Discoveries: The Drawing Room 100 Years Ago

By David Cordes

2006

State of Iowa restoration painters, Dick Labertew and Mark Lundberg arrived at Terrace Hill on January 31, 2006, to begin preliminary stages of work that will lead to the restoration of the circa 1903 appearance of the drawing room. In a couple of days, canvas wall coverings were removed and thick layers of paste were washed away, revealing the decorative paint scheme created for F. M. and Frances Hubbell early in the 1900s.

The passing of 100 years has taken its toll on the last interior decorating project that F. M. and Frances undertook in their magnificent Terrace Hill. Viewing these walls in 2006, with deterioration, the fading of colors and the accumulation of dirt and grime, causes one to ponder the effects of passing time. Not only does the actual physical condition of the walls change and deteriorate, but also, the way in which we look at interior design has changed. The continual evolution of style and preference is not a new phenomenon, and if anything, the pace at which styles change has perhaps slowed, compared to the last half of the 19th century.

When Terrace Hill was first constructed by B. F. Allen in 1869, the interior finishes of the walls were all painted. The colors were mostly light pastels or shades of white. There were no stenciled patterns or other decorative paint techniques used. While this might not have been the most up-to-date style in New York, it was probably still considered acceptable in the West. Undoubtedly, it would have been considered quite stylish a decade earlier at either locale.

Late in 1884, Hubbell purchased Terrace Hill, and by February 1885, a top-notch crew of fresco painters from Chicago, working under the direction of Harry Milligan, was transforming the entire place. The work they did reflected the best styles of that decade. The colors were intense, some vibrant and others dark. In the drawing room, there was a large scrolling frieze design that was chartreuse green with red fuchsia blooms scattered throughout. This was layered upon a background of salmon pink. There was also a Moorish-inspired zigzag pattern in very dark reds and browns just below the plaster cove. The main body of the walls was cement gray. This scheme reflected the exuberance of the 1880s and the fact that new chemicals and compounds had been perfected that made it possible to produce a wider range and depth of color than was previously possible.

By the early 1900s, with Terrace Hill then 40 years old, some of the ceiling plaster was failing and in need of replacement. With previous fix-ups then 15 years old, redecorating began again. Late in 1901, fresco artist Charles Morris and his crews were at work in Terrace Hill. They progressed through the rooms on the first floor, with their efforts focusing on the rooms that were most often used. They returned in the spring of 1903 and again in the spring of 1905. It is unknown during which of these visits that the drawing room was redecorated.

This new scheme provided significant change from the scheme of 1885. The intense colors of the 1880s were gone, replaced by much softer hues, with more harmonious ornamentation. The walls were painted a softer shade of blue-green. The ornamentation was achieved with a large scrolling acanthus pattern in shades of buff. Draped below this large ornament was a series of small floral garlands.

Similar floral patterns were also painted on the ceiling.The schemes of 1901 to 1905 have been well-preserved because of the manner in which the subsequent decoration was applied. In 1924, son Grover Hubbell and his family moved into the house to assist in the care of aging F. M. At that time, the walls and ceilings were covered with wall canvas, to which the subsequent layers of paint have been applied.

When considering which decorating scheme the room would be restored to, Terrace Hill Curatorial Committee members considered a number of factors. Their general preference was to restore to the earliest Hubbell scheme possible. However, in this case, since the ceiling had been replastered at the time the paint was applied in 1901-1905, there is no evidence except black-and-white photographs taken in 1899 to guide the replication of the 1885 scheme. Sufficient portions of the 1901-1905 scheme remain behind the ceiling canvas to allow accurate replication of the colors and overall design. Therefore, since the latter design could be most accurately reproduced, it was the choice of the committee. This recommendation was approved by the Terrace Hill Commission and was also endorsed by the Terrace Hill Society.

In January and February 2006, investigation and documentation were completed. Significant plaster repairs were made. The walls will be repainted temporarily to the most recent dcor, a rose-plum shade of red. Restoration painters will return in January of 2007 to begin the overall restoration.

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