9-PALM 00001 1967 Materials Conservation Assessment Report 2021.pdf

King Louis XVI Conservation Assessment and

Treatment Recommendations

Prepared for the City of Louisville, KY

By Materials Conservation

August 11, 2021

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Sarah Lindgren

Public Art Administrator

Office of Advanced Planning & Sustainability

Department of Development Louisville

444 South Fifth Street, Suite 600

Louisville, KY 40202

Sarah.Lindgren@louisvilleky.gov

Dear Ms. Lindgren:

Materials Conservation is pleased to present this assessment and treatment recommendations of the King Louis XVI sculpture by Achile Valois. Materials Conservation performed a visual inspection in June 2021 of the marble sculpture and the limestone base. The assessment was primarily visual and non destructive tests such as probing and sounding the cracks were performed. Graffiti removal testing was completed on several discrete locations on the marble sculpture and the limestone base. Additional testing of the marble to determine porosity may be performed if conservation treatments such as cleaning and consolidation will be recommended and implemented.

In general, the marble sculpture is in moderate condition but there are many risks; past, present and future that factor into evaluating the condition of this historic sculpture and to determine where it may be sited. Marble is generally a robust and durable material for outdoor sculpture, however it is not a material that can endure repeated damage and aggressive maintenance practices. A careful inspection of the marble surface has found loss of carved detail and evidence of surface erosion from repeated pressure washing to remove paint graffiti. In addition to graffiti, there is surface damage from objects being thrown at the sculpture. This has caused damage to the right hand, loss of fingers on left hand, and damage to other areas on the shoulders and back of the figure. There is a series of cracks in the marble sculpture at the left arm that will require further investigation, as they are cause for public safety concern, particularly during protests when people may climb on the assembly. The combination of the previous outdoor location and continued cycle of graffiti, damage, and subsequent cleaning and repair will reduce the longevity of the piece, which will continue to succumb to the resultant surface erosion and structural damage.

It is the opinion of the consulting conservator that the decision to remove the sculpture from the site was imperative to its preservation, and that the sculpture is very vulnerable to irreparable damage if returned to the same site. It is also recommended that the limestone base of the sculpture should be retired and a new base or plinth be designed. In conjunction with designing a conservation treatment to clean and repair the sculpture, careful consideration should be given to selecting a new secure location and interpretation.

Careful consideration for Louisville’s namesake will recontextualize the marble sculpture and can afford an opportunity for new public discourse in light of today’s reconsideration of monuments and social justice.

Thank you, John Carr

Principal Conservator

King Louis XVI Page 1

Conservation Assessment & Treatment Recommendations

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OVERVIEW

Louisville KY’s namesake is France’s King Louis XVI , who offered pivotal support to the American colonies during the Revolutionary War. A larger than life sculpture of his likeness was commissioned by his daughter, Marie‐ Therese, and created by the sculptor Achile Valois. Carved from Carrara marble, it measures over 12 feet tall and weighs over 9 tons. The sculpture was completed in 1829 and donated to the city of Montpelier where it was placed in a public square. After a year of display the sculpture was placed into storage, where it stayed for 136 years.

In 1967 the sculpture was donated to the city of Louisville as a gift of friendship from the city of Montpelier, Louisville’s “Sister City”. It was first installed on the west lawn of Metro Hall, and in 1973 was moved to the corner of 6th & Jefferson Streets. The sculpture stood atop a limestone base that was created at the time that the sculpture was donated to the city of Louisville. The Indiana limestone base is comprised of four slightly tapered side panels capped with a surbase that supports the marble sculpture.

In 2020 the sculpture was repeatedly damaged during the Breonna Taylor murder protests and the local and nationwide racial justice movement. The sculpture was heavily spray‐painted and the hand was broken off, prior to the city of Louisville removing the sculpture in September 2020. Since that the time the sculpture has remained in a city storage location. Future plans for the sculpture are still being developed and will require more planning to find a potentially suitable installation in a secured indoor location, with accompanying interpretative signage.

