative, page 1

Historic New England requests a $25,000 grant from the City of Gloucester Community Preservation Act to complete one of the last phases of historic window conservation work at Beauport, the Sleeper-McCann House—a $50,000 project to conserve the severely weather- deteriorated windows of the harbor side of the building.

Project Narrative

Beauport, Sleeper-McCann House Beauport, Historic New England’s most-visited house museum, is a premiere travel destination in the City of Gloucester, a nationally important historic property and a unique educational and cultural resource. Designated as a National Historic Landmark (NHL), Beauport is described in the NHL nomination as “significant in American material culture as an important early collection of American antiques in distinctive arrangements housed within a unique architectural setting that influenced the appreciation, collection, and interpretation of American material culture, as well as the practice of interior design. This collection and arrangement by nationally-noted antiquarian, collector, and interior decorator, Henry Davis Sleeper, was influential in the development of Henry Francis du Pont’s Winterthur and other museum programs.”

Henry Davis Sleeper (1878-1934) began Beauport in 1907 and expanded it repeatedly over the next twenty-seven years with Gloucester architect Halfdan M. Hanson (1884-1952). A late- Victorian, shingle-style residence, perched on a natural rock ledge overlooking the Atlantic Ocean, Beauport comprises fifty-six rooms in a combination of French, English, colonial American, and oriental motifs.

In addition to a sense of mystery, wonder, beauty and spectacular location that appeals to a broad public, part of Beauport’s special architectural significance is as a unified work of architecture made of seemingly disparate parts. The complex exterior footprint and massing of Beauport is a product of the intricate interior plan. Interior circulation is sequenced, with rooms accessed from other rooms rather than by linear hallways. From hallway to dining room, from bedroom to alcove, every room is decorated to express Sleeper’s highly personal interpretation of a specific period of American life from the time of Plymouth down through the Revolution and the early Republic. The house is filled with dazzling collections—glass, hooked rugs, tole, redware, silhouettes, folk art, and memorabilia. It even includes whole sections of paneling or timbers taken from demolished colonial houses to continue the desired effect of an arrangement, rather than individual items, to evoke amazement in its visitors.

Beauport is an important link in the development of the museum period-room approach to the interpretation of American decorative arts, previously the domain of collectors and antiquarians, but now appealing to all visitors. Beauport influences American architectural practice and inspires others to preserve and reuse architectural details in functional contemporary settings. By extension, it also has raised public support for preserving historic architectural detail still in place, contributing to the present historic preservation movement that advocates restoration or rehabilitation of entire buildings.

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The consummate entertainer, Sleeper and his Eastern Point neighbors were leading members of “Dabsville,” a social, artistic, and intellectual colony that flourished in the first third of the twentieth century that both shaped and publicized Beauport. Dabsville itself was named for Sleeper and his summer neighbors, Joanna Stewart Davidge, proprietor of a New York finishing school; Abram Andrew Piatt, Harvard economist; Cecilia Beaux, the acclaimed portrait painter; and Caroline Sinkler, Southern heiress and arts patron. The acknowledged reigning doyenne was Isabella Stewart Gardner and guests often included John Singer Sargent, Henry James, George Arliss, Henry Lee Higginson, Paul Manship, Childe Hassam, John D. Rockefeller, Jr., Helen Hayes, Ethel Barrymore, Stephen Vincent Benet, F. Scott Fitzgerald, Henry Francis du Pont, Eleanor Roosevelt, and Mrs. William Howard Taft.

Charles and Helena Woolworth McCann purchased the property from Sleeper’s estate in 1935, preserving the house and collections intact. Their children donated Beauport to the Society for the Preservation of New England Antiquities/SPNEA, now Historic New England, in 1942. Beauport has remained remarkably unaltered since Sleeper’s death in 1934. Except for modifications to one room made in the McCann era, Sleeper’s interior arrangements are virtually intact. Historic New England interprets the house for the public today as it looked upon Sleeper’s death, excepting the China Trade Room, which preserves the McCann alterations. The house has been run as a highly popular historic house museum with guided tours since 1942. Following the conservation work, Beauport will remain open to the public as a house museum and significant Gloucester travel attraction.

Historic New England Founded in 1910 as the Society for the Preservation of New England Antiquities, Historic New England is the oldest, largest, and most comprehensive regional heritage organization in the country, a leader in preservation, research, and innovative programming. Headquartered in Boston, the organization owns and operates thirty-six historic properties in five New England states.

Mission and Vision Statement Historic New England serves the public by preserving and presenting New England heritage. The organization is a museum of cultural history that collects and preserves buildings, landscapes and objects dating from the seventeenth century to the present and uses these resources to keep history alive and to help people develop a deeper understanding and enjoyment of the New England way of life and appreciation for its preservation. By serving as a role model for the stewardship of New England heritage, Historic New England utilizes its preservation philosophy to educate, to instill an appreciation and awareness of history, to share knowledge and leave a legacy for future generations, and to promote greater involvement on the part of individuals and communities in the preservation of the past.

Program Areas Historic New England offers five distinct yet interrelated program areas: Historic Properties: The most comprehensive collection of homes and properties in New England, thirty-six house museums and landscapes spanning four centuries of architectural styles and five New England states present unique American stories. Historic New England City of Gloucester Community Preservation Project Application Narrative, page 3

Library and Archives: More than one million items—photographs, prints and engravings, architectural drawings, books, manuscripts, and ephemera—document New England’s architectural and cultural history. Information is shared through www.HistoricNewEngland.org, Historic New England magazine, publications and catalogues. Collections: The largest assemblage of New England art and artifacts in the country, an extraordinarily broad collection of more than 110,000 objects of historical and aesthetic significance represent the region’s heritage. Educational Programs: Innovative school and youth programs use primary sources to reinforce and enrich student learning for 36,500 young people each year. Programs meeting national, state, and local curriculum standards and frameworks are fun, multi-disciplinary, and suited to a variety of learning styles. Preservation Services: Private property owners share the common goal of protecting the unique character of our historic heritage throughout the region. As one of the first preservation easement programs in the country, Historic New England’s Stewardship Program is a national model; now protecting 76 properties.

Project Background and Description Beauport has been well maintained and cared for over its 103-year life. The structure, however, is subject to significant water penetration due to its location, the harsh coastal New England climate and its complex form of construction. The building’s location on a natural rock ledge directly above the Atlantic Ocean places it directly in the path of surface water runoff. Despite the diligence and care provided by Historic New England’s preservation staff to maintain the structure, moisture-related issues have established a foothold. Current preservation efforts, including the window conservation project, will prevent future moisture penetration, remove potential threats to the building, and mitigate further damage to the historic fabric and collections. Ultimately, the visitor experience will be greatly enhanced as these efforts will eliminate further threats to the interior, facilitating continued conservation and enjoyment of the expansive collection.

In 2006, Historic New England received a grant from the prestigious Getty Conservation Institute to perform a comprehensive conditions assessment of Beauport, Sleeper-McCann House to determine the overall issues at the house. That assessment outlined points of water penetration, structural abnormalities, and possible repair options. In 2008, Historic New England secured a $500,000 matching grant for the planned $1,135,475 preservation project from the highly competitive Save America’s Treasures (SAT) program through the Department of the Interior to address some of the most significant issues threatening the building and collections within. The scope of work includes window repairs and repainting, masonry repairs, and a wood shingle roof replacement. Work is scheduled to continue through 2011. A much needed partial match to the SAT grant was secured through the Massachusetts Preservation Project Fund (MPPF Round 14; $50,000) in 2008 that allowed Historic New England to begin window conservation work on other sides of the house.

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Historic New England is now working towards the challenging restoration of severely deteriorated windows on the harbor side of the property, located over the rocky ledge and the sea. We request $25,000 in funding from City of Gloucester Community Preservation Act to support this $50,000 Phase IV of the window restoration project. If we are fortunate enough to receive funding from the City of Gloucester Community Preservation Act, matching funds will be provided through the Save America’s Treasures (SAT) grant already approved. Combining City of Gloucester Community Preservation Act funds with national SAT funds will allow Historic New England to complete critical preservation work at Beauport.

Window Conservation at Beauport Beauport features a wide variety of windows, many designed to maximize sunlight and harbor views. The house includes 106 window openings with 249 individual wood sash units in varying operation including fixed, casement, and double-hung. The windows are grouped in singles or banded and include Palladian, Gothic, bullseye, and fanlight designs. Overall, the windows feature nearly 4,000 individual panes of plate glass set in rectangular and diamond patterns. Historic New England City of Gloucester Community Preservation Project Application Narrative, page 5

A window survey, performed in August 2008, identified window units that required advanced care due to deterioration. Many window components were defective, including the wood joinery at the bottom rail and side stiles. The glazing putty had lost its elasticity, resulting in chipped and cracked glazing that allowed water to penetrate between the interface of the wood and glass. Even those windows not requiring advanced care were noted in the assessment as requiring care in the form of minor conservation work, glazing, sill repairs, and a finish coat of paint.

Typical sash on the harbor side of the building. Deteriorated Deteriorated sill and flaking paint at the Servant’s glazing and paint flaking at the Sun Porch. Restored in spring 2009. Quarters. Restored in spring 2009.

The window conservation project was divided into several phases with the work beginning in November 2008. The windows located along the terrace were chosen as Phase I. Shop conservation included removal and repair of deteriorated wood, removal of deteriorated glazing and re-glazing, repairing or replacing cracked lites, cleaning, and repainting both interior and exterior wood. All hardware on operable sash was removed, cleaned, repaired or replaced in- kind, lubricated, and re-installed. In addition, window casings, sills, and wood trim onsite were repainted. As the project work progressed, it was apparent that the building housed more rot than initially expected. Historic New England’s in-house carpentry crew continued to work onsite approximately four additional weeks to repair properly various wood components of the window frames. All work was detailed in extensive field reports and photographs, which were sent weekly for review by the Massachusetts Historical Commission (MHC; administrators of the MPPF grant) review. Recognizing the hard work and unforeseen project issues, MHC offered an additional $16,000 of grant funds to complete a Phase II of the project. Historic New England matched this money with $16,000 from the Save America’s Treasures grant and continued the work with an additional project scope of $32,000—totaling $132,000 of Phase I and II window work at the site.

Historic New England City of Gloucester Community Preservation Project Application Narrative, page 6

The additional funds allowed the organization to remove more sash for full conservation, surface glaze and repaint only mildly deteriorated sash on the front elevation, and complete the repairs and repainting of wood trim on the terrace elevation. During Window Conservation Phase I and Phase II, Historic New England successfully completed the conservation of 136 sash units, repaired and repainted 21 exterior shutters, and replaced 8 rotted sills. In fall 2009, Phase III was detailed for conservation. These windows were only accessible via portions of the roof, and as the roof is scheduled for replacement this summer, those windows were conserved during the winter and spring in order to allow full access for the roof project.

Today, approximately 169 sash have been repaired and re-installed. However, the majority of the most severely deteriorated windows are located on the harbor elevation (northwest) of the house including such iconic windows as the 10’x 5’ pocket window of the Golden Step Room. The Golden Step Room (1921) connects Beauport directly to Gloucester’s harbor, with white walls and ceiling serving as a backdrop for green furniture and glassware, as well as elaborately detailed ship models, all lit by a huge diamond-paned window which slides down into the wall, letting in waves of the harbor’s light and air. Also included in the Phase IV window conservation is the Palladian-style window with Moorish influences of the Master Mariner’s Room (1925). The Master Mariner’s Room features collections from New England’s historic shipping industry such as nautical instruments, carved figures and an 1835 whaler’s journal, all complemented by a representation of the wealth that the ships brought to New England, a massive main-entrance doorway salvaged from a house in Newport, Rhode Island.

The issue with these windows is access. The openings are located directly over the rocky ledge and therefore extremely difficult to access. It was decided to wait until the roof replacement project started in order to utilize the roof scaffolding. With the planned installation of the new roof now commencing, Historic New England is poised to complete the window conservation on the harbor side of the house and is in the final stages of establishing the scope of Phase IV work. We are requesting half of the total estimated budget from the City of Gloucester’s Community Preservation Act fund to complete this important conservation work.

Work would include, but not be limited to:

Full Conservation: Severely deteriorated sash will be removed, plywood blanks or acrylic panels will be installed to fill the voids, and the sash will be transported to a workshop. All glazing will be removed and deteriorated wood elements will be restored with dutchman repairs—in kind. Some epoxy repairs are allowed if the areas are small and hard to reach. The glass will be cleaned, repaired or replaced, and re-glazed into place. All hardware will be removed, cleaned, repaired, lubricated, and re-installed. Fully conserved sash will then be repainted both on the exterior and the interior. Painting consists of scraping flaking and loose paint, priming, and re-painting with two top coats. A detailed paint chronology is helpful for future work; therefore a small amount of the original paint will remain.

Historic New England City of Gloucester Community Preservation Project Application Narrative, page 7

Typical deteriorated bottom rail on the harbor side of the building. The rotted portion was removed and a new rail was made in kind.

Typical deteriorated mortise and tenon joint on the harbor side of Rotted areas were cut out and the joint was repaired with new the building. wood.

Historic New England City of Gloucester Community Preservation Project Application Narrative, page 8

Surface Glazing: Some sash do not require full conservation services, therefore only surface glazing and repainting will be completed. Surface glazing includes the removal of only deteriorated glazing putty, re-glazing, scraping, and repainting in situ.

Sash that are not in a severely deteriorated state can The sash was then scraped and repainted in situ. be repaired in place. Above, the deteriorated glazing was removed and new putty was shaped in place.

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Sill/Frame Repair: Sometimes sills and frames are too rotted to re-install newly conserved sash. Sills that have voids due to deterioration will prematurely damage newly-conserved sash. Sills and frames will be repaired in a variety of ways. Sills that are too rotted for small wood repairs will be replaced in kind while others may be repaired with epoxy.

A rotted sill at the terrace elevation was too rotted for small The rotted portion of the sill was removed. repairs.

Of window

The new sill was milled and shaped to fit the opening. The new sill was then bolted into place and painted.

Historic New England City of Gloucester Community Preservation Project Application Narrative, page 10

Historic New England requires three competitive bids before determining a contractor for the work. Currently, one bid has been received for estimating purposes, which became the basis for this grant request. Two more bids will be obtained before the contractor is selected.

Criteria for Contractor Selection: Historic New England hires only qualified firms that have experience with museum properties. The criteria for selection are generally based on the following: • Depth of experience with similar projects and familiarity with buildings of similar architectural significance and construction—in particular, projects subject to State Historic Preservation Officer review and the Secretary of the Interior’s Standards for Historic Preservation (within the last three years); • Documented experience with restoring historic wood windows; • Demonstrated understanding of tasks to be performed and products to be utilized; • Training and educational background appropriate to the project described; • and quality of previous work on public and private projects.

Appropriateness of Proposed Work Celebrating its centennial, Historic New England follows an institutional preservation philosophy that emphasizes the retention of all historic fabric—any feature or part of the structure and site is valuable to the understanding of its evolution and history. Diligent maintenance is the first step in preventing the loss of historic fabric, but if work is required, the condition is analyzed and evaluated to determine the proper approach to preserve the resource. When work is performed, all efforts are made to retain the historic fabric and, if repairs or replacement are necessary, Historic New England strives to match materials in-kind and to fully document the work that has been performed as prescribed by the Secretary of the Interior’s Standards for the Preservation of Historic Buildings.

Historic New England maintains up-to-date conditions assessments of its properties as an invaluable component of maintenance and project planning for all the historic properties and landscapes the organization owns. The properties are assessed by teams—generally made up of a preservation project manager, a preservation carpenter, a preservation manager, and the site manager. Conditions assessment guidelines and priority ranking systems allow each property to be assessed in a similar fashion, therefore distributing a more uniform ranking system across the organization.

The conditions assessment report for Beauport categorizes and prioritizes conditions found throughout the structure, allowing for a thorough understanding of the issues affecting the entire property. The information from this report outlines a general work plan for Beauport’s conservation. The specifications included in this proposal address the focus of this application— conservation and rehabilitation of the historic harbor side windows. Historic New England’s specifications are guided by the generally accepted principles of architectural preservation and conservation to retain and preserve as much original fabric as possible.

The Massachusetts Historical Commission has maintained a limited Preservation Restriction at Historic New England City of Gloucester Community Preservation Project Application Narrative, page 11

Beauport since the 1970s. The document was updated in 2009 to retain the MHC restriction in perpetuity. All proposed projects are sent to the MHC for comment before any repairs are started. Window conservation work is already approved. A copy of the Preservation Restriction is included with this application.

Use of Traditional Materials If objects, buildings and landscapes from the past are to convey their full meanings to people in the present and the future, it is essential that their authenticity be protected and cherished. The patterns of wear, methods of construction, old materials, and irregularities of age communicate the use to which these things have been put, at the same time they document change. Because all this physical evidence is valuable, Historic New England believes that the buildings and collections in its care must be treated in the most conservative manner through stabilization and traditional maintenance rather than restoration and reconstruction. The goal is to assure that the collections are preserved unimpaired for the education and enjoyment of future generations.

At Historic New England, all preservation and conservation work strives to retain all original materials by the least intrusive methods possible. When old materials must be replaced either to safeguard the life of an object or building, or because they are beyond repair, the first priority is to replace them with the same kind of material. If, for some reason, this is not possible, the reasons for not doing so must be clearly articulated and existing treatment protocols followed. All conservation measures are thoroughly documented in order to record Historic New England’s contribution to the object’s or building’s history.

Administrative and Financial Management Capabilities Historic New England has a long tradition of documenting not only the structures in its care but also any interventions into the fabric of a structure. The professional preservation staff has been maintaining Beauport since the 1940s. Historic New England’s archives contain a rich store of primary source material documenting all phases of the structure’s existence and owners over the history of the house as well as any structural or other repairs performed by the organization’s in- house preservation carpentry crew. Detailed financial and project management systems are in place to ensure timely and effective project completion. While preservation managers are responsible for specific projects, additional oversight and assistance is given to all projects by the Business Services and Development offices of Historic New England.

Historic New England has extensive experience in the administration of grant projects. Currently, the active grant portfolio includes funds from more than forty governmental, corporate, foundation, and state organizations, totaling close to $1.5 million annually. Historic New England is currently administering Community Preservation Act funding from the Town of Yarmouth, Mass and the City of Quincy, Mass, and is familiar with the standards and management required to implement Community Preservation Act funded projects.

Community Needs Served Mitigating the moisture issues will preserve the irreplaceable structure and collections of this National Historic Landmark for future generations to enjoy. Securing the structure will preserve original historic fabric, precluding a need to create reproductions. Open from Tuesday through Saturday, June 1 to October 15, 11 a.m. to 5 p.m., Beauport welcomes the general public for Historic New England City of Gloucester Community Preservation Project Application Narrative, page 12

tours, programs, and research. City of Gloucester residents are admitted to Beauport free of charge. Special programs offered at Beauport include extended Nooks and Crannies tours, Twilight Tours, Tea by the Sea (a tea served on the terrace), and lectures and workshops in partnership with local organizations.

Community Participation • Beauport is one of two National Historic Landmarks in Gloucester. • Beauport had 5,550 visitors in 2009. • Beauport is free and open to Gloucester residents. • Beauport is an active member of the Cape Ann Chamber of Commerce and North of Boston Convention and Visitor's Bureau. • Beauport is included in many packaging efforts with Cape Ann businesses. The 2008 Arts Lovers’ Package included ten accommodations and five premier arts attractions on Cape Ann, including Beauport. • Beauport is prominently featured on several web sites promoting Cape Ann, the North Shore, Essex County and Massachusetts. • Beauport takes part in Trails and Sails, an annual event organized by the Essex National Heritage Commission to increase visibility and visitation throughout Essex County. • Beauport is the site for numerous lectures, and is a study site for the annual Program in New England Studies at Historic New England. • The conservation work at Beauport is examined in a series of “Hard Hat” tours for the public detailing preservation issues with the house and how they were or will be repaired • Beauport is a partner with Gloucester’s Ocean Alliance on the Historic New England centennial project 100 Years, 100 Communities which is collecting and sharing the history of the Tarr and Wonson Paint Manufactory in Gloucester Harbor. Historic New England staff is collecting oral histories from former paint factory employees, artists, and local residents to develop an exhibition illustrating the impact of the paint factory on twentieth-century Gloucester. • In 2006, Beauport was featured in World of Interiors and Martha Stewart Living. Both articles have attracted visitors from throughout the United States and parts of Europe. • Beauport was prominently featured in the December 2009 issue of The Magazine Antiques. • Beauport is on the cover of the Great Houses of New England, a 2008 Rizzoli publication featuring twenty-five extraordinary houses from all six New England states.

If objects, buildings, and landscapes from the past are to convey their full meanings to people in the present and the future, it is essential that their authenticity be protected and cherished. Tourism is one of Massachusetts’s most important industries and visitors travel from around the world to experience this unique Gloucester landmark for themselves. Like the Isabella Stewart Gardner Museum and Winterthur, Beauport represents the early twentieth-century trend wherein collectors turned distinctive houses into cultural institutions that would survive them. The preservation efforts at Beauport will ensure the survival and sharing with the public of this remarkable architectural achievement and witness to the beginnings of interior design. HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

Completion Report

Project Name: Window Conservation Project—Phase III Beauport, Sleeper-McCann Site: Structure: Museum House Date Started: February 2010 Date Completed: May 2010 Estimate of $50,000 Actual Cost: $50,000 Cost: Contractor or Techne Preservation Jodi Black Staff Involved: Component of Yes (Portion of the Save America’s Treasures Grant) larger project:

Pre-Work Statement of Condition: In 2008, an extensive survey was conducted to summarize window type, photo document existing conditions, and provide a treatment priority designation for each window. Beauport features a wide variety of windows, many designed to maximize sunlight and harbor views. The house includes 106 window openings with 249 individual wood sash units in varying operation including fixed, casement, and double-hung. The windows are grouped in singles or banded and include Palladian, Gothic, bullseye, and fanlight designs. Overall, the windows feature nearly 4,000 individual panes of plate glass set in rectangular and diamond patterns.

