Jean Lipman states “Rufus Porter’s mural paintings, like his inventions and his scientific journals, were pioneer products, far ahead of their time. They represent our first native landscape school, and are among the most original and important artistic achievements of nineteenth-century America. It is imperative to save them from destruction now and to insure their future preservation.”
In Lipman's 1980 book Rufus Porter, Rediscovered, she documented more than 100 houses from 1940-80 that had muraled walls. Sadly many of them have been lost to fire, moisture, over painting, demolition and removal for sale. Porter school wall murals have existed for 180 years, and many generations have enjoyed them. To see them vanishing so rapidly is alarming.
In response to the many inquiries coming to the Museum regarding wall murals:
- their care
- whether they should be restored if they have paint loss
- whether they should be removed and sold if the new owners dislike living with them
here are some of the Museum’s philosophies:
A local fireman reported in 2002 that a house burned down, but the room with the murals was left intact. Had they known they were there, they wouldn’t have bulldozed the house the next day.
We encourage all owners to document their murals by sending for and completing the written forms from the Rufus Porter Museum that document as much written history as possible of the house, along with digital pictures of the outside and interior room(s) that have murals. At the same time, notify the local firemen and police of the existence of the murals and that they are a historical landmark in the town. Eventually, the Museum would like to provide all documented houses with a plaque to be attached to the exterior of the home if the owner is favorable to this.
Early wall murals do not appeal to everyone, but rather than over paint, paper over, plaster over or remove them, it is possible to cover them with wallboard in a way that won’t damage them. This procedure leaves the wall murals for the next owners to enjoy if they so choose. By doing this, the history and their historical value to the town will be left intact. The fact that the walls are documented in the library of the Rufus Porter Museum will allow future generations to enjoy them if desired.
Removal of the walls, even if reinstalled into another house, will leave them in jeopardy if the next owner dislikes them. With an insecure future, the murals will be subject to loss.
The paints used are primarily water based and subject to resolulizing when in contact with water. Techniques for removing wallpaper and plaster are best left to professional restorers so the original paint is left intact. We suggest owners learn what is involved in this, and study other restored murals so the end result is pleasing to them. Much damage has occurred in the past from inappropriate techniques and heavy over painting. Any new paint application diminishes the value of the wall murals. The Museum can supply owners with some references upon inquiry, but cannot be held responsible in any way with the activities, procedures and results.
We promote living with murals that are original as much as possible, as no matter how good the restoration, it can never measure up to original paint. To see the original color and brush work adds greatly to the value and study of the techniques. Each mural was individually designed by Rufus Porter to fit the space of the house, and he was an acknowledged genius at this. The original placement in the house is important to the value of the artwork and once the walls are removed, they lose their significance to their historical placement.
If a house is to be demolished, it is wonderful to see the murals saved and preserved elsewhere. However, loss may easily occur when placed in storage. If they are stabilized and stored, every time they are moved to put on display they are subject to environmental conditions—light, humidity and people traffic. This constant movement causes cracking with each move, as is the case with the Westwood walls. When the condition of the paint on the walls is original (no inpainting, overpainting or restoration), and the structural integrity of the walls is sound, there is a market for these. There are experienced professionals who can remove the walls and support the edges with a frame. Once the plaster walls are removed, the structural integrity of the walls is subject to additional damage during storage and reinstallation. Thus, we discourage any unnecessary removal of walls from the original setting. Every owner becomes a caretaker for the next generation to enjoy this incredible heritage which they own.
The three houses with murals presently in Bridgton were discovered under plaster or wall paper since Jean Lipman’s book Rufus Porter, Yankee Pioneer was published in 1970. Her book renewed appreciation for his painting by art lovers nationwide, and helped increase interest and value in his work. Nine other houses with murals known in the Bridgton area have been lost, typical of the rapid pace with which this heritage is disappearing. Unless the value of having these murals in their original setting is respected and appreciated, it will not be long before this 19th century historic landscape school of painting will disappear.
There are legal instruments for preservation which can be implemented to maintain vigilance and future oversight. Contact Historic New England (Society for the Preservation of New England Antiquities) for more information about their Stewardship Program at www.historicnewengland.org or call (781) 891-1985, ext. 227. You can email them at stewardship@historicnewengland.org. Particularly note the story about the Daniel Carr House with Porter murals in No. Haverhill, Mass.
Please feel free to contact the Rufus Porter Museum with other questions you may have. We are deeply appreciative of the concern being shown by owners of wall murals by all artists of the 19th century.