Unpacking sculpture, 1967

Image from Courier Journal

Dedication, with new base, 1967

Image from Courier Journal

After protests, 2020

King Louis XVI Page 2

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1.1 GRAFFITI

Although marble is a very durable and enduring material for outdoor sculpture, it is a porous crystalline material that can erode with acid rain or be etched by high pressure water. Spray paint will bond to the porous granular surface and can be absorbed into the pore structure of the marble crystals. Removal of the graffiti is based on dissolving the paint with solvents or slightly abrading the surface of the marble with pressurized water. Ideally, paint removal on marble is most effective when the paint is dissolved with solvents and drawn to the surface over a very long dwelling time. This method is often not possible for agencies that care for outdoor art and are required to respond quickly to vandalism or damage. Pressurized water is more expediate and does seem to cause no harm if used at a low enough pressure setting. However, many factors contribute to risk of causing damage to the marble including operator training, outside air temperature and spray paint color.

An inspection of the sculpture indicated that it had been graffitied with spray paint multiple times prior to the recent campaign which was not removed. Since the surface was recently cleaned it was very porous and this allowed the new spray paint to penetrate deeper into the material.

The most permanent and irreparable damage to the Louisville sculpture are past attempts to quickly and permanently remove spray paint from protests. High pressure water cleaning is an effective method to remove graffiti, but it abrades and opens the surface pore structure of the marble. There are several areas of damage caused by high‐pressure cleaning in which wand marks are visibly etched into the surface.

Layers of spray paint built up on sculpture

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August 11, 2021

Soiling seen on carved surface

1.2 SOILING BELOW GRAFFITI

In areas of recessed carved details such as the fabric of the wardrobe, there is evidence of atmospheric soiling that was not cleaned or removed prior to the protests. These black crusts form in areas that do not get rain washing, such as the underside or recessed areas of the marble. The spray paint was applied on top of these black crusts and will require a cleaning program that will address both the nature of the soiling as well as the removal of the paint.

Soiling seen in detail of carved surface

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2. CRACKS

There is significant cracking in the sculpture, which was previously noted in the condition report that was created by Caso‐Impex. The cracks had been filled in the past with a lime or cementitious material, but the fills have worn away over time. Refreshed masonry fills will ensure that water stays out of the sculpture. Extensive cracking on the arm is a cause for public safety concern. While it is currently stable, it has undermined the structure of the sculpture which may result in further damage, especially were the sculpture to be under undue stresses. Further investigation should be performed to determine if a stabilizing pin repair is needed.

It is not uncommon for Carrara marble sculptures to have surface cracks. While these cracks are stable and topical and present no immediate threat, they must be documented and monitored during future relocation. Should any movement be recorded during the relocation we must stop work to stabilize the sculpture.

View of crack on back of sculpture

Detail

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View of earlier repair of finger on sculpture Connection at hand

3. MISSING AND DAMAGED ELEMENTS

There has been a history of previous repairs, particularly to fragile components of the sculpture that are currently missing and/or damaged again. The losses were due to a combination of breakage over time and several incidents of vandalism connected to civil protests.

At present, a finger has broken again along a previous repair, as it had already been replaced at some point using a bronze pin and epoxy. The right hand was broken off and is damaged, but is currently in the possession of Louisville city staff. This right hand displays evidence of a previous carefully executed repair, note how the marble was configured and attached with a mortise joint and bronze pin to hold the hand in place. This hand can be repaired, however it will remain a very fragile and vulnerable element of the sculpture and will be susceptible to future damage if the sculpture is relocated back to the same location.

Some small marble details have been lost and were not collected during the deinstallation. These are not critical to the interpretation of the piece but speaks to its fragility, especially in an outdoor environment. Although an incredible amount of carved detail remains, with each protest the risk of damage exists. A thorough inventory of the marble fragments must be completed prior to conserving the sculpture to determine that exact number and nature of each repair.

Area of loss

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4. PREVIOUS REPAIRS

The sculpture has approximately a half dozen earlier repairs, which were perhaps made prior to being sent to Louisville. These Dutchman repairs are well‐executed carved replacement pieces. They are well‐done and secure, and only require grouting in joints to prevent any future water penetration.