Many window components were defective including the wood joinery at the bottom rail and side stiles. The glazing putty had lost its elasticity, resulting in chipped and cracked glazing that allowed water to penetrate between the interface of the wood and glass and thus threatening historic materials. The majority of the most severely deteriorated windows were located on the harbor elevation (northwest).

Northeast elevation—typical conditions of the Belfry Chamber sash (southeast elevation) before windows included flaking paint and failing glazing work started. (Fall 2009) which led to wood rot. The goal of this phase was to complete sash accessible only by the roof.

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Treatment Plan (scope of work): The intent of this project was to provide complete conservation to as many sash as funding would allow while retaining as much of the historic element as possible. The sash in this phase were determined by their location—accessible only by the roof as the roof is slated for replacement this summer (2010).

Partial funding was provided by the Save America’s Treasures grant (SAT). This is the third phase of window work for the Museum. The first and second phases completed conservation services for 136 sash (Funded by SAT and the Massachusetts Preservation Projects Fund [MPPF]—Massachusetts Historical Commission). The sash were repaired and repainted during the spring of 2009.

Final results for phase I and phase II: Ninety-five sash were removed to a workshop and received full conservation services— these included the terrace elevation (northwest), the southwest elevation; and several special sash by the Historic New England carpentry crew. With additional funds from the MPPF, the team also surface glazed and repainted 41 sash on the southeast elevation (front entrance). In addition, the carpentry crew repaired or replaced eight sills on site.

Phase III included 33 sash—28 for removal and 5 for surface glazing and repainting only.

Removal for full conservation: China Trade Room Balcony- W2.01 (6 sash) Belfry Chamber- W2.03, W2.04, W2.05 (6 sash) Belfry Chamber Closet- W2.06, W2.06.1 (4 sash) Nelson/Belfry Bath- W2.07 (2 sash) Nelson Room- W2.08 (2 sash) Byron Room- W2.09 (2 sash) Red Indian Room-W2.18 (1 sash) Music Room-W2.23 (2 sash) Blue Willow Room- W2.27 (1 sash) Servants Quarters- W2.41, W2.42 (2 sash)

Surface glazing and repainting only: Red Indian Room- W2.19, W2.21, W2.22 (3 sash) Red Indian Bath- W2.10 (2 sash)

Philosophical Issues: Sill Replacement : As with the first and second phase, the team found rot at several of the sills within the Phase III project. The Carpentry Crew Foreman reviewed each sill to determine whether it could be saved or required replacement. Replacement was only considered if the sill was no longer viable or if the repairs would be too difficult or be prone to failure. Dutchman repairs were preferred and epoxy repairs were used sparingly.

Hinge Replacements : Because the house was built intermittently over a 27 year period,

May 2010 Page 2 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities several casements were made inoperable due to the placement of later rooflines. Three of the casements could not be removed because they could not be opened fully to reach the screws of the hinge. Although the team first decided to leave the sash in place and attempt to do surface repairs, it was determined that the sash were in such poor condition that the hinges were cut to allow for removal. New pinned hinges have been installed to allow easier removal for future work. The original hinges have been filed.

Operation of Sash : All casements in Phase III were made operable. However, salt, sand, and other debris could be found at the sash located on the harbor side (Music Room and Blue Willow Room). It was determined to seal these windows with caulk in order to avoid possible moisture issues during driving rain storms. The casements can be operable again once the caulk is removed.

Work Performed Actual work performed: Full Conservation : Severely deteriorated sash were removed, plywood blanks were installed to fill the voids, and the sash were transported to a workshop. All glazing was removed and deteriorated wood elements were restored with dutchman repairs. Some epoxy repairs were allowed in small and hard to reach places. The glass was cleaned, repaired or replaced, and re- glazed into place. All hardware was removed, cleaned, repaired, lubricated, and re- installed. Fully conserved sash were repainted both on the exterior and the interior. Painting consisted of scraping flaking and loose paint, priming, and re-painting with two top coats.

Surface Glazing : Some of the sash did not require full conservation services, therefore only surface glazing and repainting was completed. Surface glazing included removal of only deteriorated glazing putty and re-glazing and scraping and repainting in situ.

Sill Repair (General Epoxy/Dutchman Repairs) : Sills and frames were repaired in a variety of ways. Sills that were too rotted for repairs were replaced while others could be repaired with epoxy.

Dutchman repairs— Belfry Chamber (W2.04); Belfry Chamber (W2.05); Nelson/Belfry Bath (W2.07); and the left sill at window opening W2.06 (this is an oriel window with three applied sills).

Epoxy repairs— Belfry Chamber (W2.03) and the front sill at window opening W2.06 (this is an oriel window with three applied sills)

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Completed sash on the northeast elevation over the The completed and now operable sash located at the kitchen roofs. (W2.06) Belfry Chamber. (W2.04) (May 2010) (May 2010)

Issue I: Sill Repair (General Epoxy/Dutchman Repairs) : Generally, rotted sills are repaired with ducthman repairs—where the rotted portion of the sill is cut out to good wood and a piece of new wood is glued or bolted in its place. This was done at the Nelson/Belfry Bath (W2.08). However, the extent of rot was so great on some of the sills within the project that dutchman repairs were not feasible. Therefore these sills were fully replaced— Belfry Chamber (W2.04 and W2.05) and Belfry Chamber Closet (W2.06). Sills that required only small repairs or reinforcement were filled with epoxy ( Flex Tec ).

Replacement sills were done with western red cedar attached with stainless steel through bolts and glued with an epoxy at the splice. Generally, Historic New England uses Spanish cedar (mahogany) for replacement sills, however, the Spanish cedar purchased for this project did not mill properly. It was severely unstable tension wood, which created enough stress to split apart during the milling process.

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The main sill at window opening W2.04 (Belfry The new sill was milled out of red cedar—typically Chamber) had severe rot at the mullions near the Spanish cedar is used for sill replacement, however, interior stool. Because of the location of the rot, the Spanish cedar could not be milled properly (it dutchman repairs would have been difficult and the split), therefore stock red cedar was used. (W2.04) possibility of failure was high. Therefore the sill was fully replaced. (Bruce Blanchard, Carpentry Crew Foreman)

The location of this sill at the Belfry Chamber The new wood sill at the Belfry Chamber (W2.05). (W2.05) is below the bell tower roofline. Due to The wood was treated with a boiled linseed oil and this location a significant amount of water splashes turpentine mixture before being primed and back onto the sill and has rotted the corner. The sill repainted. was replaced as well as the lower portion of the brick molding. Diverters will be placed on the roof to alleviate the problem.

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The sills on the oriel window opening of W2.06 (Belfry Chamber Closet) are only applied. One was The newly replaced sill and the epoxy corner of severely rotted and replaced. The corner of the window opening W2.06 (Belfry Chamber Closet). front sill was slightly deteriorated and was repaired with epoxy.

Prepping the sill at the Nelson/Belfry Bath (W2.07) Wood repairs were cut to the proper size and glued for ducthman repairs. into place. Larger repairs were also fastened with stainless steel screws.

Issue II: Hardware Replacement : The Nelson/Belfry Bath (W2.07a) was extremely difficult to remove due to its location on the building. This sash only opened a few inches before meeting the skylight located at the Paul Revere/Little Lady Bath on the first floor. Therefore the contractor was unable to properly remove the screws to the hinges. As the sash was in poor condition, it was determined to remove the sash by cutting the screws to the hinges. May 2010 Page 6 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

As with the Nelson/Belfry Bath casement, the Music Room casements only opened a few inches before meeting the roof line to the Red Indian Room. Therefore, the screws to the hinges were also cut.

New hinges were installed that include a pin, which can be easily removed for future conservation work. Although it appears that the clearance on the hinge jamb is much longer, the new hinge is roughly the same size as the original.

The sash at the Music Room (W2.23) could only be One of the casements to the Nelson/Belfry Bath opened a few inches before meeting the Red Indian (W2.07) could not fully be opened due to a later roofline. addition and skylight.

May 2010 Page 7 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

The new pinned hinges are the same size as the old The new pinned hinges of the Music Room sash. hinges and will make future removal easier.

Issue III: Window Blank Failure : In order to avoid fasteners into the historic wood window frame, the contractor used plywood blanks with interior clamps. Unfortunately, during a wind/rain storm in February that had 60-80 mph winds one of the blanks fell out of the building. No collections were harmed and the blank was re-secured the following day.

The plywood blanks with clamps used to hold the blanks in place. The opening was secured with plastic until the plywood blank could be re-attached.

May 2010 Page 8 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

The plywood blank was re-secured and all blanks were re-enforced with tension bars on the exterior and interior.

Issue IV: Sealant : The goal of the work was to make each casement conserved fully operational. After several days, however, two of the sash located on the harbor side (W2.23 and W2.27) allowed noticeable debris into the building from the harsh harbor winds. It was determined to seal these windows with caulk to eliminate possible moisture issues in the future from driving rain storms. In addition to the harbor side, the sash located at the China Trade Room Balcony (W2.01) were sealed between the connections to eliminate moisture issues.

The two side lights to the China Trade Room Balcony opening (W2.01) are actually two sash staked on top of each other. During removal it was discovered that the bottom rail of the top sash and the top rail of the bottom sash were severely deteriorated. In order to eliminate some of the moisture issues, the connections were sealed and painted. Painting maintenance will be key at this window.

May 2010 Page 9 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

Materials: Area: Advanced Repair Technology- Flex Tec Epoxy repairs to wood sills and frames Wood- Western Red Cedar Replacement sills Wood- Pine Dutchman repairs to frames and sash Sherwin Williams "Sher-Max Ultra" White Sash caulking Sarco Type M Glazing Putty HXTAL NYL-1 Glass repairs

Primer & Paint: Primer: California 20/10

Exterior sash and trim: California Exterior Satin Neutral Base: W10717 (Custom Mix)

Interior: Byron Room (W2.09) & Nelson Room (W2.08) California 2010 Interior Semi Deep Base: #8746N Timber Trail

Nelson/Belfry Bath (W2.07) California 2010 Interior Semi Natural Base: #8682W Estate Greige

Belfry Chamber (W2.03, W2.04, W2.05) California 2010 Interior Semi Natural Base: #DE5642U Forest Path

Belfry Chamber Storage (W2.06, W2.06.1) California 2010 Interior Semi Natural Base: #DE5711 Up North

China Trade Room Balcony (W2.01) California 2010 Interior Semi Natural Base: #8605D English Pine

Servants Quarters (W2.41 & W2.42) California 2010 Interior Semi Natural Base: DE6136 Terra Cotta

Blue Willow Room: (W2.27) California 2010 Interior Semi Natural Base: #DE6265 “Moss”

Music Room: (W2.23) California 2010 Interior Semi Deep Base: #DE6392 “The Met”

*Note: The project came in slightly under budget. It was determined to use the remaining $3,000 and continue UV film installation in the building. The remaining sash in the Sun Porch and the windows located in the Strawberry Hill Room were filmed in May 2010.

Submitted by: Jodi Black Date: June 1, 2010

May 2010 Page 10 of 10 HEARTWOOD WINDOW RESTORATION 26 forget Road Hawley, MA 01339 Jade Mortimer 413-339-4298 p/f [email protected]

March 19, 2010

Jodi Black, Preservation Project Manager Historic New England Lyman Estate 185 Lyman Street Waltham, MA 02452

~PROPOSAL`

Project: Beauport Window Restoration

Below is an outline of RESTORATION for the harborside windows. Pricing for all window openings with the exception of 1.29, 1.31 and 2.15, 2.16 and 2.15 steel casements reflect a full restoration.

GOLDEN STEP ROOM 1.29 and 1.31 surface work with the possibility of repair $ 1,625 1.30 Complete restoration 7,750

OCTAGON ROOM 1.32 A&B 2,210 1.33 3,150 1.34 A&B 2,210

CLOISTER ROOM 1.35 A&B (includes weather stripping) 2,800

MARINER’S ROOM 2.14 A&C 2,340 2.14 B 2,080

RED INDIAN ROOM BALCONY 2.15 A&B (includes weather stripping of all fixed sash) 1,560 2.16 A&B 1,560 2.17 A&B 1,560

TOTAL RESTORATION $28,845

Page 2 of 2 Beauport Window Restoration

Below is an outline of EXTERIOR PAINTING for the harborside trim, sills, steel casement windows and storm porch/balcony area

Storm porch/balcony area $ 1,200 Steel casements 1,560 Golden Step room 900 Octagon room 900 Cloister room 500 Mariner room 900 Red Indian Balcony 1,050

TOTAL PAINTING $ 7,010

Below is pricing for costs outside of actual restoration.

Site prep $ 1,200 Removal/Reinstallation (included in restoration pricing) ------Window blanks (all acrylic) 2,850 Documentation & Administration 1,805 Supplies & Materials 1.200 Reimbursements for overnight accommodations & travel 4,860

TOTAL ADDITIONAL $ 11,915

Pricing below is for four exterior STORM WINDOWS with low-e coating, installed

1.29, 1.31, 1.33 and 2.14B All fixed storms

TOTAL STORMS $ 3,400

HARBORSIDE TOTAL $ 51,170

Initial Needs Assessment:

BEAUPORT

The Sleeper-McCann House 75 Eastern Point Boulevard County of Essex Gloucester, Massachusetts

July 2006

Volume 1

prepared for: Historic New England 141 Cambridge Street Boston, Massachusetts by: Integrated Conservation Resources 41 East 11th Street New York, New York Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

TABLE OF CONTENTS VOLUME 1

I. INTRODUCTION...... 1

II. METHODOLOGIES ...... 3

A. Review of Historic Documentation ...... 3

B. Interior Survey Methodology ...... 4

C. Exterior Survey Methodology ...... 6

D. Laboratory Analyses ...... 7

1. Anion Analyses ...... 7

a. Methodology for EM Quant Strips ...... 7

b. Methodology for Micro-Chemical Spot Testing ...... 7

2. Mortar Analysis ...... 8

3. Exterior Cleaning Testing...... 8

III. VISUAL CONDITIONS GLOSSARIES ...... 9

A. Interior ...... 9

B. Exterior ...... 12

IV. FINDINGS ...... 16

A. Summary...... 16

B. Interior Survey Findings ...... 19

1. Priority 1 Conditions ...... 19

a. Water Infiltration...... 19

(1) FP3 Chimney...... 19

(2) FP4 Chimney...... 20

(3) FP5 Chimney...... 22

b. Other Leaks...... 23

(1) FP1 Chimney & the Strawberry Hill Room Attic (302) ...... 23

(2) Lord Byron/Lord Nelson Rooms Attic (303) ...... 24

(3) Sun Porch (107) Exterior Wall ...... 25

c. Probable Structural Cracks...... 26

2. Priority 2 Conditions ...... 26

a. Windows & Doors...... 26

(1) Openings...... 26

(2) Condensation...... 27

b. Standing Water in Basements...... 28

Integrated Conservation Resources : ICR ii Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

c. Trace Amounts of Moisture Infiltration ...... 28

d. Potential Structural Cracks...... 29

e. Wood Borings...... 30

3. Priority 3 Conditions ...... 30

C. Exterior Survey Findings ...... 31

1. Priority 1 Conditions ...... 31

a. Wood Rot, 1908 Exterior Wall ...... 31

b. Concrete Lintel, Golden Step Room (147) ...... 31

c. Sagging Window, Pine Kitchen (138) ...... 32

2. Priority 2 Conditions ...... 32

a. Windows...... 32

b. Open Joints ...... 33

c. Separation of Stair 13...... 33

d. Step Cracks at the North Gallery (231) and South Gallery Writing Nook (104) ...... 34

3. Priority 3 Conditions ...... 35

a. Biological Growth...... 35

V. FINDINGS, LABORATORY FINDINGS...... 36

A. Anion Analysis ...... 36

1. Cogswell Hall (108) ...... 36

2. Golden Step Room (147), Golden Step Room Basement (004) & Red Indian Room (228) ...... 36

3. Exterior Wood Soffits ...... 37

B. Mortar Analysis ...... 37

1. Golden Step Room Basement (004), Sample B...... 37

a. Recommended Replication Mix...... 38

b. Recommended Materials...... 39

(1) Sand...... 39

(2) Lime ...... 39

(3) Cement ...... 39

VI. POTENTIAL REPAIR OPTIONS ...... 40

A. Interior Conditions...... 40

1. Priority 1 Conditions ...... 40

a. Water Infiltration...... 40

b. Other leaks ...... 41

c. Probable Structural Cracks ...... 41

2. Priority 2 Conditions ...... 41

Integrated Conservation Resources : ICR iii Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

a. Windows & Doors...... 41

(1) Openings...... 41

(2) Condensation...... 42

b. Standing Water in Basements...... 42

c. Trace Amounts of Water Infiltration...... 43

d. Potential Structural Cracks...... 43

e. Wood Borings...... 43

3. Priority 3 Conditions ...... 44

B. Exterior Conditions ...... 44

1. Priority 1 Conditions ...... 44

a. Wood Rot, 1908 Exterior Wall ...... 44

b. Concrete Lintel, Golden Step Room (148) ...... 45

c. Sagging Window, Pine Kitchen (138) ...... 45

2. Priority 2 Conditions ...... 45

a. Windows...... 45

b. Open Joints ...... 45

c. Separation of Stair 13...... 45

d. Step Cracks at the North Gallery (231) and South Gallery Writing Nook (104) ...... 45

3. Priority 3 Conditions ...... 46

a. Biological Growth...... 46

VII. OUTBUILDINGS ...... 47

A. Gatehouse ...... 47

B. Garage...... 48

VIII. PRELIMINARY COST ESTIMATES...... 49

A. Introduction...... 49

B. Summary...... 50

APPENDIX A: Floor Plans & Construction Phase Diagrams APPENDIX B: Floor Plan Moisture Diagrams

VOLUME 2 APPENDIX C: Interior Conditions Worksheets APPENDIX D: Exterior Conditions Worksheets APPENDIX F: Anion Analysis Worksheets APPENDIX E: Mortar Analysis Worksheets

Integrated Conservation Resources : ICR iv Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

I. INTRODUCTION

Beauport, the Sleeper-McCann House, a property of Historic New England and a National Historic Landmark, is the work of designer Henry Davis Sleeper and architect Halfdan M. Hanson. It was the summer home Mr. Sleeper, a collector and interior designer. The house, begun in 1907, is built on the rocky shore overlooking Gloucester Harbor and is composed of rooms arranged by color and light, decorated to suggest various historical and literary themes. Over the course of 27 years additions were built in 7 campaigns – 1909, 1912, 1914, 1917, 1921, 1925, 1934 - resulting in a total of over 40 rooms on two floors, three basement spaces and three attics. Sleeper became well known for his unique designs and subsequently designed homes for several celebrities. After Sleeper's death in 1934, Charles and Helena McCann bought the Beauport house and grounds intact, adding Chinese porcelain objects to the collections but making very few changes to the house. The only significant McCann changes were renovations to the China Trade Room. The property was used by the McCann family primarily as a summer residence. Upon the deaths of their parents, the McCann children donated the house and its contents to SPNEA, now known as Historic New England, in accordance with their parents’ desires.

Beauport was designated a National Historic Landmark, national registration number 03000641, on May 27, 2003. The National Parks website notes it as, “nationally significant in American material culture as an important early collection of American antiques in distinctive arrangements housed within a unique architectural setting that influenced the appreciation, collection, and interpretation of American material culture, as well as the practice of interior design. This collection and arrangement by nationally-noted antiquarian, collector and interior decorator, Henry Davis Sleeper, was influential in the development of Henry Francis du Pont’s Winterthur and other museum programs.”

This report has been prepared by Integrated Conservation Resources, Inc. (ICR) in response to a request by the Historic New England, regarding a preliminary conditions survey and initial needs assessment for Beauport, the Sleeper-McCann House, 75 Eastern Point Boulevard, County of Essex, Gloucester, Massachusetts.

Specific tasks documented in this report are:

ƒ Review of Historic Documentation ICR reviewed historic records of the house and grounds made available by Historic New England. This included original construction drawings, blue-lines and prints, historic photographs, and other data regarding repair history, details of construction design, original appearance and modifications made over time.

ƒ Materials & Conditions Survey ICR carried out a preliminary visual survey of all interior and exterior architectural finishes excluding interior decorative finishes and treatments such as wall paper and textile wall coverings, fixtures, furnishings. A hands-on survey was conducted of the interior, including

Integrated Conservation Resources : ICR Page 1 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

moisture readings of stains and other areas suspected to be damp. A hands-on and binocular survey was also completed for the exterior. High resolution digital photography was also used for both the interior and exterior surveys.