5. LIMESTONE BASE

The base of the sculpture dates to 1968, the time that the sculpture was gifted to the City of Louisville. It consists of four Indiana limestone panels set vertically and a flat plinth cap block on top, which has a slight chamfer or angle. Typically these panels would be mechanically fastened or pinned to a brick or block core behind the limestone panels. However, here the limestone panels were load‐bearing, with the plinth cap block sitting directly on top of the vertical panels and the marble sculpture sat on top of the limestone. This is not considered a good construction method and presented a risky and precarious mounting system for a sculpture that was prone to vandalism. Based on the method of construction, the base could be toppled with lateral and vertical pressure, again posing a threat to public safety. The panels were set ten inches below the concrete sidewalk, and when they were removed it became apparent that they were slightly soiled and exhibit signs of de‐icing salt damage. The inscription is legible, however there is damage to the carved letters including erosion, deep scratches and chips. If the base is to be retained, repair options include cleaning and desalination of deicing salts, and anchoring the panels to a core structure should be strongly considered. This would help to distribute the weight instead of relying on relatively thin panels to carry the heavy sculpture.

Dutchman repairs Dutchman repairs

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6. SURFACE CHIPS AND SPALLS

There are several recent chips in the sculpture, which likely occurred during the recent rigging and removal. This damage is minor and is to be expected whenever a piece is moved in duress. These chips can be repaired, and should be considered part of the accumulated history of the piece. There are older chips and losses that have been exposed to weathering and the surface is slightly eroded.

Chip at lower portion of sculpture Chip at lower portion of sculpture

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8. SITE CONDITION

Currently, the sculpture and base have been removed from the site. A steel plate sits over the void where base was removed.

Sculpture in rigging crib

7. RIGGING CRIB

At present the sculpture is being stored in its rigging crib, which can be modified and reused. Modifications include repositioning pieces and disassembling steel uprights to allow for conservation work.

When considering installation and potential future possible relocation, thought should be given to mounting the marble on an armature to facilitate rigging and moving.

Site

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Surface requiring different levels of cleaning Area of heavy spray paint

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Materials Conservation recommends the following conservation treatments to stabilize and conserve the sculpture.

INVESTIGATION

Step 1: Perform porosity testing: Testing will determine the type of cleaning product to be used, so that a safe cleaning system is used that doesn’t further open the pores of the marble. Additionally, testing will help to understand if a piece requires consolidation, which helps to strengthen the surface and create additional waterproofing.

Step 2: Investigate cracks: An investigation into the stability of the arm will be performed to determine if the arm needs to be reinforced via a mechanical pin.

1. CLEANING AND PAINT REMOVAL

Careful cleaning of the marble is recommended to unify mottled surfaces from past treatments that were completed to remove paint quickly and expediently. Cleaning of paint and other surface soiling can be completed safely and effectively with poultices with a long dwell time, which will help to pull the paint out of the marble pores.

Removal of generalized atmospheric soiling can be accomplished by a combination of steam and detergent cleaning.

Use soft bristle nylon brushes to gently agitate the detergent during the dwell period, followed by a steam cleaning and a thorough water rinse.

Be sure to use cleaning products that don’t adversely affect marble, which is the case with acid‐based cleaners.

Remove without pressurized water or aggressive scrubbing to reduce surface erosion and loss of details. Doing so will achieve an overall clean and consistent surface.

King Louis XVI Page 10

Graffiti cleaning tests were performed to the sculpture and base, with 15 and 30 minute dwell times. Surfaces were first wet and then a gentle cleaner applied and gently agitated. After the allotted dwell time of 30 minutes the surface was rinsed with fresh water. This approach effectively removed the graffiti, as shown in the images below:

Graffiti removal test: 30 minute dwell time

We often select the Heritage product line from World’s Best Graffiti Removal System. It is used for the removal of spray can paints from a variety of different materials with different porosity. .

PRODUCT DESCRIPTION

Specifically designed for sensitive, historic and important buildings to remove graffiti from stonework, brickwork and masonry without damage.

This product is effective first time every time and requires very low pressure to remove softened graffiti from the surface. Importantly, HERITAGE REMOVER will rinse very easily to avoid the presence of insoluble salts being left on the masonry.

Will remove all types of spray can paints from porous stone and concrete surfaces, including cinderblock, split face block and exposed aggregate. Safe and effective to use on all types of natural stone (such as limestone, granite, marble, and terrazzo).

Also highly effective on some painted and coated surfaces such as signs as well as stainless steel, trees and most plastics.

FEATURES AND BENEFITS

‐ Fast acting penetrating formula encapsulates and dissolves spray can and other stains from behind as well as the front.