ƒ Building Material Conservation & Repair Matrix ICR developed a matrix including the following for use in project planning categorized by material:

1. A list of conditions 2. Estimated extent of materials and existing conditions 3. Potential options for cleaning, stabilization and/or repair 4. A unit cost to implement the potential repair option 5. An assignment of priority levels 6. Items for further investigation by others

ƒ Preliminary Conservation Testing At this early stage of the project, testing was kept to a minimum. Testing costs have been included in the Building Material Conservation and Repair Matrix where future testing is recommended. The following preliminary testing was conducted based on observations made at the site:

Laboratory Testing:

a. Analysis of original brick and granite pointing mortars to develop compatible replication pointing mortars b. Anion analysis of selected efflorescence deposits c. Investigation of deterioration on ceiling surrounding the chimney in the Golden Step Room to identify presence and/or type of salts (e.g. calcium carbonate vs. calcium sulfate) to identify likely source and course of action 1. In-Situ Testing: a. Development of granite cleaning methods & materials for removal of biological growth b. Development of brick cleaning methods & materials for removal of biological growth

Integrated Conservation Resources : ICR Page 2 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

II. METHODOLOGIES

A. Review of Historic Documentation

The SPNEA Library and Archives generously made their collection of architectural drawings, photographs and texts relating to Beauport available for review. Drawings included original blue-lines and prints of Halfdan M. Hanson site plans, floor plans, framing plans, elevations and miscellaneous finish carpentry details. Also available for review were a series of sketch plans illustrating dates and configuration of additions: ca. 1908 (1st & 2nd floors); ca. 1901 (1st & 2nd floors ); ca. 1912 (1st & 2nd floors); ca. 1914 (2nd floor); ca. 1917 (1st & 2nd floors); ca. 1921 (1st & 2nd floors); ca. 1925 (2nd floor); ca. 1934 (1st & 2nd floors), a plot plan by John H. Griffin, Surveyor, July 18, 1929, and miscellaneous architectural drawings donated by students and others studying Beauport.

Using documents from the archives, ICR mapped out and dated each construction campaign in plan for documentation purposes. (See Appendix A: Floor Plans & Construction Sequence Diagrams.) These plans, and existing elevations, became the base drawings on which conditions were recorded. The construction sequence notation was particularly useful in calling attention to ‘seams’ where additions abut earlier phases of construction.

The SPNEA Library and Archives also has an extensive photograph collection of the house’s interior and exterior dating from 1910 to 1977. Those reviewed by ICR included:

ƒ 3 volumes of black and white prints

ƒ 2 volumes of interior images and 1 of the exterior taken by T.E. Marr and Son thought to be taken between 1910 and 1915

ƒ approximately 100 interior and exterior black and white prints presumed to have been taken by Samuel Chamberlain

ƒ approximately 100 primarily black and white with a few color prints of social events and familial scenes at Beauport spanning the 1940’s and early 1950’s

ƒ an album of 19 black and white prints of the interior with one of the exterior terrace taken ca. 1930

ƒ interior black and white prints taken by SPNEA in 1977

Photographs were used for relative dating of specific deteriorative conditions. Photographs containing evidence of cracking, staining, soiling, mold, efflorescence or other indication of deterioration were photographed digitally. Others already existing as digital images were provided to ICR for use in our office. This information allowed ICR to approximate the date and progress, if any, of these conditions. Where moisture-related conditions were determined to be active through site survey, the photographs were used to determine whether a condition is long-standing or relatively recent.

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B. Interior Survey Methodology

The initial preliminary interior visual survey was conducted during sub-freezing temperature days, February 13 & 14, 2006 following a severe snowfall covering the New England area. This event produced snow deposits in the house on survey days, allowing ICR an unexpected visual aid to locate points of moisture entry (See Appendix C: Floor Plan Moisture Diagrams.)

The survey was conducted by an ICR conservator and conservation architect. Before beginning the survey the ICR team was given a tour of, and introduction to, the site by Ben Haavik, Historic New England Team Leader, Property Care; Mickey Karpa, Beauport Preservation Manager; and Pilar Garro, Beauport Site Manager. Once physically familiar with Beauport, the team used the Floor Plans & Construction Sequence Diagrams as a base to assign reference numbers to all interior spaces and stairs. Designations are listed at the end of this section.

The two worked as a team on a room by room basis to survey all interior spaces. Conditions indicative of ongoing or accelerated decay such as dampness, efflorescence, staining, major cracking and major loss were noted as prime priorities. To supplement visual observation of stained, damp, and efflorescing areas, a moisture meter (Protimeter Moisture Measurement System) was used to detect moisture activity at the surface and up to a subsurface depth of 10mm.

Each observed condition was noted and categorized according to substrate material. The extent of each condition was estimated for the purposes of calculating potential repair extents and associated costs. Estimations of extents in square and linear feet were recorded in the field by measurements (where accessible) or visual estimation (where inaccessible). It is important to note all extents are estimated and approximate in nature for the purpose of developing schematic phase cost estimates. (See Appendix C: Interior Conditions Worksheets.)

Conditions were also assigned initial priorities in the field and finalized in the office. Active conditions that pose the most extensive threat to the historic materials were given the highest priority (1) while conditions that have the least impact on the longevity of historic material were ranked as lowest priority (3). All conditions were digitally photographed.

The preliminary interior visual survey was concluded, following the same methodology, on May 1 during light rain, on May 2-4 during or following heavy rains and in clear, dry weather May 5. As with the snow on the initial visit, this weather made visible leaks which might have been undetected on dryer days, very apparent, providing a valuable aid to locate areas of moisture and/or points of moisture entry (See Appendix B: Floor Plan Moisture Diagrams).

Room Reference Numbers, Names and Construction Dates:

Basement 001 South Gallery Basement 1908 002 Chapel Chamber Basement 1912 003 Octagon Room Basement 1921 004 Golden Step Room Basement 1920

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First Floor 101 Book Tower 1912 102 Pineapple Room 1912 103 South Gallery 1908 104 South Gallery Writing Nook 1908 105 South Gallery Extension 1921 106 China Trade Room 1908 107 Sun Porch 1934 108 Cogswell Hall 1908 109 Bath 1, Cogswell Hall 1908 110 Green Dining Room 1908 111 Green Dining Room Closet 1908 112 Vestibule, China Trade Room/Sun Porch 1908 113 Linebrook Parish Room (Jacobean Room) 1908/1912 114 Chapel Chamber (Paul Revere Room) 1912 115 Chapel Chamber Closet 1912 116 Bath 2, Chapel Chamber/Little Lady Room 1908 117 Little Lady Room 1908 118 Little Lady Room Closet 1908 119 Passage 1 1908 120 Central Hall 1908 121 Central Hall Cove 1908 122 Central Hall Cove Closet 1908 123 French Foyer 1908 124 Pastry Pantry 1909 125 Pastry Pantry Cove 1909 126 China Passage 1908 127 Central Hall Closet 1908 128 Service Pantry 1908 129 Glass Pantry 1908 130 Cloister 1908 131 Octagon Corner Room South 1921 132 Octagon Room 1908/1921 133 Octagon Corner Room North 1908 134 Franklin Game Room 1917 135 Pine Kitchen Closet 1917 136 Franklin Game Room Vestibule 1917 137 Basement Stair Vestibule 1917 138 Pembroke Room or Pine Kitchen 1917 139 Servant Stair Vestibule 1909 140 Pembroke Room Nook 1917 141 Winter Kitchen 1909 142 Winter Kitchen Storage/Mechanical 1917 143 Side Entry Passage 1917 144 Exterior Storage 1917 145 Laundry 1909 146 Passage 2 1921 147 Golden Step Room 1921 148 Northwest Storage Room 1934 Second Floor 201 Book Tower Balcony 1912 202 Book Tower Nook 1912 203 Shelly Room 1912 204 Shelly Room Closet South 1912 205 Shelly Room Closet North 1912 206 Bath 3, Shelly Room/Blue Willow Room 1908 207 Passage 3 1908 208 Blue Willow Room Thru-Closet 1908 209 Blue Willow Room 1908 210 China Trade Room Balcony West 1925

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211 China Trade Room Balcony East 1925 212 Bath 4, Strawberry Hill Room 1908 213 Strawberry Hill Room 1908 214 Strawberry Hill Room Closet 1908 215 Belfry Chamber Closet East 1912 216 Belfry Chamber 1912 217 Belfry Chamber Hidden Closet 1912 218 Bath 5, Belfry Chamber/Lord Nelson Room 1912 219 Belfry Chamber Closet West 1912 220 Lord Nelson Room Closet 1908 221 Lord Nelson Room 1908 222 Passage 4 1908 223 Passage 4 Closet 1908 224 Lord Byron Room 1908 225 Lord Byron Room Closet 1908 226 Music Room 1908 227 Bath 6, Red Indian Room 1914 228 Red Indian Room 1914 229 Indian Room Porch 1925 230 Master Mariner's Room 1925 231 North Gallery 1925 232 Maid's Room 1 1917 233 Maid's Room 2 1917 234 Maid's Room 2 Closet 1917 235 Maid's Room 3 1917 236 Maids’ Quarters Hall 1917 237 Maids’ Quarters Bath 1917 238 Maids’ Quarters Hall Closet 1 1917 239 Maid's Room 4 1917 240 Maid's Room 5 1917 241 Maids’ Quarters Hall Closet 1 1917 Attic 301 Bath 3/Passage 3 Attic 1908 301 Strawberry Hill Room Attic 1908 303 Lord Byron/Lord Nelson Rooms Attic 1908 Stairs Stair 01 Pineapple Room (102) to Book Tower Balcony (201) 1912 Stair 02 South Gallery Basement (003) to South Gallery (103) 1908 Stair 03 South Gallery (103) to Blue Willow Room (209) 1908 Stair 04 Linebrook Parish Room (113) to Belfry Chamber (216) 1912 Stair 05 Central Hall (120) to Passage 4 (222) 1908 Stair 06 Chapel Chamber Basement (002) to Basement Stair Vestibule (137) 1917 Stair 07 Maids’ Quarters Stair Vestibule (139) to Maids’ Quarters Hall (236) 1917 Stair 08 Golden Step Room Basement (004) to Golden Step Room (147) 1921 Stair 09 Laundry (145) to North Gallery (231) 1925 Stair 10 Stair 03 landing to Bath 3/Passage 3 Attic (301) 1908 Stair 11 Strawberry Hill Room Closet (214) to Strawberry Hill Room Attic (302) 1908 Strawberry Hill Room (213) & Lord Byron Room (224) to Lord Byron/Lord Nelson Stair 12 1908 Rooms Attic (303) Stair 13 West retaining wall terrace to Northwest Storage Room (148) 1921 Stair 14 Exterior at south end to South Gallery Basement (001) 1908

C. Exterior Survey Methodology

The preliminary exterior visual conditions survey was begun in sub-freezing temperatures on February 10, 2006, two days prior to the February 12th blizzard. The survey scope included all visible exterior surfaces of the main house, garage and gatehouse. Where accessible, a hands-on survey was conducted on the lower building surfaces while higher portions of the building were observed

Integrated Conservation Resources : ICR Page 6 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006 with the aid of binoculars. The type and severity of each observed condition was noted and categorized per material. Extents are based on field measurement of conditions when possible. Where field measurement was not possible, extents have been approximated or derived from known visual cues such as brick unit dimensions. It is important to note, as with the interior survey, all extents are estimated and approximate in nature for the purpose of developing schematic phase cost estimates. (See Appendix D: Exterior Conditions Worksheets.)

The exterior survey included stone, unit masonry and wood. Conditions were subdivided according to the specific material on which they occur, e.g. brick, mortar and granite. These subdivisions were used in part to aid in the analysis of the types and potential causes of deterioration, and also because the treatment for a particular condition may vary in type or cost based on the specific material.

The exterior survey was concluded on May 1 prior to light rain showers and on May 4 during breaks in heavy rain fall and May 5 in clear, dry weather.

D. Laboratory Analyses

1. Anion Analyses

Efflorescence deposits were collected, labeled and brought back to the laboratory for anion and calcium ion analysis, leading to salt identification.

All samples were tested for the presence of chloride, nitrate/nitrite, phosphate and sulfate anions, and for calcium ion, via EM Quant ion-specific test strips. Confirmation testing was conducted using micro-chemical spot tests. Samples exhibiting only limited water solubility were also tested micro- chemically for carbonate ion. a. Methodology for EM Quant Strips

Samples were dissolved in 5 ml of distilled water. Ion-specific test strips were used qualitatively in this investigation. The presence of the target ion causes the reaction zone of the test strip to change color. Test strip reaction zones are immersed in the sample solution for one second, excess liquid shaken off and reviewed for color change after one minute. The resulting color is compared to a manufacturer’s color chart(s) to identify levels of target ion presence. b. Methodology for Micro-chemical Spot Testing

This procedure tests for the presence of non-soluble carbonates. The samples were dissolved in 10 ml of distilled water. Small amounts of each sample solution were placed in a spot plate and 1-2 drops of 3M hydrochloric acid were added according to the following analytical procedures. The presence of the specific anion is signified by the formation of a precipitate, a change in color, or the evolution of gas.

Integrated Conservation Resources : ICR Page 7 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

2. Mortar Analysis

Two samples of pointing mortar were extracted from the masonry joints using a hammer and chisel, and brought back to the ICR laboratory for gravimetric analysis. Samples were taken from the following locations:

ƒ exterior brick joint at the Green Dining Room (110) west façade

ƒ original wall at Golden Step Room Basement (004)

ƒ interior brick joint from the outer chimney face at the China Trade Room (106); the location was accessed through an access panel at the Ground Floor on the chimney’s west side

A freshly broken surface of each extracted mortar sample was viewed under a variable magnification, stereo-binocular microscope with a fiber optic light source (3200 Kelvin, with daylight blue filters). The binder color was matched to a color standard of the Munsell Soil Color Chart. The Munsell System of Color Notation identifies color in terms of three attributes: hue, value, and chroma; color standards are opaque pigmented films on cast-coated paper, mounted on charts for each hue.

Each sample was then separated into its three constituent fractions: the acid-solubles, the fines (e.g., pigment, cement, or clay residue), and the sand. Separation was accomplished via wet-chemical techniques. The acid-soluble fraction was removed by digestion with 3M hydrochloric acid. Levigation and filtration were then used to separate the fines from the sand. The colors of the fines and sand were matched to the Munsell Soil Color Chart. The predominant colors, shapes and typical size of the sand grains were noted by microscopic examination, and grain size distribution was determined by sieve analysis.

3. Exterior Cleaning Testing

In-situ cleaning tests were conducted on biological growth at Stair 04, serving the Linebrook Parish Room (113) and Belfry Chamber (216), exterior granite and the Linebrook Parish Room (113) exterior brick. Each cleaning method was tested in small mock-up panels of approximately 12” X 12”. All cleaning materials were chosen according to their suitability for use on each respective substrate, and by the types and levels of soiling or staining. All proprietary products were applied according to the manufacturer's recommendations.

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III. VISUAL CONDITIONS GLOSSARIES

Below is a list of conditions per material and potential repair options. Note that at this preliminary stage, the conservation repairs and cleaning methods have not been determined by testing, but rather are based on our experience of standard methods and materials proven successful in treating similar conditions in the past.

A. Interior

Condition: ƒ Potential Repairs Brief description of condition. Example Photograph

BRICK

Cracks, Step: ƒ review by structural Opened or cracked joints connected through engineer several courses of masonry. This condition typically indicates movement.

Priority 1

Efflorescence: ƒ locate moisture source The formation of surface deposits, often white and address cause of in color, crystalline in form, powdery to the infiltration touch, and composed of soluble salts, originating from substances applied to the ƒ remove stain by material or from constituents within the material poultice itself, or from external, environmental sources.

Priority 1 (active) Priority 2 (inactive)

Moisture Detected: ƒ locate moisture source Localized areas of wetness manifested by and address cause of chromatic alteration. infiltration

Priority 1

METALS

Corroded Ferrous Inserts: ƒ locate moisture source Oxidized nails, hooks, and other metallic and address cause of elements mechanically fastened to surfaces. infiltration if not Priority 3 (non-historic) external ƒ scrape, prime, and seal

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GRANITE

Efflorescence: ƒ locate moisture source The formation of surface deposits, often white and address cause of in color, crystalline in form, powdery to the infiltration touch, and composed of soluble salts, originating from substances applied to the ƒ remove efflorescence material or from constituents within the material (by dry method or itself, or from external, environmental sources. poultice)

Priority 1 (active)

PLASTER

Cracks: ƒ if structural, review by Fractures of variable length or width, through structural engineer single or multiple plaster layers. ƒ infill cracks

Priority 1 (probable structural cracks) Priority 2 (potential structural cracks) Priority 3 (non-structural cracks)

Detachment: ƒ if structural, review by Planar discontinuities or voids between structural engineer plaster layers, or between plaster and masonry backup, detected visually or by a hollow sound produced when tapping on the surface. Detachment may be "blind" or in association with delamination or flaking.

Priority 3

Efflorescence: ƒ locate moisture source The formation of surface deposits, often white and address cause of in color, crystalline in form, powdery to the infiltration touch, and composed of soluble salts, originating from substances applied to the ƒ remove efflorescence material or from constituents within the material (by dry method or itself, or from external, environmental sources. poultice)

Priority 1 (active) Priority 3 (inactive)

Loss, Minor: ƒ infill loss with like Absence of single or multiple plaster layers, material ≤2 square inches, exposing subsurface finish layers, lath, or underlying substrate.

Priority 3

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Moisture Detected: ƒ locate moisture source Localized areas of wetness manifest by and address cause of chromatic alteration. infiltration

Priority 1

Moisture Staining: ƒ locate moisture source Discoloration of exposed or painted plaster and address cause of surface. Characteristic of extensive moisture infiltration damage. Coloration is usually yellow to ƒ remove stain by brown. poultice

Priority 1 (active) Priority 3 (inactive)

WOOD

Cracks: ƒ fill with epoxy Splits or checks of variable length or width ƒ prepare and paint visible at exposed wood surfaces.

Priority 3 (non-structural)

Insect Borings: ƒ review by exterminator Insect galleries and tunnels in the wood specializing in wood usually made apparent by exit holes visible at the wood surface; sometimes accompanied by frass and excreta.

Priority 2 (suspect)

Moisture Staining: ƒ locate moisture source Discoloration of wood or painted wood and address cause of surface caused by contact with water. infiltration

ƒ cleaning tests to remove stain Priority 1 (active)

Moisture Detected: ƒ locate moisture source Localized areas of wetness manifested by and address cause of chromatic alteration. infiltration

Priority 1

Rot, Wet: ƒ assess extent of Fungal decay in wood resulting in the damage and repair degradation of wood cells, leading to loss in accordingly; establish weight and strength of the wood. measures to prevent recurrence of such condition Priority 2

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B. Exterior

BRICK

Biological Growth: ƒ clean with biocide Surface growth or coloration indicative of biological colonization. May be of varying thicknesses, colors (generally black, green, yellow or orange) and biological origin (micro- flora such as fungi, lichen, algae, bacteria). Potentially also infesting superior plants and vegetation such as vines, which can crack, discolor, or disfigure the masonry.

Priority 3

Step Cracks: ƒ consult structural Opened or cracked joints connected through engineer several courses of masonry. This condition ƒ re-point typically indicates movement.

Priority 1

Efflorescence: ƒ locate moisture source The formation of surface deposits, often white and address cause of in color, crystalline in form, powdery to the infiltration touch, and composed of soluble salts, originating from substances applied to the ƒ extract salts material or from constituents within the material itself, or from external, environmental sources.

Priority 2 (active)

Open or Failing Joints: ƒ re-point with compatible Complete loss, partial loss or discontinuity of mortar pointing mortar resulting in potential water infiltration; structural instability can result if loss extends beyond pointing depth.

Priority 2

Spalls: ƒ replace brick Detachment or loss of brick fragments, of greater material depth than exfoliation, often related to water infiltration, dissimilar thermal or hygric expansion and contraction rate of adjacent material, and/or expansion of ferrous pins or anchors, or manufacturing defects.

Priority 3

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CONCRETE

Failing Previous Patch: ƒ consult structural Prior patch repair manifesting failure through engineer cracking. ƒ completely remove unsound patch Priority 1 ƒ patch with compatible concrete repair material

GRANITE

Biological Growth: ƒ clean with biocide Surface growth or coloration indicative of biological colonization. May be of varying thicknesses, colors (generally black, green, yellow or orange) and biological origin (micro- flora such as fungi, lichen, algae, bacteria). Potentially also infesting superior plants and vegetation such as vines, which can crack, discolor, or disfigure the masonry.

Priority 3

Open or Failing Joints: ƒ rake and re-point Complete loss, partial loss or discontinuity of pointing mortar resulting in potential water infiltration; structural instability can result if loss extends beyond pointing depth.

Priority 2

LEADERS & DOWNSPOUTS

Damaged Drain: ƒ replace affected Damages such as misalignments or breaks extents suggest water is not being properly coursed through these elements.

Priority 2

STEEL

Oxidation: ƒ scale rust to sound Rusting steel elements sometimes encased material in previous repairs (patches) or original ƒ fill pits and voids with elements. epoxy ƒ prepare, prime and

paint Priority 2

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STUCCO

Cracks: ƒ rout out crack and fill Cracks of variable length or width. Majority of cracks observed were hairline in width.

Priority 2

WINDOWS

Failing Paint & Glazing Putty: ƒ remove existing putty Cracking, flaking and detachment of paint and scrape paint and/or glazing putty indicating loss of ƒ re-glaze adhesion and improper protection of the ƒ prime and paint substrate.

Priority 2

Failing (or absent) Caulk: ƒ install new Gaps between windows and masonry where caulk has weathered off, or is absent, permitting moisture entry.

Priority 2

Cracked Glass Lights: ƒ replace in-kind Hairline cracks of variable lengths on window panes.

Priority 3

Defective Flashing (sill): ƒ replace affected Insufficient drip edges, misalignments or extents breaks that permit water entry.

Priority 2

Defective Detailing (sill): ƒ dismantle sill Improperly sloped and flashed sills allowing ƒ implement new flashing water to collect on brick and wood window detail elements and potentially entering the wall ƒ reassemble sill system.

Priority 2

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Defective Flashing (header): ƒ replace affected Flashing permitting water penetration. extents Inadequacies include missing sections and insufficient or damaged drip edges.

Priority 2

WOOD

Cracks: ƒ fill with epoxy Splits or checks of variable length or width ƒ prepare and paint visible at exposed wood surfaces.

Priority 3 (non-structural cracks)

Efflorescence: ƒ locate moisture source The formation of surface deposits, often white and address cause of in color, crystalline in form, powdery to the infiltration touch, and composed of soluble salts, originating from substances applied to the ƒ extract salts material or from constituents within the material itself, or from external, environmental sources.

Priority 3 (active)

Insect Borings: ƒ review by exterminator Insect galleries and tunnels usually made familiar with historic apparent by exit holes visible at the surface; properties sometimes accompanied by frass and excreta.

Priority 3

Rot, Wet: ƒ assess extent of Fungal decay in wood resulting in the damage and repair degradation of wood cells, leading to loss in accordingly weight and strength of the wood. ƒ establish measures to prevent recurrence of such condition Priority 2

Failing Paint: ƒ scrape, prime and paint Cracking and detachment of paint indicating loss of adhesion and improper protection of the substrate.

Priority 3

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IV. FINDINGS

A. Summary

Beauport has been well-maintained and cared for over its life. Generally the house is in very good condition for its age and complexity. It is currently, and has historically been, beset by persistent leaks and minor breaches that permit water infiltration. Photographs taken as early as 1920 provide evidence of previous spot leaks. The majority of these have been repaired, but their stains and efflorescence remain on the decorative finishes and plastered surfaces of the walls. Evidences of structural issues typically encountered in older structures are also present such as cracking and minor displacement. Other issues directly or indirectly contributing to active decay of varying degrees of consequence – insect damage, compromised flashing, misaligned windows, etc. –also exist. This survey documented these issues and ranked them according to level of threat: Priority 1 Conditions of highest threat, Priority 2 Conditions of moderate threat, and Priority 3 Conditions of low threat. For example, active moisture penetration is categorized as a Priority 1 or 2 Condition dependent upon magnitude. The most critical conditions in order of importance are 1) the deterioration of the original 1908 exterior wall below sill level, and 2) water infiltration through three chimneys and chimney roof penetrations.

The degradation of the original 1908 exterior wall below sill level seems to originate in 1921 when a brick facing was laid over the original 1908 stucco façade without effective protection against moisture entry into this new construction. Water is infiltrating. Once within the wall, system moisture is unable to exit or quickly dry out. In a tour of the house and review of recent maintenance and restoration work, Mr. Mickey Karpa of Historic New England described the need and process for the reconstruction of significant portions of the lower exterior walls of the Pine Kitchen and Cogswell Hall (108). Probes conducted at the time of the survey revealed severely rotting and damp wood members at the Green Dining Room (110). Wood members at this location are so severely rotted they crumble under minimal pressure. This condition should be further investigated with the input of a structural engineer to determine extents, impact on adjacent elements and possible effect on load bearing capacities.

Water infiltration through chimneys has historically been problematic. Previous remediation efforts to stop infiltration include re-pointing in 1986, filling five of the six chimneys with polystyrene ‘peanuts’ (packing material) and capping the chimneys with 1 ½” bluestone in 1988-89, the addition of venting to the chimney copper caps in 1996, and in 2003, the re-pointing and rebuilding of severely deteriorated brick and stucco and the epoxy injection fill of cracks. While some methods of remediation have been successful, problems persist at three of the six chimneys. Water entry at these locations is affecting not only the chimneys, fireplaces and hearths themselves, but is also causing visible deterioration to adjacent finishes, artifacts, and rooms. (See Appendix B: Floor Plan Moisture Diagrams.) The effects include rust jacking of lintels, major loss of plaster and stucco and open joints. For reference, the fireplaces have been numbered as follows:

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Fireplaces FP1 Hearths at the China Trade Room (106) & 1908 Strawberry Hill Room (213) FP4 FP2 Hearth at the Green Dining Room (110) 1908 FP3 Hearths at the Linebrook Parish Room (113), 1912 Chapel Chamber (114) & Belfry Chamber FP2 (216) FP1 FP5 FP4 Hearths at the Octagon Room (132), Golden 1921 Step Room (147) & Master Mariner’s Room (230) FP3 FP5 Hearth at the Pine Kitchen (138) 1917 FP6 FP6 1917 Hearth at the Franklin Game Room (134)

Three fireplaces have persistent through-chimney water infiltration: FP3, FP4 and FP5. There is also evidence to suggest water is entering the structure at roof penetrations at each of these fireplaces as well. The most severe instance is found at FP3. Here, the following was observed:

ƒ bulk water dripping inside the chimney and forming puddles at the hearth

ƒ water running down the rear of the fireplace causing puddles at the floor of the Belfry Chamber Hidden Closet (217)

ƒ significant erosion of fireplace pointing

ƒ major areas of plaster loss

ƒ wood lath rot at the ceilings and walls

No past remedial efforts have been successful; active deleterious conditions can be found at finishes and assemblies at all levels in adjacent spaces.

At FP4 photographs provide evidence of a leak since 1915. It continues to manifest presently as recurring efflorescence on the ceiling near the fireplace in the Golden Step Room (147). At the second floor level of this fireplace probes reveal the chimney is very wet.

Moisture levels at FP5 are comparatively less, but moisture at this location is affecting the finishes of adjacent spaces. A preliminary review of the accessible areas of the chimneys from the roof did not indicate any clear points of water entry commensurate with the magnitude of levels observed. However, a large open joint covering half of an upper course and several cracks across the brick are visible. The roofing and flashing appear generally sound from the roof itself, yet conditions visible from below at the second floor outer face of the chimney suggest a failure in flashing. At the Hall Closet (238) there is plaster loss/exposed lath, elevated moisture levels, water staining, and daylight visible when looking up along the south face of the chimney. At Maid’s Room 4 (239) there is significant damage to and loss of the plaster ceiling adjacent to the fireplace. At the First Floor there are high moisture levels at the Pine Kitchen (138) hearth. High levels were also recorded on the rear of the fireplace in the Winter Kitchen Storage/Mechanical accompanied by efflorescence and ferrous staining. Remediation efforts for this chimney include the installation of copper caps and removal of Portland cement mortar in 1996.

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An additional location of a suspected waterproofing failure associated with a chimney is at FP2 in the Strawberry Hill Room Attic (302). Here a copious amount of water was observed to run down the outside of the chimney and adjacent lath. Approximately 50% of the attic’s adjacent west plaster ceiling has detached and fallen to the floor; another 40-50% is detached and in irreparable condition. The related damages may soon become manifest on the plaster ceiling below this floor. Stains on the plaster ceiling to the west of the fireplace in the Strawberry Hill Room (213) suggest that this area was once affected by leaks, although moisture readings indicated this area to be dry at the time of survey. Readings of the hearth and chimney interior were dry. Both room and attic spaces should be examined in detail with the input of a roofing consultant as soon as possible.

Other significant moisture entry problems appear in the Lord Byron/Lord Nelson Rooms Attic (301) and the Sun Porch (107). At the Lord Byron/Lord Nelson Rooms Attic (301) the moisture source is likely originating from a pipe partially embedded in the wall. The pipe originates within the wall, is exposed approximately two to three feet, and then returns to the wall cavity. The plaster around the exposed pipe is measurably damp. This location is directly adjacent to the north face of FP1 and may alternatively be related to chimney or roofing. Access available at the time of the initial survey did not yield enough information to confidently assess the two probable causes. It is possible that detailed investigation may show this leak to be the source of moisture on Central Hall’s (120) north wall on the ground floor, which is coplanar and directly below this location. At the Sun Porch (107) the entire lower section, saturated to approximately sill level, is at risk of decline due to moisture. (See Appendix B: Floor Plan Moisture Diagrams.) If left unmitigated, conditions at areas of moisture infiltration are prone to continued and/or accelerated deterioration. It can also be expected for damage to spread and adversely affect a larger area and range of historic material.

Larger crack systems suggesting structural failure, such as those found in the Pine Kitchen (138), North Gallery (231) and Cloister (130), were already being monitored at the time of survey. Mr. Karpa reported the cracks have been determined inactive. In addition to these ICR noted cracks that could be potentially structural in three of the Maids’ Quarters (232, 233, 236, 237, 239 and 240). The cracks here are relatively narrow in width. Their pattern essentially rings the first and second floors. Additionally, the maid’s area of the house was recently renovated for inclusion on the public tour. These conditions indicate the cracks may be active and should be reviewed by a structural engineer.

Of second priority is the long-standing condition of water pooling at the basement due to the natural flow of storm and groundwater across the site towards Gloucester Harbor. Many of the brick and wood posts are in good condition despite the repeated wetting and drying cycles and constant moisture, but the overall effect on the main spaces of the house and its collections should be studied further. The windows are another Priority 2 Condition. When sills, casings, mullions or other parts are misaligned, the whole system permits entry of snow or rain. Some of the windows show some rotting at the sills due to improper pitching, bad sill detailing, and the acrylic sheet which causes condensation within the inner face of the windows. Other Priority 2 Conditions include open joints, separation of the west porch stairs, and active wood borings on the interior.

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Old stains, small cracks, flaking paint and other inactive conditions are assigned third priority. Biological growth, though active, has relatively minor effect on the masonry; therefore, its continued presence on the building is a low priority.

Because the building is relatively sound, the reader should assume all rooms not mentioned specifically are in good condition, or possess only Priority 3 Conditions. (See Appendix C: Interior Conditions Worksheets, for a listing of conditions by room or space surveyed.)

B. Interior Survey Findings

1. Priority 1 Conditions

On the interior, Priority 1 Conditions include potential structural cracks and copious amounts of water infiltration that affects large surface areas and migrates to adjacent rooms or rooms directly below. a. Water Infiltration

(1) FP3 Chimney

The Linebrook Parish (113) and Paul Revere Rooms (114) on the ground floor share the same chimney as the Belfry Chamber (216). The Belfry Chamber Hidden Closet (217) houses the back wall of this fireplace at the Second Floor. Preliminary investigation of the second floor rooms leads to the belief water is entering through both the interior and exterior faces of the chimney. An exterior survey of the chimney shows some large cracks (Figure 1) minor open joints, but no other observable conditions that would account for the profuse water entry.

Figure 1

Cracking on the northwest corner of the Belfry Chimney

FP3 Chimney with hearths at: Linebrook Parish Room (113) Chapel Chamber (114) Belfry Chamber (216)

In the Belfry Chamber Hidden Closet (217), water runs down the back wall (outer face) of this chimney, saturating the brick and adjacent plaster ceiling (Figure 2) to finally pool on the floorboards. Of note is that the water runoff is heavier on the west face than on the north face. Substantial areas of ceilings and walls have been lost due to repeated wetting. Much of the remaining sections of moist plaster are so badly deteriorated they will need replacement.

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Figure 2

Active infiltration from outer face of chimney, damaging plaster loss of plaster ceiling and running down the brick

Belfry Room Hidden Closet (217)

Figure 3

Loss of plaster, bowing at center and rust jacking at sides of lintel

Linebrook Parish Room (113) bowing lintel

plaster loss and rust jacking of lintel

The water damage in the lower floors is comparatively less than on the Second Floor. In the Linebrook Parish Room (113), the brick hearth, stucco mantle, and adjacent ceiling plaster were saturated. The repeated wetting cycles have caused the stucco mantle to effloresce, crack and detach from the brick, and caused the iron lintel to bow and rust, thereby spalling parts of the stucco (Figure 3). The moisture has even migrated to the eastern ceiling area of the Bath 2, Chapel Chamber/Little Lady Room (116). Note this is on the west side of the chimney, and observations from the Belfry Chamber Hidden Closet (217) show the west elevation leaked the most. To the north, the Chapel Chamber (114) hearth was also wet. This location was the least saturated location that shared this chimney. (See Appendix B: Floor Plan Moisture Diagrams)

(2) FP4 Chimney

The dampness observed at the Golden Step Room (147) fireplace has spread beyond the hearth and has migrated into surrounding elements including the brick floor and plaster ceiling. The wetting cycles have caused efflorescence deposits on the elements. Anion analysis reveals the efflorescence source to be dominantly from plaster (readings show the highest amounts for calcium

Integrated Conservation Resources : ICR Page 20 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006 sulfate, or gypsum, but with trace amounts of nitrates.) A historic photograph shows this condition has been active since 1915, and ultimately, the source of moisture has not been addressed (Figure 4).

Figure 4

Efflorescence on plaster ceiling

circa 1915, Photography by T.E Marr & Sons

Golden Step Room (147)

The fireplace opposite this at the Octagon Room (132) is also wet, but the wetness has not yet manifested in material loss, although efflorescence has been observed on the inner face of the brick hearth.

On the second floor are the Red Indian (228) and Master Mariner’s Rooms (230), which share a chimney with the Golden Step (147) and Octagon Rooms (132). In the Red Indian Room, moisture was detected on a wood beam as it intersected with the chimney, indicating the chimney is its source. The chimney is in a cavity enclosed by wood panels; if the chimney was moist, it was not detected on the panels. On the other side of this chimney at the Master Mariner’s Room, moisture was detected only along the middle section of the chimney wall, which is currently plastered and painted.

Mr. Karpa conducted a non-destructive probe in the Master Mariner’s Room (230) to show ICR the original 1921 cement slab floor. Note the Golden Step Room (147) was built it 1921, and the Master Mariner’s Room was built in 1925 over an existing cement slab. (See Appendix A: Floor Plans & Construction Sequence Diagrams.) The probe consisted of lifting a wood floorboard that was close to the chimney, revealing a floor cavity approximately 1 ft. above the cement floor. The cement floor was covered with a waterproofing membrane, probably inserted into the joints of the chimney, as a remnant of when the space was a patio. The chimney was saturated (Figure 5), as was the floor adjacent to the chimney. Wetness on top of the membrane indicates water comes from the exterior face of the chimney. The membrane does keep some of the moisture from percolating downwards to the Golden Step Room, which shows lower moisture readings than here. However breaks in the membrane could allow the passage of moisture downwards, in addition to other points of entry in the chimney.

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Much of the efflorescence detected along the floors and walls of both rooms were inactive, indicating past repairs have reduced infiltration, but were not able to completely mitigate it.

Figure 5 chimney face

Wetness on waterproofing membrane close to chimney

Master Mariner’s Room (230)

wet zone

(3) FP5 Chimney

Water trickling down the inner face of the chimney has wet the hearth, mantle and floor of the Pine Kitchen (138) fireplace. Efflorescence is evident in several areas of the hearth. A review of the chimney shows several openings that probably contribute to infiltration to the interior of the chimney: a long open joint that traverses about half the exterior circumference and several cracked brick surrounding that area (Figure 6).

The Pine Kitchen (138) shares its wall with the Winter Kitchen Storage/Mechanical (142). The moisture has migrated thru the west chimney wall to the east wall of the storage room, manifesting in saturation, water staining, efflorescence, and surface loss (Figure 7). A review of the corresponding space on the second floor shows the path of water is not just interior, but exterior as well. (See Appendix B: Floor Plan Moisture Diagrams, for extent of infiltration.)

Figure 6

Open joint and cracked brick on upper course

FP5 Chimney with hearth at: Pine Kitchen (138)

open joint

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Figure 7

Moisture, staining, plaster loss, and efflorescence

Note: this east wall is shared by the Pine Kitchen chimney

Winter Kitchen Storage/ Mechanical (142)

On the Second Floor, the space above this chimney is the Maids’ Quarters Hall Closet 1 (241), used for storing Beauport brochures and postcards. The north wall of this closet (the south chimney face) is saturated, promoting mold growth. Looking up from the closet, one can see daylight from an opening on the north wall, which indicates the flashing, at least on the south chimney face, is defective. This permits water to run through into the interior space, probably coursing down to the floor below. b. Other Leaks

(1) FP1 Chimney & the Strawberry Hill Room Attic (302)

A large area of the Strawberry Hill Room Attic (302) is saturated, leading to considerable plaster loss, rotting of the wood lath, and saturation of the brick chimney. The moisture occurs in two distinct locations: the west face of the chimney and adjacent ceiling and the north face of the chimney. A probable source of the former is defective flashing which permits water to run down the upper section of the west chimney face and course down to the rafters (Figure 8). The source for the latter is at a pipe penetration, which appears to be a vent stack serving Bath 4 (212) off the Strawberry Hill Room (Figure 9).

The moisture in the attic was not detected to have made its way down to the Strawberry Hill Room (213) ceiling, floor, wall or fireplace, nor any place on the ground floor. A visual observation of the corresponding rafter area on the roof shows no obvious points of entry. All flashing at the juncture between the roof and chimney should be inspected.

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Figure 8 moisture

view looking up from stair

Plaster loss and saturation of rafters

Note: upper course is saturated

Strawberry Hill Room Attic (302)

west chimney face

Figure 9

Water at pipe insert in chimney

Strawberry Hill Room Attic moisture (302)

(2) Lord Byron/Lord Nelson Rooms Attic (303)

A section of the south wall plaster in the Lord Byron/Lord Nelson Rooms Attic (303) is saturated, severely cracked and detached. The wetness is caused by a pipe insert along the stairway; wetness is most concentrated around the pipe, and diminishes to dryness as it extends outwards from the pipe. The corresponding space on the Second Floor below is inaccessible, enclosed in a wood paneled closet in the Strawberry Hill Room (213). Because of this we cannot be certain if the moisture from the attic has percolated downwards to the second floor. We are certain the corresponding space below on the ground floor is wet. Approximately 15 square feet of Central Hall’s (120) south wall shows evidence of dampness and efflorescence (Figure 10). (See Appendix B: Floor Plan Moisture Diagrams.)

Behind the Central Hall (120) south wall is the Green Dining Room (110) fireplace, which shows very slight signs of moisture. One brick registered mild moisture, though the surrounding brick and wood paneling both read dry. The sources of moisture on the south Central Hall wall could be the leak in the Lord Byron/Lord Nelson Rooms Attic (303), or it could be, as we have seen with the other three

Integrated Conservation Resources : ICR Page 24 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006 chimneys, water coming from the outer face of the chimney through defective flashing down to the walls.

Figure 10

Dampness and efflorescence

Note: dampness is suspected to area of dampness originate from a leaking pipe in the and efflorescence attic of the Lord Nelson Room

Central Hall (120)

(3) Sun Porch (107) Exterior Wall

The lower section of the exterior wall registered high moisture during rain. Due to cyclical wetting and drying, the interior paint has worn off, exposing the red brick. Areas of paint loss roughly delineate the damp zone (Figure 11). From preliminary investigation, the moisture here seems to be caused by rising damp owing to inadequate damp proofing. However, a more thorough investigation, perhaps including probes, is warranted to determine the exact reason for this condition.

In addition there are several step cracks in the lower section of the Sun Porch exterior wall and the 1908 formerly exterior wall. One step crack at the north corner of the bay window undoubtedly promotes water entry. It is a through-crack which transmits water to the interior (Figure 11). This condition, as well as other step cracks here, should be reviewed by a structural engineer.

Figure 11

Damp area exhibiting paint loss step crack Note: step crack traverses to exterior brick

Sun Porch (107)

damp zone

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In addition to cracks cited in the Sun Porch (107), a series of potential structural cracks in the Maids’ Quarters merit further review by a structural engineer. Six of the rooms (232, 233, 236, 237, 239, and 240) exhibit large cracks that traverse the walls and ceilings. When part of the space was opened for public viewing, the plaster in hallways and bedrooms were repaired by filling cracks and repainting. Many of these repaired cracks have reopened to form new hairline (>.013”) cracks. There are two possible explanations for this: the hairline cracks could have formed because the crack filler itself shrank, or because structural movement occurred after the repair and caused the cracks to pull apart. Of note is that these cracks occur in the general vicinity above the large crack in the eastern section of the Pine Kitchen (138). This area should be included in a structural engineer’s review.

2. Priority 2 Conditions

Interior Priority 2 Conditions include 1) water infiltration in smaller quantities in localized areas, and 2) smaller cracks less likely to be structural but could benefit by a structural engineer’s review. Generally, the cracks and wetness pose a lesser threat to the surrounding materials than Priority 1 Conditions. Infiltration conditions include misaligned windows and doors, condensation between the historic windows and acrylic sheet, pooling of water in the basement, and water entry through open joints and cracked pointing mortar. Although they are comparatively less in volume than the infiltration from the chimneys, nonetheless, they should be promptly addressed to avoid prolonged exposure of affected interior materials. Other miscellaneous items, such a suspected beetle activity, are also a Priority 2 Condition. a. Windows & Doors

(1) Openings

Windows, skylights and doors in the following rooms are allowing rain and snow to enter and accumulate on window sills, thresholds and floors. The list below is categorizes the problems into two groups:

Group A

ƒ Little Lady Room (117), dormer window

ƒ Pastry Pantry (124), skylight

ƒ Pine Kitchen(138), skylight

ƒ Winter Kitchen (141), both skylights

ƒ Golden Step Room (147), main window

ƒ Belfry Chamber (216), bay window

Group B

ƒ Octagon Room (132), casement window west of fireplace (Figure 12)

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ƒ Side Entry Passage (143), exterior door Note: this door also has a large (~1.5 LF) split in the lower right panel permitting snow and water entry

ƒ Golden Step Storage (148), exterior door

ƒ Lord Byron Room (224), casement window

ƒ Red Indian Room (228), east casement window

ƒ Indian Room Porch (229), northwestern most casement window

ƒ Maid’s Room 1 (232), casement window

At Group A the source is not clearly detectible, and problems are suspected to be with the window assembly, detailing or waterproofing. At Group B locations, problems are superficial and due to faulty weatherproofing or improper operation. For example, at the Indian Room Porch (229) moisture was noted at the juncture of sill and casement. At the time of the survey it was noted that wind was being driven into the window apparently due to its being situated at an inside corner. This may be forcing water into the window. The source of entry should be investigated further. (See Appendix B: Floor Plan Moisture Diagrams, for locations.)

Figure 12

Snow collecting on sill

Octagon Room (132)

snow

(2) Condensation

All exterior windows, with the exception of the North Gallery (231), Bath 7 (237), 1 window in the Music Room (226), and the replacement windows in the Indian Room Porch (229) have acrylic sheet on the interior face. While the acrylic sheet, installed to protect the collection from UV light damage, is probably successful in reducing UV infiltration, it promotes condensation. Condensation forms on the inner face of the window and acrylic sheet, causing the water to collect and drip down onto window casings, mullions and sills (Figure 13), thereby accelerating the deterioration of these elements.

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Figure 13

Wet sills resulting from condensation on the acrylic sheet

Lord Nelson Room (221)

b. Standing Water in Basements

The concentration of water in all three basements is due to the natural sloping of the landscape. There have been several attempts at remediation, none of which has completely eliminated this condition. In 2003, dehumidifying systems comprised of pumps and dehumidifiers were installed. Mr. Karpa reports this has been somewhat successful in decreasing the RH in the house, but it hasn’t completely eliminated the water from pooling in the basement.

The typical destructive manifestations of rising damp such as wet rot, efflorescence, disaggregation, and biological growth were not observed on the masonry foundation or wood floor framing members. The moisture appeared to be contained within the basement, and was not found migrating up as rising damp into the structure or spaces above. c. Trace Amounts of Moisture Infiltration

One moisture entry point is the concrete sill at the Cloister (130) French doors. The floor level here drops ±5” to the adjacent patio, so water naturally gravitates to this area. Concentration of moisture occurs at the jambs, suggesting this is a detailing problem (Figure 14).

Figure 14

Moisture meter readings at the door sill

Cloister (130)

moisture

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Another location is fireplace FP2 in the Green Dining Room (110) where mild moisture is present at step cracks. In both instances, the moisture levels detected were low. The lack of efflorescence or erosion typically found in conjunction with heavy infiltration, suggests either this is a recent occurrence or infiltration is minor. Both areas should be monitored closely. d. Potential Structural Cracks

In addition to Priority 1 potential structural cracks, ICR noted minor, less critical cracks that should be included in a structural review. These cracks include small step cracks, a concentration of small or hairline cracks in one given area, reopened crack repairs, and wide cracks not currently monitored.

A small (<1 LF) step crack was observed on both fireplace FP2 in the Green Dining Room (110) and fireplace FP3 in the Belfry Chamber (216) that fall into this category. Crack patterns formed on the Green Dining Room ceiling and the adjacent Cogswell Hall (108) ceiling should also be reviewed concurrently as the location and pattern of these cracks which run east-west and occur predominantly on the north side of each room, could be indicative of a more serious. Both are stucco ceilings divided into panels by wood beams; both were constructed in 1908. Given the structural instability of the exterior walls (see p. 32) these crack patterns could be indications of larger scale structural activity related to the deterioration of the walls.

Other potential structural cracks are reopened previously repaired cracks where hairline cracks have formed along the repair. This condition is found at the Little Lady Room (117) ceiling, and the Cloister (130) ceiling. Additionally, the crack on the Glass Pantry (129) ceiling appears to have reopened after having been re-plastered at one point. This crack demarcates the seam between the 1908 building and the newer 1921 addition (Figure 15). The condition may be indicative of unequal settling or other structural instabilities and should be reviewed by a structural engineer.

Figure 15

Crack delineating 1908 (foreground) and 1921 construction (background)

Glass Pantry (129)

Integrated Conservation Resources : ICR Page 29 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006 e. Wood Borings

Historic New England Site Manager Pilar Garro told ICR the Pine Kitchen (138) was previously treated for powder post beetles. This is substantiated by maintenance records noting the Pine Kitchen was inspected and treated for powder post beetles in 1989. Trace amounts of frass were found on the floor near the east wall window and in a nearby chair in the Pine Kitchen indicating the beetles may have returned. Many borings similar in shape and size to those existing in the Pine Kitchen were noted on the beams in the Linebrook Parish Room (113) and the Chapel Chamber (114). Trace amounts of frass were also discovered, in the Chapel Chamber, on a side table below visible bore holes in wood ceiling timbers suggesting this condition could be active. However, no conclusive evidence the situation is active was found in the time span of this preliminary survey. Prior to the first survey the house had been closed for the winter season. It is possible the trace frass found at this time is debris from the earlier treated infestation. The house was cleaned in preparation for the spring/summer season prior to the second visit; no frass was found during the second visit. These locations should be monitored for activity, particularly as there is no record of rooms other than the Pine Kitchen having been inspected and treated.

Note: maintenance records also note powder post beetle infestation was discovered upon the dismantling and reconstruction of the Cogswell Hall (108) bay floor.

3. Priority 3 Conditions

Priority 3 Conditions are inactive. For Beauport interiors these conditions are manifest as staining, efflorescence, cracking, and minor losses that occurred in the past and have since been successfully addressed. They show no obvious signs of continued deterioration. These are aesthetic issues and have no bearing on the longevity of the historic material. They should however be periodically reviewed and their inactive status confirmed.

Plaster cracking, a common condition in aged plaster, is abundant in the house. These cracks may have been caused by previous structural movement or they can be stress release points as the different building materials expand and contract from changes in humidity or temperature. Hairline cracks are the most abundant of all crack types. Larger cracks noted in the survey occur typically at corners of doors, windows, shelves and other wooden insertions in the wall. All other cracks suspected to be active are noted as Priority 1 or 2 Conditions to be reviewed by a structural engineer.

Stains are another prevalent Priority 3 condition throughout the house. Many areas have been affected by water damage which has left numerous surface stains throughout the house. While ICR did assess these stains for active moisture, a source for ongoing damage, those without damage to architectural finishes and found to be inactive were not documented.

Note: at these locations damage to wall papers and coverings has often occurred; damage of this sort was not documented as it was elected early on conditions of decorative finishes would not be included in the scope of ICR’s initial needs survey.

Integrated Conservation Resources : ICR Page 30 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

C. EXTERIOR SURVEY FINDINGS

1. Priority 1 Conditions

Priority 1 Conditions are potentially structural in nature. These conditions include the rotting of 1908 wood wall framing members, the cracking and spalling of the lintel over the Golden Step Room (157) large single hung window, and a Pine Kitchen sagging window (138). a. Wood Rot, 1908 Exterior Wall

Mr. Karpa showed ICR evidence of deteriorated structural wooden members within the walls of the 1908 building. An easily seen example is in the Octagon Room Basement (003) where a partially demolished wall still standing. As part of renovation work, exterior brick was added over the original stucco face thereby encasing the earlier finish. The lack of suitable damp proofing in this assembly (this assumption should be verified at a later date with probes) allows the wood and masonry to absorb ground water easily. It appears the new facing was not properly detailed either. Awkward conditions at brick sills with no apparent flashing may also be an additional means of water entry. The brick acts as an extra barrier prolonging the drying cycle of the stucco and wood and leading to deterioration.

A brick removed from the lowest course of the Green Dining Room (110) exterior wall revealed friable damp stucco and wet, rotted wood that crumbled with minimal pressure. All of the wood elements blocking the opening crumbled easily after mild probing. The cavity was at approximately 2 feet in depth. If this condition is indicative of wooden structural member along this wall, then its current state is precarious.

This condition is well documented in an ongoing repair campaign of Mr. Karpa’s. Mr. Karpa reports the structural failure of wooden members was the reason the exterior wall at the Cogswell Hall (108) bay window and the Pine Kitchen (138) window walls were recently rebuilt. The Cogswell Hall floor is laid on wood joists which run to the exterior wall framing. Beauport maintenance records attribute the Cogswell Hall wall collapse to powder post beetles. ICR suspects the constant wetness along the base of the wall affected sections of the floor joists and framing, which may have contributed to the collapse of the floor abutting the bay window. To prevent similar failure on a widespread basis, this work should proceed quickly with a review of all similar construction. Intermediate stabilization measures may be required prior to the continuation of Mr. Karpa’s work. b. Concrete Lintel, Golden Step Room (147)

A second Priority 1 Condition is a previous repair failure occurring at the Golden Step Room (147) single hung window concrete lintel. A past failure in the lintel was repaired by patching. This repair is now failing, as evidenced by spalling and cracking (Figure 16). The current condition may be caused by: the same stress mechanism that brought about the initial failure; a failure in the patch itself; or new circumstances independent of the old failure. A structural engineer should review this area.

Integrated Conservation Resources : ICR Page 31 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

Figure 16

Failed patch at concrete lintel

Golden Step Room (147)

c. Sagging Window, Pine Kitchen (138)

The window frame on the south face of the Pine Kitchen (138) is bowing slightly, causing step cracks above the middle section of the window. This window is approximately eight feet away from the large ceiling crack (currently with crack gauge) in the same room. A structural engineer’s review is warranted.

2. Priority 2 Conditions

Exterior Priority 2 Conditions are predominantly minor openings in windows and joints permitting localized water infiltration to the interior. Such areas include: the separation of the west stair from the main building due to settlement of one stone plinth supporting the a stair post; and step cracks on the west face of the North Gallery (231) and south face of the South Gallery Writing Nook (104). a. Windows

Many window components (mullions, sills, frames) are defective. In many cases, the glazing putty has lost its elasticity completely, resulting in chipped and cracked glazing that allows water to penetrate between the interface of the wood and glass. Windows often show a gap between the wood frame and masonry, creating a means of water entry (Figure 17).

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Figure 17

Gap between sill and masonry

South Gallery (103)

Some deteriorated sills are prone to quicker deterioration due to improper design. Some sills are not pitched and therefore allow water to accumulate on the sill and percolate into the wall system. In some instances this faulty detail is at a stepped sill where the window assembly rests on protruding masonry that is also not pitched. Because the brick does not shed water, water pools at the interface of brick and sill, thereby absorbing water which deteriorates the mortar joints and the sill itself (Figure 18). This condition also leaves the wall below vulnerable to excess moisture penetration and therefore accelerated decay.

Figure 18

view from inside window looking down

Brick course protruding followed by flashing not properly pitched; brick joints are friable and wood is rotting at the jambs

Belfry Chamber (216)

b. Open Joints

Approximately 4% of all joints are open. Not surprisingly this condition is most prevalent on the seaside (western) face due to salt crystallization and driving rain and wind. Large expanses of open joints potentially transmitting water to the interior were checked for moisture at corresponding interior locations. None of the open brick joints showed evidence of infiltration. However, based on the surveyors’ experience with similar conditions, moisture was expected to be found; if left unaddressed these areas could soon progress to transmitting moisture.

Integrated Conservation Resources : ICR Page 33 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

On the granite wall corresponding interior surfaces were found to be saturated, but this could be due to open joints as much as to witnessed faulty window assemblies allowing bulk water to enter the basement interior. The cracked and opened joints should be raked out and re-pointed with an appropriate and aesthetically compatible re-pointing mix. c. Separation of Stair 13

Stair 13 has pulled away from the main structure (Figure 19). At ground level the northwest most granite base has separated from its wood post by approximately one inch, probably due to the settling of the granite (Figure 20). Being modestly engaged to the structure, it poses small risk to the historic fabric. Although the separation is large, it does not seem structurally precarious. The stair does not bounce or move when used. However, the stair itself is an important component of the historic scene and this condition should be reviewed and corrected to prevent unnecessary wear or loss.

Figure 19

Separation of stair from main building

Stair 13

Figure 20

Lifting of post from granite base

Stair 13

separation

Integrated Conservation Resources : ICR Page 34 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006 d. Step Cracks at the North Gallery (231) and South Gallery Writing Nook (104)

In the North Gallery (231), step cracks run from the gable apex down to the corner of the window below. The cracking has not manifested on the interior plaster. No color change indicating moisture penetration was observed in this area either. In the South Gallery Writing Nook (104), the crack was not evident on visible parts of the stucco, nor did it manifest through the wallpaper. Interior moisture readings corresponding to each crack location show this area to be completely dry indicating potential moisture through the openings is not penetrating though to the interior wall.

3. Priority 3 Conditions

The Priority 3 Conditions are largely aesthetic and have comparatively minimal impact on the longevity of the historic material. For the exterior these are limited to staining and biological growth at this site. a. Biological Growth

Biological growth on the granite masonry occurs predominantly as lichen and algae on the mortar joints. A cleaning test with a biocide (D2 Architectural Antimicrobial) shows the gray colored lichen in test panel A and red algae in test panel B can be successfully removed from the mortar (Figure 21).

Note that all tower joints are completely covered with lichen and the mortar exposed in panels A & B illustrates the true mortar color. Other biological growth colonies, that probably include fungi and algae, are found closer to the ground. Cleaning tests were also conducted in this area to test efficacy of the biocide. All lichen and algae was easily removed in two applications.

Figure 21

Biocide cleaning tests

Note: distinct change in mortar color

B

S04 at First Floor A

Integrated Conservation Resources : ICR Page 35 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

V. FINDINGS, LABORATORY ANALYSIS

A. Anion Analysis

1. Cogswell Hall (108)

A close-up review (10X magnification of deposits in-situ) suggests deposits found on the Cogswell Hall (108) brick floor are remnants of white paint (lime-wash, or other pigmented material) perhaps spilled on the floor and wiped off superficially, leaving deposits in the crevices only. The deposits are thin, but opaque due to their density, and occur on deep recesses of the brick only. No deposits were observed on the surface. The floor has almost certainly been waxed or otherwise maintained, which has sealed the deposits under a surface coating. Furthermore, the deposits show micro-cracks, which are atypical of efflorescence, even if sealed with wax (Figure 22).

The anion analysis of the Cogswell Hall floor scrapings corroborates these are not soluble salts. Tests show negative results for all salts tested. A test for carbonates was not conducted due to lack of sample material. The deposits were difficult to extract, as a result of the coating, and tests were done with limited sample size.

Figure 22

White deposits on floor

Cogswell Hall (108)

2. Golden Step Room (147), Golden Step Room Basement (004) & Red Indian Room (228)

Efflorescence deposits from the ceiling and floor adjacent to the Golden Step Room (147) fireplace FP3 are primarily solubilized gypsum (calcium sulfate) from the wetted plaster ceiling. Tests show high amounts of calcium and sulfates as well as trace amounts of nitrates. Nitrates may come from decomposing plants, guano, fertilizers or detergents. Note that this roof was once an outdoor terrace.

Integrated Conservation Resources : ICR Page 36 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

The salts surrounding the chimney above, at the Red Indian Room (228), are composed of gypsum and nitrates as well. The Golden Step Room Basement (004) shows positive for gypsum only.

3. Exterior Wood Soffits

White deposits were observed on some east elevation eaves. Tests show positive for calcium and negative for all other salts. The haze could be a product of insecticides that were sprayed on the wood (calcium borate, for example). Further investigation needs to be conducted, to ascertain the source of the deposits.

B. Mortar Analysis

Analysis of all three samples under a stereo-binocular microscope show two of the samples, taken from the exterior of the Green Dining Room (110), Sample A, and the original wall fragment at the Golden Step Room Basement (004), Sample B, are similar in aggregate, binder color, and binder to aggregate ratio. The sample from the China Trade Room (106) fireplace FP1, Sample C, shows a slightly different aggregate and binder to aggregate ratio, and was therefore discounted from further wet chemical analysis.

Sample B was used in the wet chemical analysis since the composition of samples A and B were shown to be similar and sample B is un-weathered and could be extracted in larger quantities.

1. Golden Step Room Basement (004), Sample B

The sample appears to be a lime-based mortar based on observations regarding characteristics of texture, color, and breaking strength. Viewed in cross section the mortar appears to have a consistent ratio of binder to aggregate. The sample is white (Munsell Color 10YR 8/1) in color. The sample was observed to be quite hard and resistant to breakage.

The sand composes approximately 55% of the sample by weight (though a small portion of this number may include undigested binder). Sieve analysis determined the sand grains range in size from fine (1/8 mm) to very coarse (2 mm). The grains are sub-angular and sub-rounded in shape. The sand is composed of white, black, yellow, coral, gray and clear granules, and is generally light gray in color (Munsell Color 10YR 7/2).

The fines compose approximately 20% of the sample by weight (though a small portion of this number may include undigested binder or very fine sand particles). The fines are light green-gray in color (Munsell Color GLEY 1 8/1).

There are no visible lime clumps ("blebs") in the sample; moderate gas evolution upon addition of acid to the sample indicates low lime content. Approximately 25% of the sample weight was acid soluble. While the acid soluble component of a mortar generally constitutes the lime portion, certain aggregates or cement can also contain acid-soluble elements.

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Percentage by Weight Percentage Retained by Weight

50% 43% Fines 45% 37% 20% 40% 35% 30% 25% Sand 20% 16% 15% 55% 25% 10% 5% 6% Acid Soluble 5% 0% 0% 4 8 16 30 50 100 PAN Standard Sieve Number

1. Chemical Analysis Data 2. Sieve Analysis Data

a. Recommended Replication Mix

The mortar replication mix developed from the examined sample attempts to match aesthetic characteristics of color and texture using modern materials currently available in the metropolitan New York area. The recommended mortar replication mix is a Type N mortar. A Type N mortar is suitable for pointing purposes and is, according to the Brick Institute of America, a “medium strength mortar suitable for general use in exposed masonry above grade and recommended specifically where high compressive strengths are not required.” ASTM Standard C-270 has been developed for modern unit masonry construction methods using modern materials.

This mortar analysis has been undertaken to develop a replication mix for exterior surface pointing— not for setting—of masonry units. On average, the pointing will be placed to a depth of only 3/4”, and will only need to serve as a visual material and have enough inherent strength to remain cohesive under moderate forces of expansion and contraction.

All parts should be measured by volume. Dry ingredients should be thoroughly mixed before water is added.

Note: half of the surface of the enclosed pointing mortar sample has been slightly etched to simulate the effect natural erosion of the binder has on exposed mortars.

Replication Mix:

ƒ 1 ¼ part High Calcium Hydrated Lime

ƒ 1 part White Portland Cement

ƒ 6 parts sand mixed according to the following ratios:

ƒ 40% # 125

ƒ 60% # 107

Integrated Conservation Resources : ICR Page 38 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006 b. Recommended Materials

(1) Sand

As the selection of an appropriate aggregate is critical to the formulation of any replication mortar, the sand fraction, isolated during analysis, was compared to a library of sands commercially available in the New York area. (A sample of the original sand component is enclosed for matching to locally available sands.) Two types of sand had to be mixed to match color, grain shape and size of the original sand.

George Schofield #107 and # 125 George Schofield Company Box 110 Bound Brook, NJ, 08805 Phone: (908) 356-0858

(2) Lime

ICR recommends the use of high calcium (calcite-derived) lime in the re-pointing mortar. Mortars that use calcite-derived lime have generally more binding capacity than those that use dolomitic lime. Hydrated lime is classified as "high calcium" if it contains at least 95% calcium hydroxide. Calcium hydroxide carbonates at a more rapid and predictable rate than magnesium hydroxide.

Moreover, when magnesium compounds (hydroxide, hydroxycarbonate or carbonate) are exposed to sulfuric acid ("acid rain"), they can be transformed to epsomite. Epsomite (magnesium sulfate heptahydrate) is highly water soluble (more than 700 grams/liter), and will thus weather out of the mortar, resulting in reduced cohesive strength and increased porosity. By comparison, the calcium carbonate of a high calcium lime becomes gypsum when altered by prolonged acidic sulfate exposure (e.g. “acid rain”) which is considerably less water soluble (about 2 grams/liter) than epsomite.

High calcium lime is available in the form of Mississippi Lime Rotary Hydrated Lime (RHL), manufactured by the Mississippi Lime Company, through the following distributors:

Univar H.M Royal 803 Walden Avenue 689 Pennington Avenue Buffalo, NY 14211 Trenton, NJ 08601 716.897.1703 1800.257.9452 716.897.1704

(3) Cement Lehigh White Portland Cement Lehigh Cement Company 313 Lower Warren Street Glens Falls, NY 12801 Phone: 800-833-4157, 518-792-1137 Fax: 518-792-0731 http://www.lehighwhitecement.com

Integrated Conservation Resources : ICR Page 39 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

VI. POTENTIAL REPAIR OPTIONS

A. Summary

Based on the preliminary survey of conditions, general repair methods can be assumed for the purposes of project planning and establishing an initial working budget. Note potential methods of treatment and repair are based on experience with standard methods and materials proven successful in past treatment of similar conditions. It is also important to state an initial needs assessment is preliminary in nature. There may be a variety of concealed conditions on the building which can not be discerned without a detailed inspection, probes and/or a complete hands-on survey.

In-situ and laboratory testing will be required during a design development phase of work in order to determine and refine site specific methods and materials for repair. Once appropriate testing has been conducted all repair options should be implemented at a small scale as mock-ups for confirmation prior to any large scale repairs on the building.

The following are general repair methods on which labor expenses were based; the costs of materials were valued at the higher end of a product category as a conservative contingency measure. Only estimated costs associated with ICR’s scope and expertise are included; repairs outside ICR expertise and recommended reviews by experts of other architectural, engineering or civil disciplines are not included.

B. Interior Conditions

1. Priority 1 Conditions

A structural engineer should review potential structural cracks and noted moisture problems should be investigated to determine point(s) of water entry. After a problem area has been diagnosed and repaired, the surrounding area should be monitored closely, especially during and after heavy rains and snowfalls, to ensure the problem has been completely addressed. a. Water Infiltration

Leaks were observed in the following chimneys:

ƒ FP3 with hearths at Linebrook Parish Room (113), Chapel Chamber (114) & Belfry Chamber (216)

ƒ FP4 with hearths at Octagon Room (132), Golden Step Room (147) & Master Mariner’s Room (230)

ƒ FP5 with a hearth at the Pine Kitchen (138)

In all above instances leaks manifest on both inner and outer chimney faces. Water is suspected to be entering the chimneys through breaks such as cracks, open joints, or faulty chimney caps, and is evidenced as water dripping or running down to the hearth or floor. Based on visible evidence water

Integrated Conservation Resources : ICR Page 40 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006 is also suspected to be entering at construction joints such as through breaks in flashing or other breaches in waterproofing at chimney roof penetrations.

A mason specializing in historic chimneys and an experienced roofer should review each location, including not only the fireplace/chimney system but waterproofing at roof penetrations as well. This team should be presented with all roof and chimney repair histories before undertaking the assessment. Ideally, the investigation should take place during heavy rain so entry points can be more easily identified. After repairs are carried out, the leaks should be closely monitored to assess the efficacy of repairs. b. Other leaks

Leaks in the Strawberry Hill Room Attic (302) and Lord Byron/Lord Nelson Rooms Attic (303) are likely related to plumbing fixtures (pipes running behind and through walls). In addition, the Strawberry Hill Room Attic shows evidence of a leaking roof.

A more detailed review of attic leaks should be undertaken by a qualified specialist. Historic documents pertaining to plumbing should be made available for review prior to the investigation. The Strawberry Hill Room Attic roof leak should be investigated by a qualified roofer after having reviewed the history of roofing repairs. The affected problem areas should be monitored by photography and moisture measurement during rains to determine the efficacy of the repair.

In the Sun Porch (107) water appears to be entering as rising damp (owing to a suspected lack of damp proofing) and through step cracks. The condition must be investigated further before appropriate repair measures can be identified. A more thorough investigation, perhaps including probes, is required to confirm the specific causes and relationships surrounding this condition. c. Probable Structural Cracks

A small minority of cracks, including step cracks in the sun porch and large cracks traversing walls and ceilings in the maids’ rooms, suggest structural movement. These cracks, located below, should be reviewed by a structural engineer to determine their cause and identify any need for remedial action. For prudence other smaller scale cracks, as listed under Priority 2 Conditions below, should be included in the structural examination for verification of their structural stability.

ƒ Sun Porch (107): bay window, radiating from door and window corners.

ƒ Maids’ rooms area: Maid’s Room # 2 ( 233), Maids’ Quarters Hall (236), Maid’s Bath (237), Maid’s Room # 4 (239), Maid’s Room # 5 (240)

2. Priority 2 Conditions a. Windows & Doors

(1) Openings

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The windows and doors in the following rooms should be reviewed by a window specialist to pinpoint water entry points and design repair methods. The list below is categorized into two groups: Group A where problems appear in the window assembly or detailing and Group B with less severe problems due to faulty weatherproofing or operation. (See Appendix B: Floor Plan Moisture Diagrams, for locations.)

Group A

ƒ Little Lady Room (117), dormer window

ƒ Pastry Pantry (124), skylight

ƒ Pine Kitchen (138), skylight

ƒ Winter Kitchen (141), both skylights

ƒ Golden Step Room (147), main window

ƒ Belfry Chamber (216), bay window

Group B

ƒ Octagon Room (132), casement window west of fireplace

ƒ Side Entry Passage (143), exterior door

ƒ Golden Step Storage (148), exterior door

ƒ Lord Byron Room (224), casement window

ƒ Red Indian Room (228), east casement window

ƒ Indian Room Porch (229), northwestern most casement window

ƒ Maid’s Room 1 (232), casement window

(2) Condensation

An overwhelming majority of Beauport’s interior wood window components are deteriorating due to condensation encouraged and trapped by acrylic sheet screwed directly onto the window frame as a means of UV protection for interior textiles and objects. The acrylic sheet typically spans from outside edge of sash to outside edge of sash with cuts let in for window hardware. This situation should be remedied to prevent continued deterioration of the windows. It is suggested a simple, interim solution to this problem is to increase the space between the window sash and acrylic sheet by means of spacers and trim edges as much as possible to allow air circulation between window and acrylic sheet. If visually acceptable, small holes might also be drilled in the acrylic sheet, in a quincunx or nine square pattern for instance, to increase ventilation in the interstitial space. The condition should then be reviewed as this may likely solve the problem. b. Standing Water in Basements

All basements were observed to hold water during rain or snow on its course to the bay due to the natural sloping of the site. ICR was informed this condition is currently being investigated and remedial measures are being designed by geotechnical and civil engineers. A dehumidifying system was installed in the Pine Kitchen (135) that is achieving some success. Surprisingly, typical

Integrated Conservation Resources : ICR Page 42 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006 destructive manifestations of rising damp such as wet rot, efflorescence, disaggregation, and biological growth were not found. However, high humidity levels do occur throughout the house, particularly in damp winter months, which can accelerate general aging and deterioration and is detrimental to decorative finishes and the collection. While it seems impractical to eliminate the water source, it is important to continue the work that has been started to reduce current relative humidity (RH) levels to those more appropriate to a house museum environment.

ICR learned from discussions with the museum staff that doors and windows are opened in the summer operating months periodically to allow air flow through the house. However, during the museum’s closed season, windows and doors remain essentially closed and skylights covered for approximately 7 ½ months. While this somewhat approximates a typical active home during winter months, the survey team noted activities of an operating residence do not occur that would typically help reduce RH levels over this period, for example the use of the fireplaces. It is possible some simple measures to increase air flow through the house during these months may significantly help with this condition such as installing exhaust fans in chimney flues.

Note: a plastic membrane laid out on the South Gallery Basement (001) floor should be removed to allow the floor to dry out; the membrane currently serves to trap water keeping the area underneath wet for a longer time than if it was exposed to open air. c. Trace Amounts of Water Infiltration

The Cloister (130) French door threshold and the step crack at FP2 in the Green Dining Room (110) show low levels of moisture. Moisture meter margin of error in detecting very low moisture levels as found at these locations suggests this may not be a true moisture problem. However the possibility warrants monitoring of the locations. These areas should be photographed periodically to document appearance and migration of stains, efflorescence, loss, or other potential manifestations associated with water infiltration to establish if this condition is active and its source needs to be identified and corrected. d. Potential Structural Cracks

Although probably not structural in nature, these areas should be included in a structural engineer’s review of the Priority 1 Condition cracks listed above.

ƒ Cogswell Hall (108), ceiling cracks predominantly on the north side of the room

ƒ Green Dining Room (110), ceiling cracks predominantly on the north side of the room

ƒ Green Dining Room, step crack at fireplace

ƒ Little Lady Room (117), reopened ceiling cracks

ƒ Cloister (130), previously repaired and reopened ceiling cracks

ƒ Glass Pantry (129), ceiling crack delineating seam between 1908 and 1921 addition

ƒ Belfry Chamber (216), fireplace cracks

Integrated Conservation Resources : ICR Page 43 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006 e. Wood Borings

ICR observed frass in the Pine Kitchen (138), Linebrook Parish Room (113) and Chapel Chamber (114). Additional investigative work should be conducted to confirm activity and recommend potential treatments which are both efficacious and will not adversely affect other historic materials in the near vicinity, such as textiles or paper. Additionally, the house cleaning staff should be informed to keep an eye out for frass, or beetles themselves, and notify the Preservation Manager if any is found between cleanings.

3. Priority 3 Conditions

The decision to treat Priority 3 Conditions, save for biological growth, is aesthetic. Minor losses, staining, cracking, and inactive efflorescence are latent conditions whose mechanisms of deterioration are no longer a threat to the historic fabric.

If desired for aesthetic reasons, minor losses may be filled in kind by careful patching with like material and sculpting to match the existing profile.

Removal of water stains on plaster will require site testing to determine the most feasible means of removal. If the existing surface finish is not historic, the paint can be stripped or merely reapplied. Plaster is partially water soluble, so chemical methods that have successfully removed water stains on masonry must be carefully controlled when used on plaster.

Cracks should be undercut until sound material is reached, and then filled with plaster. Larger cracks should be bridged with fiberglass mesh tape; thinner cracks may be filled in lifts.

Efflorescence deposits occur mostly on interior plaster, although some was observed on the brick and granite in the Golden Step Room Basement (004). If the efflorescence proves to be water-soluble, it may be removed by brushing off loose deposits with a dry bristle brush or vacuum. The process ends here for efflorescence removal on plaster, but proceeds to wet cleaning on masonry. Once the loose surface material has been removed, a clay and water poultice should be applied to draw out the salts within the stone, repeating as necessary until salts can no longer be detected in the poultice.

C. EXTERIOR CONDITIONS

1. Priority 1 Conditions a. Wood Rot, 1908 Exterior Wall

The structural integrity of this entire wall is suspect. The necessity to rebuild exterior walls at the Pine Kitchen (138), the settlement of an area due to rotting wood, and the extent and character of deteriorated wood found at a probe suggest a similar phenomenon is occurring throughout the 1908 walls. Of all conditions this should be given priority and reviewed by an engineer immediately.

A complete assessment, including probes, should be conducted to gain a comprehensive understanding of the problem. The assessment should include establishing the extent of deteriorated

Integrated Conservation Resources : ICR Page 44 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006 wood, identifying any affected structural members, determining how this condition affects adjacent construction and historic fabric, and investigating the existence and/or condition of waterproofing systems at ground level. b. Concrete Lintel, Golden Step Room (148)

The application of patching material over concrete indicates a prior failure of the concrete in this location. To avoid recurrence of a similar failure, the patch should be evaluated by a structural engineer so any contributing causes to the cracking are adequately diagnosed and addressed. c. Sagging Window, Pine Kitchen (138)

The proximity of this condition to the large ceiling crack in the same room suggests the two conditions may be related. While a structural engineer has determined the plaster ceiling crack is inactive (as reported to ICR by Mickey Karpa), the settling of this exterior wall may still be active, even if the mechanism that triggered the sagging is no longer active. A structural engineer should review this condition.

2. Priority 2 Conditions a. Windows

80% of all windows (including wood sills where present) should be scraped, prepared, primed, have the glazing putty replaced and painted.

All gaps surrounding the windows should be filled with either caulk (for smaller gaps), or pre-filled with backer rod (for larger gaps) prior to caulking.

Sill details should be reviewed for the option of installing flashing, proper pitching of the sill, and/or amending the coursing below the sill which holds water. b. Open Joints

Open and failing joints are uncommon on the exterior. Failing joints include cracked mortar, separation of the mortar from the surrounding stones on one or both sides, and missing or friable mortar. In all cases, the open joints allow water to penetrate the masonry. All open and failing joints should be re-pointed. c. Separation of Stair 13

The posts pulling away from the main house is caused by subsidence of the granite base. The gap between the lower wood post and the base should be eliminated so the post rests solidly on the base. This can be accomplished by raising the granite base and filling underneath or with the addition of a wood spacer at the bottom of the post.

Integrated Conservation Resources : ICR Page 45 Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006 d. Step Cracks at the North Gallery (231) and South Gallery Writing Nook (104)

Both cracks should be reviewed by a structural engineer. If no structural remediation is required, the joints should be raked and re-pointed with a compatible mortar.

3. Priority 3 Conditions a. Biological Growth

The biological growth may be removed using a chemical biocide cleaner such as D/2 Architectural Antimicrobial, which was proven to work on the lichen and red and green algae.

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VII. OUTBUILDINGS

Although the focus of the initial needs assessment is the main house, ICR was also asked to conduct brief exterior surveys of the Gatehouse and Garage to identify any critical conditions or issues.

A. Gatehouse

The Gatehouse (Figure 23), which does not currently house any of the collections but serves as a gift shop, is in generally good repair and no emergency or immediate needs conditions were identified. As with the main house the glazing putty at windows and doors has nearly completely lost its elasticity, resulting in chips and cracks that allow water to penetrate. The integrity of the Beauport purple trim, door and window paint appears sound, except at glazing putty, with very minor breaches. However the fascias’ paint is failing, particularly on the south elevation where 20-25% of the wood substrate is exposed. This fascia board has also rotted approximately 1 LF at the west end and 3 LF at the east end. Deterioration at the east end is exacerbated by the fascia’s proximity to the top of the brick enclosure wall. (This wall is supporting vegetation that should be removed.) There are also superficial signs of paint weathering and abrasion on the south elevation’s wood shingles.

The cupola’s paint on wood surfaces appears to be failing as exhibited by blistering, flaking and loss. Here too glazing putty has completely broken down. The copper cupola roof could not be closely viewed from the ground. It appears in good condition through binoculars and in high resolution photographs although there appears to be previous repair work to a majority of the seams which could not be assessed form the ground.

The interior was not surveyed.

Figure 23

Gatehouse

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B. Garage

The Garage (Figure 24) was also found to have no emergency needs. There is however significant cracking (both through and step) on the north (14 LF), south (36 LF) and west (20 LF) elevations that warrant review by a structural engineer. The most significant of this cracking is at the southwest corner where a single crack traces the entire top half of the corner. Two stair posts also exhibit significant rotting that should be included in a structural review

Other minor conditions at the Garage include:

North Elevation South Elevation

ƒ 22 SF biological growth ƒ 15 SF general soiling

ƒ 66 SF general soiling ƒ 33 SF minor erosion of CMU face (initial 2

ƒ Detached downspout courses)

ƒ 33 SF minor erosion of CMU face (initial 2 ƒ 9 SI impact loss courses) West Elevation

East Elevation ƒ 60 SF general soiling

ƒ 4 SF of biological growth and general soiling ƒ failing paint at 2 doors and door trim and 1

ƒ 10 SF general soiling screen door

ƒ 1.5 SF wood rot (where garage door frame ƒ misaligned screen door

meets the drive) ƒ 35 minor chips and flakes in stair rail paint

ƒ 3 SF minor erosion of CMU face (initial ƒ 5 LF of open joints courses)

ƒ Warping at pointed arch wood window trim

The interior was not surveyed.

Figure 24

Garage

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VIII. PRELIMINARY COST ESTIMATES

A. Introduction

All cost estimates are based on the wages of a laborer trained to implement conservation procedures. Also included in the estimates are costs incurred by a qualified conservation contracting firm with the necessary insurance and overhead of a company, not an individual. These are “ballpark” figures, subject to more precise valuation when further investigation, testing, and detailed surveying have been completed.

Please note estimations of condition extents are subject to substantial margins of error for the following reasons:

ƒ This conditions survey is preliminary in nature, and as such, only general conditions were noted. When all areas of the building are accessible and a more in-depth survey can be conducted new conditions not previously observed may be found. The magnitude of conditions noted herein may be found to be greater than estimated here.

ƒ Methods and materials for repairs recommended are also based on a cursory assessment of conditions. In many cases further testing needs to be conducted to determine the specific methods and materials for each given condition. For this reason, no specific products have been recommended here.

ƒ Cost estimates for repairs are based on an aggregate of all the above-mentioned data. Substantial contingencies should be applied to the estimated values given extents are all preliminary in nature. A contingency (25%) has been added to estimate summary totals below as values derived for the cost estimate are based on a preliminary survey without hands-on access or complete testing that would enable a more precise determination of the extent and exact methods and materials for repair. In some instances, e.g. cracked glass panes, extents have been adjusted to account for lack of access, expected loss during work, etc.

Repair costs reflect materials conservation scope, not structural enhancements or further specialists’ investigation. For example, a detailed evaluation will be required for the 1908 exterior walls for probable/potential structural cracks and for chimney related leaks before recommending appropriate interventions. Costs of such specialists’ services are not included in the cost estimate. Costs for general conditions (contractor-related costs as protection, equipment rental, travel expenses, permits, etc.), and costs for scaffolding and bridging are not also not included in this estimate.

The cost estimate spreadsheets are grouped by interior and exterior. All information is categorized by material (i.e. brick, granite, wood, plaster, etc.). Interior estimates are further distinguished by floor level and arranged per space/room. Totals are given for each space/room and floor level. Exterior estimates are broken down by elevation. Where two cost options are provided, Option A has been designated the costlier option and Option B the less costly. All totals assume Option A.

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B. Summary

Costs included in the summary below are subtotals and totals derived using Option A, the costlier potential repair option as it is impossible to determine the correct approach without further investigation. Note, as mentioned above, costs of such specialists’ services are not included in the cost estimate. Costs for general conditions (contractor-related costs as protection, equipment rental, travel expenses, permits, etc.), and costs for scaffolding and bridging are not also not included in this estimate.

Interior Basement $1,750.00 First Floor $9,472.95 Second Floor $18,211.85 Attic $2,112.00 Stairs $614.20 Interior Subtotal $32,161.00

Exterior East $49,453.00 South $29,005.50 West $48,013.00 North $8,506.00 Exterior Subtotal $134,977.50 Total $167,138.50 +25% contingency $208,923.13

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APPENDIX A: FLOOR PLANS & CONSTRUCTION SEQUENCE

Integrated Conservation Resources : ICR Appendix A: Floor Plans & Construction Sequence Initial Needs Assessment Beauport, the Sleeper-McCann House July 2006

APPENDIX B: FLOOR PLAN MOISTURE DIAGRAMS

Integrated Conservation Resources : ICR Appendix B: Floor Plan Moisture Diagrams FORM B − BUILDING Assessor’s Number USGS Quad Area(s) Form Number

MASSACHUSETTS HISTORICAL COMMISSION MASSACHUSETTS ARCHIVES BUILDING 220 MORRISSEY BOULEVARD Town: Gloucester (Essex County) BOSTON, MASSACHUSETTS 02125 Place: (neighborhood or village) Eastern Point Photograph Address: 75 Eastern Point Boulevard

Historic Name: “Beauport”

Uses: Present: Museum

Original: Private Home (summer residence)

Dates of Construction: 1907-1934

Source: Registry of Deeds, Salem; Historic New England Archives Style/Form: Late Victorian: Shingle Style; Eclectic

Architect/Builder: Hafdan M. Hanson

Exterior Material: Foundation: Granite, Concrete

Wall/Trim: Stone, Brick, Wood Shingle Topographic or Assessor's Map Roof: Wood Shingles, Metal

Outbuildings/Secondary Structures: 4 Outbuildings: garage, caretakers cottage, tool shed, and gate house Major Alterations (with dates): Minor interior alterations by previous owner 1935-42 (China Trade Room; Sun Porch; Red Indian Room)

Condition: Good

Moved: no | x | yes | | Date

Acreage: .75 acre

Setting: Perched on a rocky ledge overlooking the Gloucester Harbor.

Recorded by: Jodi L. Black

Organization: The Society for the Preservation of New England Antiquities d/b/a Historic New England

Date (month / year): November 2009

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___ Recommended for listing in the National Register of Historic Places. If checked, you must attach a completed National Register Criteria Statement form.

Use as much space as necessary to complete the following entries, allowing text to flow onto additional continuation sheets.

ARCHITECTURAL DESCRIPTION: Describe architectural features. Evaluate the characteristics of this building in terms of other buildings within the community.

Located on Cape Ann in Massachusetts, Beauport is a large two-story house perched on a rocky ledge overlooking Gloucester Harbor. Henry Davis Sleeper (1878-1934), a nationally-noted antiquarian, collector, and interior decorator, began Beauport in 1907 and expanded it repeatedly over the next twenty-seven years with local architect Halfdan M. Hanson (1884-1952). By the end of his life, Sleeper had enlarged Beauport to over forty rooms and filled it with a lifetime collection of American and European art in distinctive arrangements within period and theme rooms.

The Beauport lot slopes downward from Eastern Point Boulevard, dropping fifteen feet in elevation from the tree-lined street to the rocky ledge that juts above the water. The primarily T-shaped house occupies the northern two-thirds of the western half of the lot. The longest axis of the building runs north-south, optimizing western exposures and views of Gloucester Harbor. A secondary axis runs east-west at the northern end of the house, extending living spaces out towards the harbor and (primarily) service spaces toward the street. The northern house wall extends to within inches of the adjoining property, which is screened by a high stone wall. Several gardens wrap the house on its western and southern sides, again maximizing exposures to the sun and Gloucester Harbor and creating outdoor “rooms” through terraces, brick and stone walls, and balustrades. The main front entrance is located in the middle of the eastern façade, in a recessed courtyard bay. Three later wings extended Beauport across the lawn to the east, two of which end in towers.

Beauport has its own unique architectural style, borrowing from Shingle, Queen Anne, Colonial, and various European revival styles, but it has the greatest affinity with the massing, plan, and detailing of the Shingle style. These elements include fluid exterior lines and interior floor plan, general horizontality, fieldstone foundation, and a massive, wood shingle roof, which flows downward over porches and walls. Early photographs and Halfdan Hanson’s architectural drawings show that ‘Little Beauport’, as it was previously named, began as a wood-framed, L-shaped cottage, covered with stucco on the first story and shingled walls on the second with a foundation of irregularly-coursed uncut fieldstone. The steeply-pitched, cross-gabled, shingle roof, punctuated at irregular intervals by gabled roof dormers, flowed down over the second story and out onto several first-story shed extensions. In 1913 Sleeper reinforced the stone foundation with concrete and covered most of the remaining stucco with brick veneer in an English bond pattern, which was more fashionable at the time.

The current appearance of Beauport is the cumulative result of the many changes made by Sleeper and Hanson from 1907 to 1934. The coursed wood shingle roof is a maze of intersecting planes and forms; segments could be identified variously as gabled, cross-gabled, shed, clipped gable, and gable on hip. The dormers are both roof and wall and are a variety of shapes and sizes. The roof is further articulated with a turret, cupola, Gothic dovecote, weathervanes, and six, large, brick chimneys in varying styles. A decorative roof balustrade tops the Red Indian Room Porch and the northern end of the house includes ten skylights and a light well that provides additional light for several interior rooms. The house includes 106 window openings with 249 individual sash units in varying operation including fixed, casement, and double-hung. They are grouped in singles or banded and include Palladian, Gothic, bullseye, and fanlight designs. The windows feature nearly 4000 individual panes of plate glass set in rectangular and diamond patterns. Exterior decorative wooden shutters that include small decorative cutouts of roses, thistles, and shamrocks flank several window openings.

The interior is a labyrinth of over forty rooms and approximately 14,800 square feet. Every nook and alcove holds a composition of curiosities with nearly 5,500 objects in diverse media, including textiles, paper, paintings, iron, silver, brass, toleware, ceramic, glass, leather, bone, ivory, lacquer, and wood. Many of the rooms are decorated to evoke different historical and literary themes, arranged to amuse and to stimulate the imagination—not necessarily for accuracy. Today, the house and its rooms remain virtually as Sleeper left them.

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Beauport is on Boston’s “North Shore,” in Gloucester, Massachusetts located at the tip of a peninsula that separates Gloucester Harbor from the Atlantic Ocean. French explorer Samuel de Champlain named this area in the early 1600s “Le Beau Port”, which means the beautiful port, a name which Sleeper later borrowed.

Up until the late 1800s, the area now known as Eastern Point was rough farmland. However, a group of investors, the Eastern Point Associates, purchased the land in hopes to build a large summer resort. In 1889, the Associates constructed eleven spacious cottages in the Queen Anne style including steeply pitched and irregular roof lines and classical columns. Unfortunately, the plan did not come to fruition and many of the original investors—one of them the Gorton’s fishing family— began to sell their plots of land.

In 1902, A. Piatt Andrew, Jr. (1973-1936), a Harvard economist and later a well-known congressman, purchased a plot and began to build his summer cottage. “Red Roof”, as it was called, eventually became the compliment to Beauport, which was later built two plots north. Although the architect is unknown for Red Roof, the house is a shingle and shuttered three-story villa under a steep roof, which was distinctively flared at the eaves. On the interior it was white stucco, rich dark beams and panels, floors of hardwood or tile, mitered windows, and at every turn a continuance of the exterior labyrinth, nooks steps, stairs, mirrors in bizarre places, a cloisters, clever closets, and both trap and hidden doors. Henry Davis Sleeper became friends with Andrew and visited Eastern Point in 1906 to inspect the house. He became enchanted by the area and started to build “Little Beauport” a year later.

One plot south of Sleeper was “Wrong Roof”, one of the original 1889 Eastern Point Associates Queen Anne cottage that was purchased in 1906 by Caroline Sinkler, a heiress from South Carolina. Unfortunately, “Wrong Roof” burned down in 2001 and was replaced with a modern brick house. To the north of Beauport was the Colonial Arms Hotel, a massive 300 room hotel in the Greek Revival style. Mysteriously, the entire hotel burned to the ground in 1908 and the plot sat vacant until the 1920s when Fredrick and Evelyn Hall built “Stone Acre”, a large Victorian constructed out of field stone.

The houses being built in the area were very contemporary in age and style, with the exception of an 18th century house across the street from Beauport that was moved there in 1924. Beauport was right there, pushing forward in a conglomeration of towers and belfries, bay windows and shrine-like dormers, wooden figures, molded chimneys, weathervanes, and intersecting rooflines that seemed to combine, effortlessly, features of the rest of the community.

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MASSACHUSETTS HISTORICAL COMMISSION Area(s) Form No. 220 MORRISSEY BOULEVARD, BOSTON, MASSACHUSETTS 02125

HISTORICAL NARRATIVE Discuss the history of the building. Explain its associations with local (or state) history. Include uses of the building, and the role(s) the owners/occupants played within the community.

Beauport, the Sleeper-McCann House in Gloucester, Massachusetts, is a remarkable architectural achievement. Built by self- taught designer Henry Davis Sleeper (1878-1934) and local builder/architect Halfdan M. Hanson (1884-1952), Beauport began as a summer house for leisure pursuits and entertaining, and gradually developed into a design showcase that attracted national coverage and acclaim. Beauport launched Sleeper’s career as a designer of period and theme rooms for wealthy East Coast clients and Hollywood stars, and as a recognized expert on Americana, influential in the development of Henry Francis du Pont’s Winterthur and other museum programs. Beauport is nationally significant as an important early collection of American antiques in distinctive arrangements housed within a unique architectural setting. It influenced the appreciation, collection, and interpretation of American material culture, as well as the practice of interior design. Beauport is also significant for its influence on American architecture, both in the preservation of historic architectural elements and in the development of twentieth-century architectural practice.

Henry Davis Sleeper was born on March 27, 1878, in Boston, to a family of successful businessmen. His grandfather, Jacob Sleeper (1809-1889), made a fortune in real estate and became a philanthropist; he was one of the three founders of Boston University. Jacob’s son, Major Jacob Henry Sleeper (1839-1891), was a hero of the Civil War and successfully continued his father’s real estate and clothing businesses. In 1867 Major Sleeper married Maria Westcott (1836-1917) and had three children, Jacob Sleeper (1869-1930), Stephen Westcott Sleeper (1874-1956) and Henry Davis Sleeper. In 1889, Major Sleeper commissioned Boston architect Arthur Little to build a Shingle-style residence n Marblehead, Massachusetts, where the family summered until its sale in 1902. Jacob became a U.S. State Department official in South America and Switzerland and Stephen built a prosperous business in real estate and trusts.

Plagued by poor health as a child, Henry Davis Sleeper was not classically trained and may have been taught at home by tutors. But his natural aptitude for design was apparent at a young age; his nephew recounted a family story that young ‘Harry’ built an elaborate model of a Japanese garden on top of the billiard table at the Marblehead family home.

Sleeper’s architect for Beauport was Halfdan M. Hanson (1884-1952). Born in Norway, he came to America as an infant. His father, Henry H. Hanson, worked as a ship rigger in Gloucester, constructed ship models, and trained his children in handicrafts. His mother, Maren S. Evanson, worked as a domestic. Halfdan (“Dick”) Hanson began his career as a carpenter and woodworker, taking architectural courses by correspondence. Working out of an office he built in his home in East Gloucester, Hanson undertook Beauport as his first large project. His best-known public commission is the Church of Our Lady of Good Voyage (1914-1915) in Gloucester. Drafted in the First World War, Hanson designed bases and railroad transport systems for large artillery, working from an office in Washington, D.C. In 1921, on suggestion from Sleeper, he moved to Denver for the climate and treatment for tuberculosis. He returned to Gloucester in 1931, but his impaired health increasingly limited the amount of work that he was able to undertake in his final years. Throughout most of his career, he continued to work on Beauport and other collaborative projects with Sleeper; their long friendship and admiration for each other’s work is evident from the letters that survive in the Hanson papers.

Following meeting A. Piatt Andrew in 1906 and working with Hanson on the beginnings of Beauport in 1907, the area where Sleeper and his Eastern Point neighbors lived became known as “Dabsville,” which was a playful nickname based on the initials of the friends. “Dabsville” was a social, artistic, and intellectual colony that flourished in the first third of the twentieth century that appears to have both shaped and publicized Beauport. Between Sleeper and Andrew lived Caroline Sinkler (1860-1949), a Southern heiress and arts patron who wintered in her adopted city of Philadelphia; for her summers, she purchased the cottage next to Red Roof in 1905 and teasingly named it “Wrong Roof.” Joanna Stewart Davidge (c.1860-1931) proprietor of a New York finishing school, built “Piers Lane” in 1902-1903 and summered there until 1929, even after marrying British Egyptologist David Randall-MacIver in 1911 and moving to Italy. Cecelia Beaux (1855-1942), the acclaimed portrait painter, built her cottage “Green Alley” on Eastern Point in 1905. Two other members of the Eastern Point social circle built elaborate homes across the harbor in West Gloucester: actor and entrepreneur Leslie Buswell (“Stillington Hall”) and inventor John Hayes Hammond, Jr. (“Hammond Castle,” now a museum). Although she did not reside in Gloucester, the most acclaimed member of the circle was frequent guest Isabella Stewart Gardner (1840-1924). Gardner was a New York heiress and arts patron whose winter home and art collection in Boston, which she began in 1902, is now the art museum named after her. Sleeper built Beauport to entertain these

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friends; in turn, they provided him with inspiration and support, were some of his earliest clients, and helped him secure other decorating commissions and further publicity.

Beauport’s stature continued to increase through the public recognition that Sleeper received for his work during the First World War. His experiences made a lasting impression and prompted a redesign of Beauport. A. Piatt Andrew left Eastern Point for France in 1914, volunteering as an ambulance driver and organizing the ambulance corps into the American Field Service (AFS). In 1915 Sleeper supported his friend’s work by becoming the American Representative and major U.S. fundraiser for the AFS. Sleeper traveled to France to direct the Paris office from 1918 to 1919. After the war, France awarded both men the Croix de Guerre and the Legion of Honor.

However, Sleeper's interest in the decorative arts was well established before the First World War. He served as Director of Museum of the Society for the Preservation of New England Antiquities (now Historic New England) from 1911 to 1913, and as a founding member and trustee of the Shirley-Eustis House Association (1913), and actively participated in the reconstruction of the Church of Our Lady of Good Voyage in Gloucester (1915). After the war, he embarked on a career as an interior designer and decorator. He maintained offices in Boston, describing his business as "English and French Interiors --- 17th and 18th Century American Paneling." He executed commissions for clients including F. Frazier Jelke, Henry Francis du Pont and R. T. Vanderbilt in the East, and in Hollywood, John Mack Brown and Fredric March. He served as a trustee of the Isabella Stewart Gardner Museum and a member of the Visiting Committee for Decorative Arts at the Boston Museum of Fine Arts, where his collection of Paul Revere silver is housed. Four months before his death, he was elected an honorary member of the American Institute of Architects, as a "collector of Americana and protector of the culture of early America."

Henry Davis Sleeper was a nationally-known antiquarian, collector, and became the unofficial “father” of American interior design. In Beauport, he created a quintessential Shingle-style, late Victorian ‘cottage’ containing concepts that stressed a respect for craftsmanship, good design, and the traditional virtues of a pre-industrial era. The collection at Beauport played a pivotal role in the development of the Colonial Revival style and is an important link in the development of the museum period- room approach.

After Sleeper’s death in 1934, Beauport was put up for sale and purchased by Mr. and Mrs. Charles E. F. McCann, who had first seen Beauport on a yachting trip. Mrs. McCann, the eldest daughter of F.W. Woolworth, was a well known collector of Chinese export porcelain and displayed many of her wares in the house. The McCann family used Beauport primarily as a summer residence and for the most part, they left Sleeper’s arrangements in place; except for the China Trade Room (added fireplace surround and changed furniture) and Red Indian Room (added bathroom).

In 1937 Mrs. McCann approached Historic New England (formerly Society for the Preservation of New England Antiquities- SPNEA) with the idea of bequeathing the house to the organization, but was taken ill and past away before plans could be worked out. Five years later, the three McCann children—Constance McCann Betts, Helena McCann Guest, and Frasier W. McCann—carried out their late mother’s wishes and donated the house to the organization.

The national importance of Beauport in the areas of American material culture, interior design, historic preservation, and architecture can be documented through its exposure in national publications. The first national article on Beauport appeared in House Beautiful in 1916, with follow-up articles on its collections of toile (1924) and Americana (1925). In 1924 The Architect published six full-page plates of Beauport exteriors and interiors. During Sleeper’s later career, when he worked steadily as an interior decorator, other recognition of Beauport came from House and Garden (1926), The Antiquarian (1930), Country Life (1929, two articles in 1934, and a posthumous article in 1935), and Antiques (1934). One odd measure of Sleeper’s growing stature as a media celebrity was a 1930 Saturday Evening Post advertisement. It pictured “collector and connoisseur” Sleeper, along with actor Gary Cooper, journalist Alexander Woollcott, and adventurer Richard Halliburton, in an ad headlined “Chase and Sanborn’s Dated Coffee served in the homes of each of these surprisingly domestic well known bachelors.” The most significant notice, though, was the Country Life cover article of February 1929, which included specially-commissioned sketches and paintings of Beauport.

Besides these periodical notices, Nancy McClelland featured Beauport and Sleeper’s work in three books, beginning with her important Historic Wallpapers (1924). The articles continued after Sleeper’s death with several articles in The New York Times and Boston Globe; in periodicals such as Architectural Digest, Colonial Homes, Country Living, and Design Times; and on television: PBS’s Pride of Place and A & E’s America’s Castles. Most recently, Beauport has been featured in At New England Continuation sheet 4 INVENTORY FORM B CONTINUATION SHEET [GLOUCESTER ] [75 EASTERN POINT BLVD]

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(August 2006), AAA Horizons (August 2006), World of Interiors (September 2006), Martha Stewart Living (September 2006), Great Houses of New England (2007), and Magazine Antiques (2010).

Sleeper’s work as an interior designer has been confirmed in seventeen commissions, including Beauport and his own townhouse at 90-90A Chestnut Street, Boston. Of those seventeen, however, only Beauport and the Rev. and Mrs. George C. F. Bratenahl House in Gloucester, for which Sleeper completed the paneling, interior design, and furnishings, remain relatively intact. All the others have been altered, most significantly. At least one, the Caroline Sinkler house in Gloucester, has been destroyed, although another Sleeper commission for Sinkler, her house in Fort Washington, Pennsylvania, “The Highlands,” survives as a museum. One of Sleeper’s earliest commissions was Huntland, the Thomas House in Middleburg, Virginia (1912, 1915), a collaboration with Halfdan Hanson and Henry C. Mercer, the noted antiquarian, collector, and tile maker. Others include Houndsmore Lodge, the Morrill House, in Gloucester (1920); the Bruce E. Merriman House in Providence, Rhode Island (1923); the Mabel Yates Howe House in West Manchester, Massachusetts (1924); Eagle’s Nest, the F. Frazier Jelke House in Newport, Rhode Island (1924); Davenport House, the Paul Hollister House in New Rochelle, New York (1930); Indian Council Rock, the George F. Tyler House in Newtown, Pennsylvania (1932); and the R. T. Vanderbilt House in Green Farms, Connecticut. At the time of Sleeper’s death, his best known commissions were for two California houses owned by motion picture actors: Nine Gables, the Johnny Mack Brown House in Hollywood (1930); and the Frederic March House in Beverly Hills (1934).

Beauport was also significant as a model for the preservation and display of historic architectural elements. It fostered an appreciation and study of American architectural workmanship. In the many articles written on Beauport, people saw formerly expendable architectural details, such as the Cogswell House paneling, Barker House woodwork, Dillaway House floorboards, and the Connecticut Valley and Newport doorways, as works of art worth preserving and reusing. By extension, it also raised public support for preserving historic architectural detail still in place, contributing to the present historic preservation movement, which advocates saving historic architectural detail through restoration or rehabilitation of the entire building. The influence of Sleeper and Beauport has been clearly demonstrated in material culture, interior design, and historic preservation, but Beauport also has influenced American architectural practice. Beauport is Historic New England’s most-visited house museum, owing in part to its location in a summer resort area. But many of the people who tour Beauport are repeat visitors. Part of Beauport’s special appeal may be its unique status as a unified work of architecture made of seemingly disparate parts. Like Gardner’s and du Pont’s houses, Beauport is part of the twentieth-century trend which saw collectors turning distinctive houses into cultural institutions which would survive them. In its design, the significance of Beauport for art and architecture is interrelated.

Beauport thus can be seen as fitting into the wider traditions of twentieth-century art, as a unique assemblage or collage, expressed in the medium of architecture. Perhaps the strongest appreciation of the architectural influence of Beauport comes in Pride of Place, where Stern compared Beauport with other highly individualistic American houses, including Thomas Jefferson’s Monticello (NHL, 1960), George Washington Vanderbilt’s Biltmore (NHL, 1963), Isabella Stewart Gardner’s Fenway Court, and William Randolph Hearst’s San Simeon (NHL, 1976). Beauport was a unique artistic creation, its many unrelated elements given new order and meaning by their specific arrangement.

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BIBLIOGRAPHY and/or REFERENCES Published Sources: Books

Albright, Alan. The Field Service: From Assistance to the War Wounded to Educating World Citizens. New York: AFS Archives and Museum, 1991.

Blanford, William B., and Elizabeth Clay Blanford. Beauport Impressions: An Introduction to Its Collections. Boston: Society for the Preservation of New England Antiquities, 1965.

Chamberlain, Samuel, and Paul Hollister. Beauport at Gloucester: The Most Fascinating House in America. New York: Hastings House, 1951.

Curtis, Nancy, and Richard C. Nylander, eds. Beauport: The Sleeper-McCann House. Photographs by David Bohl, essays by Joseph Garland and Paul Hollister, chronology and list of commissions by Philip A Hayden. Boston: Society for the Preservation of New England Antiquities, 1990.

Garland, Joseph E. Boston’s North Shore: Being an Account of Life among the Noteworthy, Fashionable, Wealthy, Eccentric, and Ordinary, 1823-1890. Boston: Little, Brown, 1978.

Garland, Joseph E. Eastern Point: A Nautical, Rustical and More or Less Sociable Chronicle of Gloucester’s Outer Shield and Inner Sanctum, 1606-1990. Revised and updated. Beverly, MA: Commonwealth Editions, 1999.

Kettell, Russell Hawes. The Pine Furniture of Early New England. New York: Dover, 1929. McClelland, Nancy. Furnishing the Colonial and Federal House. Philadelphia: J. B. Lippincott, 1936.

McClelland, Nancy. Historic Wallpapers: From their Inception to the Introduction of Machinery. Philadelphia: J. B. Lippincott, 1924.

______. The Practical Book of Decorative Wall-Treatment. Philadelphia: J. B. Lippincott, 1926.

Shand-Tucci, Douglass. The Art of Scandal: The Life and Times of Isabella Stewart Gardner. New York: Harper Collins, 1997.

Sleeper, Henry Davis. Beauport Chronicle: The Intimate Letters of Henry Davis Sleeper to Abram Piatt Andrew, Jr., 1906-1915. Edited by E. Parker Hayden, Jr., and Andrew L. Gray. Boston: Society for the Preservation of New England Antiquities, 1991.

Stern, Robert A. M. Pride of Place: Building the American Dream. Assisted by Thomas Mellins and Raymond Gastil. Boston: Houghton Mifflin, 1986.

Published Sources: Selected Articles “A Charming Gloucester Home.” Gloucester Daily Times, 11 December 1909, p. 5.

A. M. B. (initials only). “The New Old House.” House Beautiful (August 1916): 128-133, 164.

Continuation sheet 6 INVENTORY FORM B CONTINUATION SHEET [GLOUCESTER ] [75 EASTERN POINT BLVD]

MASSACHUSETTS HISTORICAL COMMISSION Area(s) Form No. 220 MORRISSEY BOULEVARD, BOSTON, MASSACHUSETTS 02125

“Americana from the Collection of Henry D. Sleeper, Esq.” House Beautiful (June 1925): 682-683.

Andrew, A. Piatt. “Col. Andrew Pays Tribute to Late Henry Sleeper.” Gloucester Daily Times, 25? September 1934.

“Architect Honors Bestowed on 39.” New York Times, 27 May 1934. p. 2.

Benson, Esther. “A House that Reflects the Moods of America.” New York Times, 16 May 1976.

Blanford, Elizabeth Clay. “Silhouettes at the Beauport Museum.” Old Time New England, Series 199 (55.3; January- March 1965): 57-75.

Cornforth, John. “Beauport, Gloucester, Massachusetts—I.” Country Life (28 October 1982): 1318-1321.

Cornforth, John. “Beauport, Gloucester, Massachusetts—II.” Country Life (4 November 1982): 1399-1403.

Duryea, Drix (photographer). “Plates IV-IX.” The Architect (October 1924).

“A ‘Five and Ten’ Heiress at Gloucester this Summer.” Boston Sunday Globe, 23 August 1936: Section 2, p. 5.

“A Gift of Paul Revere Silver.” Museum of Fine Arts Bulletin (April 1926): 26-28.

Gray, Andrew. “The American Field Service.” American Heritage (December 1974): 58+.

_____. “The Caretaker’s Letters.” Yankee Magazine (July 1971): 76-97.

_____. “A New England Bloomsbury.” Fenway Court (1974): 1-4.

“H. D. Sleeper, War Figure, Dies.” Boston Herald, 24 September 1934, p. 11.

Hammel, Lisa. “The Pleasures of Beauport, Authentic and Eccentric.” New York Times, 16 August 1981. Hardin, Louise. “Eating All Over the Place.” Country Life (July 1934): 64-66.

Hayden, Philip. “Beauport, Gloucester, Massachusetts.” Antiques (March 1986): 622-625.

“Henry Davis Sleeper, Active World War Figure.” Boston Evening Transcript, 24 September 1934, 11.

Hollister, Paul. “Beauport in Gloucester.” House and Garden (19 February 1940): 56. This issue also includes an unsigned note by the editors, “Original Sources of the Colonial Trend,” illustrated with six pictures of Beauport, pp. 10-11.

Hollister, Paul. “Beauport: Windows for the Eye.” Glass Club Bulletin (fall 1980): Cover, 7-12.

Hollister, Paul. “The Building of Beauport, 1907-1924.” American Art Journal (winter 1981): 69-89.

“Hot Weather Windows.” House and Garden (June 1926): 98-99.

Continuation sheet 7 INVENTORY FORM B CONTINUATION SHEET [GLOUCESTER ] [75 EASTERN POINT BLVD]

MASSACHUSETTS HISTORICAL COMMISSION Area(s) Form No. 220 MORRISSEY BOULEVARD, BOSTON, MASSACHUSETTS 02125

Jackson, Edith A. “Early Pine Furniture in Decoration.” The Antiquarian (February 1930): 57- 59+.

McCabe, Carol. “Beauport.” Early American Life (April 1980): 44-48.

Nadelman, Cynthia. “Elie Nadelman’s Beauport Drawings.” Drawing 7.4 (Nov.-Dec. 1985): 75-78.

Perrett, Antoinette. “A Notable Collection of Tole: Photographs from ‘Beaufort,’ [sic] the Home of Mr. Henry D. Sleeper, East Gloucester, Massachusetts.” House Beautiful (February 1924): 137-140.

_____. “The Old China Trade.” Country Life (June 1934): 35.

_____. “Old Tableware.” Country Life (August 1935): 49-52+.

Sleeper, Henry Davis. “The Effort in America.” History of the American Field Service in France. Boston: Houghton Mifflin, 1920.

Sleeper, Henry Davis. “Report of the Director of the Museum,” Old Time New England Series 7 (3.2; January-March 1965): 57-75.

Sweeney, John A. H. “Recollecting a Collector.” Antiques (June 1978): 1266.

Townsend, Reginald T. “An Adventure in Americana: Beauport—The Residence of Henry D.

Sleeper, Esq., at Gloucester, Mass.” Country Life (February 1929): Cover, 30, 34-42.

“Three Well-Known Antiquaries.” Antiques (December 1934): 232.

Continuation sheet 8

Topographic or Assessor's Map Beauport, Sleeper-McCann House 75 Eastern Point Boulevard, Gloucester, MA

UTM References: Zone Easting Northing 19 363740 4716530

SAT FY11: Beauport Window Conservation Phase IV: (34 sash plus additional work)

First Floor 11 Sash: 8 full conservation/ 3 surface glazing; repainting

Golden Step Room: W1.29: fixed; fair condition. Suggestion: Surface work and repaint; UV protection- film candidate W1.30: pocket window; fair condition/ moisture distributes on sill. Suggestion: surface work and repaint, possible flashing work to reduce moisture—potential for removal; UV protection- film candidate W1.31: fixed; fair condition. Suggestion: Surface work and repaint; UV protection- film candidate

Octagon Room: W1.32: casements (2); poor condition; hardware completely rusted. Suggestion: Full conservation; UV protection- acrylic on panes W1.33: Fixed (2); POOR condition; interior paint completely missing, moisture on sill. Suggestion: Full conservation; UV protection- exterior storm W1.34: casements (2); poor condition; hardware completely rusted. Suggestion: Full conservation; UV protection- acrylic on panes

Cloister: W1.35: casements (2); poor condition; several applications of weather stripping applied. Suggestion: Full conservation; re-adjust; UV protection- film candidate

Second Floor 23 Sash: 9 full conservation/ 14 surface glazing; repainting

Mariner’s Room: W2.14: 2 casements; 1 fixed (large Moorish-style): severe deterioration. Suggestion: Full conservation; UV Protection- acrylic on panes except top which could be accomplished through a panel

Red Indian Room: W2.15: 2 fixed upper sash and 4 casements (metal); severe deterioration on upper fixed sash, re- adjustments needed at casements. Suggestion: fixed- full conservation; re-adjust metal casements; re- paint; UV Protection- UV Film has been applied to casements/ upper sash- acrylic on panes

W2.16: 2 fixed upper sash and 4 casements (metal) and 2 fixed metal centers; severe deterioration on upper fixed sash, re-adjustments needed at casements. Suggestion: fixed- full conservation; re-adjust metal casements; re-paint; UV Protection- UV Film has been applied to casements but may need to be updated/ upper sash- acrylic on panes

W2.17: 2 fixed upper sash and 4 casements (metal); severe deterioration on upper fixed sash, re- adjustments needed at casements. Suggestion: fixed- full conservation; re-adjust metal casements; re- paint; UV Protection- UV Film has been applied to casements/ upper sash- acrylic on panes

Additional Work: 1. Carpentry repairs and repainting of North Gallery balustrade and exterior door frames 2. Possible sill repairs on above windows based on a more up close inspection 3. Basement windows (4); surface glaze and repaint 4. Mariah’s Porch stairs- repair; repaint

W2.14: Mariner’s Room W2.15: Red Indian Room HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

Completion Report

Project Name: Window Conservation Phase I and Phase II Beauport, Sleeper-McCann Site: Structure: Museum Building House Date Started: November 2008 Date Completed: July 2009 Estimate of $136,000 (additional funds $100,000 Actual Cost: Cost: from MHC) Historic New England: Heartwood Contractor or Carpentry Crew Building & Cousins Contracting Staff Involved: Jodi Black Restoration ( Jade Mortimer) First phase of the overall Save America’s Treasures grant project (2008-2011). Partially Component of funded by the Massachusetts Historical Commission through the Preservation Projects larger project: Fund (Round 14).

Pre-Work Statement of Condition: An extensive survey and condition assessment was performed on each individual sash— dividing the units into several phases of work over the next three years (as funded by the SAT grant). The general conditions of the wood windows indicated surface glazing failure, cracking and flaking exterior paint, wood rot at bottom rail and some side stiles, and deterioration of the bed glazing causing interior paint failure. Water infiltration was noted on several sash. (See window survey for more information)

Typical conditions on site included failing glazing Typical bottom rail deterioration and glazing and flaking paint. (Terrace Elevation) failure. (Sun Porch bi-fold sash W1.46)

Page 1 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

Treatment Plan (scope of work): The intent of this project was to provide complete conservation to the sash while retaining as much of the historic element as possible. An addition to this project was surface glazing and re-painting of several sash along the front elevation as well as re- painting exterior shutters. Philosophical Issues: Exterior Paint Color: Over the years, the exterior paint color evolved into a faded purple- brown color. Several paint analyses have been performed over the last 30 years, which indicated that the correct exterior color was a deeper shade of brown. Research was conducted on the specific colors outlined in past reports—approximately three different colors were indicated, but all were more brown than purple. PPIP recommended Munsell color: brown – 10 R 2/2, which was the paint match from the 1977 window project (Morgan Phillips).

Replacement Glass: When individual panes of glass had three or more cracks or were structurally unsound they were replaced. Discussions ensued regarding what type of glass to use for replacements. As the house was built in the 20th century, architectural glass replacements from a company like Bendheim that specializes in 17th century-19th century appropriate glass would not work. Questions were raised regarding the need to replace with new glass or the possibility of replacing with a salvage piece of glass. The issue was brought to the February 24, 2009 Property Care Staff Meeting. Three basic replacement options were discussed: new, flat (modern) glass; reusing old or period appropriate glass; and new glass made to appear old with waves and flaws. Although not all were in agreement, the end result was a feeling that salvage materials were not appropriate for any of the other building elements (wood, hardware, brick) and therefore glass replacements would be of new glass made to appear older and etched with “New Glass 2009”. The glass was purchased from AGW Old Style Window Glass (1609 Union Avenue, Baltimore, MD 21211 Tel: 410.366.0300.

Ultra-Violet Protection: The house includes thousands of pieces of decorative arts and in order to maintain the objects, historic fabrics, and wall coverings Historic New England, during the 1970s and 80s, began installing various forms of ultra violet protection. Mainly, acrylic panels were cut to fit the entire size of the sash and screwed directly into the frame from the interior. It is likely that this approach was used to try and seal off the air to create a vacuum. Unfortunately, this approach created a micro climate that produced severe condensation issues throughout the house, which resulted in interior paint deterioration, failure at the bed glazing, and wood rot.

Historic New England has started to plan for a more proactive approach to UV protection. After researching various forms of UV protection (film, exterior storms, interior storms, vented acrylic panels), the team realized that a blanket approach was not the answer and began to install UV film on sash that were susceptible to severe condensation. The film has been applied in the Sun Porch and Green Dining Room at present. More research will be conducted to determine what the best options are for the rest of the house. (American Window Film, Foxboro, MA. Product: 3M N70)

Page 2 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

Work Performed Actual work performed: Full Conservation: Severely deteriorated sash were removed, painted plywood blanks installed to fill the voids, and the sash were transported to a workshop. All glazing was removed and deteriorated wood elements were restored with dutchman repairs. Some epoxy repairs were allowed in small and hard to reach places. The glass was cleaned, repaired or replaced, and re-glazed into place. All hardware was removed, cleaned, repaired, lubricated, and re-installed. Fully conserved sash were re-painted both on the exterior and the interior. Painting consisted of scraping flaking and loose paint, priming, and re- painting with two top coats.

Surface Glazing: Surface glazing was preformed on several sash on the front elevation and terrace elevation. Surface glazing in place consisted of removing cracked or loose glazing and paint, repairing substrate with wood fillers, re-glazing, priming, and re-painting with two top coats. (Exterior painting only)

Shutters: All shutters were removed, repainted, and re-installed. Due to severe deterioration as outlined in Issue IV below, additional repairs were required. Shutter hardware was carefully removed, cleaned, repaired, and re-installed.

Phase I Sash Work: Historic New England Carpentry Crew: 1. Full conservation on Strawberry Hill Bath (W2.02 a-b); Red Indian Room (W2.11 a- b); Mariner’s Room (W2.12); North Gallery (W2.13); Music Room (W2.24 a-c); Strawberry Hill Room (W2.25 a-f); and Maid’s Room (W2.37).

Heartwood Building & Restoration: 1. Full conservation on Paul Revere Room/Chapel Chamber (W1.15, W1.16); Green Dining Room (W1.38 a-f); Sun Porch (W1.39, W1.40, W1.41, W1.42, W1.43 a-b, W1.44 a-f, W1.45 a-b, W1.46 a-d); Red Indian Room (W2.20 a-c); and Shelley Room (W2.29 a- r).

2. Surface glazing at China Passage (W1.36) and Green Dining Room (W1.37).

3. Repairs and re-painting of all exterior shutters (31)

Cousins Contracting: 1. Full conservation on Linebrook Parish (W1.10 e-h, W1.11 b); South Gallery (W1.48 a- f, W1.49 a-f, W1.50 a-b); and Blue Willow Room (W2.28 a-e).

2. Surface glazing at China Trade Room (W1.01 a-b, W1.02 a-f, W1.03 a-b); Cogswell Hall (W1.04 a-b, W1.05 a-f, W1.06 a-b); Hall Bath (W1.07); Linebrook Parish (W1.08, W1.09 a-b, W1.10 a-d, W1.11 a); South Gallery (W1.47 a-f); China Trade Room Balcony (W2.26) Page 3 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

Completed sash and shutters along terrace elevation. (Northwest elevation- July 2009)

Fully restored bi-fold sash (before photo above. W1.46)

Issue I: Sill Rot A significant amount of rot was found on several sills related to the project. Most were too deteriorated to save and were replaced. Replacement consisted of removing the exterior portion of the sill to good wood and attaching a new sill with through bolts. The holes for the fasteners were filled with epoxy and sanded. The new sill was primed and re-painted. The sills were replaced with Spanish cedar with the exception of the Sun Porch sill that was replaced ‘in kind’ with Douglas fir.

Replacement sills: Three sills at the South Gallery (W1.48; (2) W1.49); China Trade Room (W1.02); Sun Porch (W1.44); Red Indian Room (W2.20); North Gallery; and Music Room (W2.24). Repairs only: Green Dining Room, Shelley Room, Paul Revere Room (W1.16), and Red Indian Room (W2.11).

Severely deteriorated sill at the Sun Porch (Terrace New Douglas fir sill at the Sun Porch. (Terrace Elevation W1.44) Elevation)

Page 4 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

China Trade Room sill (Southeast elevation) before China Trade Room following replacement with replacement. W1.02 Spanish cedar. Issue II: Sash Repairs to Mortise and Tenon

The majority of the sash removed from the building had significant rot and/or deterioration at the bottom rails and side stiles. Often the rot was due to rusting metal fasteners used to connect the mortise and tenon joint. The metal fasteners were removed, the wood consolidated and filled, and the holes were replaced with wooden dowel fasteners. Wooden dowels allow for better reversibility for future repairs, do not rust, and are the more traditional manor of fastening at sash joints.

Rusting metal fasteners at the mortise and tenon Many of the mortise and tenon joints had to be have expanded and allowed water to rot the wood. replaced due to significant rot. (Red Indian Room- (Green Dining Room- Terrace Elevation) Southeast Elevation) Issue III: Custom Paint Color

Page 5 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

The exterior paint color for the sash and trim was chosen as Munsell color: brown – 10 R 2/2. This was custom matched paint from Johnson Paint Company (32 Warren Street, Waltham, MA 781.891.7199) mixed with a California Exterior Satin in a Neutral Base (#W10717). Due to the amount of colorant needed to mix the paint, some of the base needed to be removed from the paint can. In the first order, a small amount of base was removed first and then the colorant added. In the second order, the color was added and then some paint was dumped out before the can was closed. The result was two very distinctly different colors. The correct color matched to the Munsell chip resulted from removing some of the base first.

Paint color match issues required repainting several sash along the South Gallery. (W1.49)

Issue IV: Exterior Shutter Repairs The extent of repairs for the exterior shutters was much more than anticipated and since most of the shutters were completely removed from the building, it was decided to repair rather than just re-paint.

The shutters are mainly flat boards fastened together with two flat battens on the back. This application created a vulnerable edge grain that as a result deteriorated from the weather over the years. Instead of replacing the shutters it was decided that a lead cap be tacked onto the top edge of each of the shutters that would help minimize the continued deterioration to the board’s end grain. The lead cap overlapped the front of the shutter by a ¼” and up to an 1” on the back of the shutter to provide for appropriate nailing with coppered nails. Holes from previous installations or rusted nails were filled and the boards were scraped and repainted.

Shutter D2.01 (Strawberry Hill Balcony Door) and the shutter located at W2.35 (Servant’s Quarters) were severely deteriorated due to their locations on the building, which caused a large amount of water to flow behind and over the boards. Also, they are almost always shaded, which did not allow the boards to dry out. The battens to the shutters were severely rotted and paint was bubbling from the substrate. It was determined to remove the rotten battens and replace with a cedar board milled slightly Page 6 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities thinner than the original. Lead spacers were installed behind the new cedar board to create a 1/8” gap, which will allow water to pass through and not gather at the batten’s edge. The prime motivator for this approach was to preserve the original front boards of the shutter, which contains a decorative cut out.

Varying degrees of deterioration at the exterior Two of the shutters had severely deteriorated shutters required a few different approaches to battens that were replaced. repair.

A lead cap was installed to aid with preserving the shutter’s top edge grain. The shutters were also primed and re-painted. (Servant’s Quarters- W2.35) Materials: Paint: California latex paint- 2010/ Primer/ Benjamin Moore

Page 7 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

Hardware: Butchers Bowling Alley Wax (sash closers) / XIM Hardware Primer (hinges) Wood Rejuvenator: Mixture of Penetrol/Linseed Oil (boiled)/ Turpentine “Special Sauce” Wood Glue: Titebond III Epoxy: Abatron/ Flex Tec (Advanced Repair Technology) Glazing Putty: Sarco Species of wood for repairs: Pine (sash repairs)/ Cedar (shutter repairs)/ Spanish Cedar (sill repairs)/ Douglas Fir (at Sun Porch sill) Glass Cleaner: Mixture of water/ white vinegar/ Isopropyl alcohol/ few drops of detergent Insecticide: BoraCare Replacement Glass: AGW Old Style Window Glass (Baltimore, MD) Mixture of Types A, AA, C, & D UV Protection: American Window Film (Foxboro, MA). Product 3M N70

Submitted by: Jodi Black Date: 8.11.09

More Information:

1. Beauport Window Condition Survey (August 2008) and Window Schedule 2. Beauport Window Restoration Field Reports 1-26 outlining details of work (November 2008- July 2009) 3. Contractor and Carpentry Crew Repair Reports (November 2008-July 2009) 4. Save America’s Treasures Progress Reports 1-3 (August 2008; January 2009; July 2009) 5. Massachusetts Historical Commission Preservation Projects Fund Completion Report (July 2009)

PAINT COLORS: The following outlines the paint colors and associated sash used during the 2008-2009 window conservation project funded by Save America’s Treasures and Massachusetts Preservation Project Fund (Mass. Historical Commission). All sash were painted the colors found at present either through paint analysis or custom color match at vender. All paint was purchased from Johnson Paint Company, 32 Warren Street, Waltham, MA (781.891.7199).

Through Paint Analysis:

Exterior sash and trim: California Exterior Satin Neutral Base: W10717 (Custom Mix)

Exterior North Gallery Wall: (and wall shingle touch ups) Cabot Latex Deck Stain Neutral: W10995 (Custom Mix)

Exterior Gray Trim: Benjamin Moore Moorglo Deep Base 100% Acrylic: #1476 “Squirrel Tail” Page 8 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

South Gallery: (W1.48; W1.49; W1.50) California 2010 Interior Semi Natural Base: #DEA159 “Rich Mocha”

Green Dining Room: (W1.38) Benjamin Moore Aquaglo Semi Gloss Deep Base: #SW2369 (Custom matched to Sherwin Williams color)

Shelley Room: (W2.29) Benjamin Moore Aquaglo Semi Gloss Ultra Base #1547 “Dragon’s Breath”

Paul Revere/Chapel Chamber: (W1.15; W1.16) Benjamin Moore Aquaglo Semi Gloss Ultra Base #1491 “Aegean Olive”

Red Indian Room: (W2.11; 2.20) Benjamin Moore Aquaglo Semi Gloss Ultra Base #2095-10 “Adirondack Brown”

Sun Porch: (W1.39; W1.40; W1.41; W1.42; W1.43; W1.44; W1.45; W1.46) Benjamin Moore Aquaglo Semi Gloss Medium Base: #SW1201 (Custom Mix to Sherwin Williams color)

Strawberry Hill Room: (W2.25; D2.01) California F/c Interior Latex Egg Neutral Base: SW2014 (Custom Mix to Sherwin Williams color)

Through Color Matching on site:

Master Mariner’s Room: (W2.12) California F/c Interior Latex Egg Neutral Base: 8743m “Polished Oak”

North Gallery: (W2.13) California 2010 Interior Semi Deep Base: DE6215 “Wooden Peg”

Storage Room: (W2.37) California 2010 Interior Semi Medium Base: #HIST78 “Viscaya”

“Pink Bath”: (W2.02- off of Strawberry Hill) California F/c Interior Latex Egg Neutral Base: SW2014 (Custom Mix to Sherwin Williams color)

Music Room: (W2.24) California 2010 Interior Semi Deep Base: #DE6392 “The Met”

Servant’s Quarters: (W2.35; W2.36) California Exterior Satin Neutral Base: W10717 (Custom Mix- same as exterior brown)

Page 9 of 10 HISTORIC NEW ENGLAND The Society for the Preservation of New England Antiquities

Blue Willow Room: (W2.28a-d) California 2010 Interior Semi Natural Base: #DE6265 “Moss”

Bath: (W2.28e Room 206- next to Blue Willow) California 2010 Interior Semi Pastel Base: #8760W “Gray Ashlar”

Linebrook Parish Room: (W1.10; W1.11) California 2010 Interior Semi Natural Base: #DE6399U “Molasses”

Page 10 of 10

Preservation Philosophy

Historic New England is a museum of cultural history that collects and preserves buildings, landscapes, and objects dating from the seventeenth century to the present. It uses these resources to keep history alive and to help people develop a deeper understanding and enjoyment of the New England way of life and appreciation for its preservation. By serving as a role model for the stewardship of New England heritage, Historic New England utilizes its preservation philosophy to educate, to instill an appreciation and awareness of history, to share knowledge and leave a legacy for future generations, and to promote greater involvement on the part of individuals and communities in the preservation of the past.

Statement of Preservation Philosophy

One of Historic New England's primary goals is the preservation of cultural resources.

Recognizing that the resources administered by Historic New England, including landscapes, buildings, structures, archeological resources, objects, and archival material, may have different preservation needs and ideologies, Historic New England's preservation philosophy is to:

• Research and document the history, evolution, features, materials, integrity, and areas of significance of resources prior to undertaking any repair or conservation work. Research should be considered a continuum that serves to direct the overall management approach for resources, and records Historic New England's contribution to their care and maintenance; • Monitor usage to prevent irreparable loss of historic fabric; • Choose maintenance and conservation treatments that reflect a commitment to retaining and preserving historic material; • Recognize and preserve the design and craftsmanship that has uniquely shaped a resource over time; • Disseminate the experiences and information associated with resources to internal and external audiences; and • Follow or exceed nationally-accepted professional standards and guidelines, as appropriate for each discipline, in order to ensure the longevity of resources and maintain a reputation for innovation and the highest quality of work.

Approved by the Board of Trustees on September 24, 2008

Historic New England City of Gloucester Community Preservation Project Application

Attachments • Topographic or Assessor's Map: Beauport, Sleeper-McCann House 75 Eastern Point Boulevard, Gloucester, Massachusetts, 01930

• Certificate of Title, December 21, 1942

• Massachusetts Historical Commission – Form B – Building

• Preservation Restriction Agreement between the Commonwealth of Massachusetts by and through the Massachusetts Historical Commission and the Society for the Preservation of New England Antiquities/SPNEA, now Historic New England

• Beauport Floor Plans

• Beauport Elevations

• Initial Needs Assessment: Beauport, The Sleeper-McCann House by Integrated Conservation Resources

• Historic New England – Site Assessment: Beauport, Sleeper-McCann House – Main House

• Historic New England Preservation Philosophy

• Project architects, contractors, and consultants Historic New England requires three competitive bids before determining a contractor for the work. Currently, one bid has been received for estimating purposes, which became the basis for this grant request. Two more bids will be obtained before the contractor is selected.

• Completion Report: Window Conservation Project Phase I and Phase II

• Completion Report: Window Conservation Project Phase III

• Save America’s Treasures FY11: Beauport Window Conservation Phase IV specifications

• Heartwood Window Restoration: Proposal: harbor side windows

• Letters of support (sent under separate cover) o Cape Ann Chamber of Commerce o North of Boston Convention and Visitors Bureau o seArts: The Society for the Encouragement of the Arts