‐ Easily rinsed with a small pressure washer requiring very little rinsing water. Any resultant run off is a readily biode‐ gradable gray water soap which can be left to biodegrade. Recycled or further diluted for use in gardens etc.

‐ May be used on painted surfaces as well as natural surfaces.

Graffiti removal test: 30 minute dwell time

King Louis XVI Page 11

Previous Dutchman repair Previous Dutchman repair

2. REPAIRS TO CRACKS

Existing Dutchman repairs and fills must be visually inspected and documented prior to moving sculpture. All existing joints should be regrouted with a lime‐based material or approved equivalent after the marble sculpture is cleaned to keep water out.

3. CONSOLIDATION

Weathering and acid rain causes a significant amount of deterioration on a marble statue over time which can cause surface erosion and loss of details. As a metamorphic rock, marble forms when limestone is put under immense heat and pressure. During this process, the makeup of the stone changes and crystals form an interlocking network that becomes cemented together. As marble weathers naturally and due to additional outside forces such as aggressive cleaning and acid rain, this network becomes “loosened” at the surface, which can cause loss of crystals and larger openings into the network. In essence, consolidation replaces the cementing nature of the stone that has been lost to this weathering and holds the loosened crystals together. An appropriate consolidant will provide this cementation while still allowing the stone’s natural breathability. This process increases the longevity of the piece through mitigation of natural surface erosion and crystal losses due to movement. Marble surfaces can be treated with ammonium oxalate to consolidate the disaggregating surface. When applied to marble, ammonium oxalate chemically reacts with the calcium carbonate of the stone and produces a protective layer of calcium oxalate, which consolidates deteriorated stone and makes it more resistant to acid attack than calcium carbonate.

Consolidation of the sculpture should be considered, even if the sculpture is relocated to an indoor location, which may make graffiti removal easier in the future.

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August 11, 2021

Missing finger

4. RECAST OR REPAIR MISSING OR DAMAGED COMPONENTS OF THE SCULPTURE

Thanks to the extensive documentation of the sculpture it is possible to recreate damaged or missing parts.

Finger: A replica finger can be re‐carved using photographic documentation and reinstalled using the existing pin and conservation‐grade epoxy resin.

Hand: The hand was damaged but city staff have all of the components, therefore it can be conserved and reattached using a reversible pin system and conservation‐grade epoxy resin. However, consideration should be given to replicating the hand in another material. When created in marble this is a very susceptible detail and prone to damage.

Attachment at hand

King Louis XVI Page 13

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Cost Estimates for Louis XVI

Conservation Cost Estimates:

Porosity testing and crack investigation ................................................................. $3,500

Cleaning graffiti and atmospheric soiling .............................................................. $18,000 ‐ $25,000

Grouting cracks and Dutchman repairs ................................................................... $5,000

Pinning and loss repair ............................................................................................ $5,000 ‐ $10,000

Total fee estimate for conservation ...................................................................... $31,500 ‐ $43,500

Other Costs:

Relocation within Louisville .......................................................................... NTE $50,000

New base and design ................................................................................................. TBD

New interpretive signage ........................................................................................ $5,000—$10,000

King Louis XVI Page 14

August 11, 2021

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Even before the protests around racial reckoning last summer, municipalities and public art programs were grappling with how to address problematic monuments within their collections. But in light of 2020’s protests the question of who gets memorialized, and why, took on greater energy and importance, and became the question that each owner of memorial art must respond to in a way that is specific for their community. Often the solution was to remove the sculpture until those questions can be explored and resolved. Paul Farber, a co‐founder of

Monument Lab in Philadelphia distilled the question of monument removal as: “What’s the priority? Removing a wound in order to shut down dissent? Or is it to start writing the next chapter of recollection and repair?” Following are a selection of ways that these questions are being explored.

Louisville: In 2018 Louisville established a Public Art and Monuments Advisory Committee to facilitate public dialogue to inform and develop a set of principles for evaluating Louisville’s existing public art and monuments. Their report forms a road map for considering works of public art and monuments, and a set of criteria for determining outcomes for contested monuments. https://louisvilleky.gov/document/pamacfinalreportpdf‐0

Philadelphia: In 2017, Monument Lab partnered with the Philadelphia Mural Arts Program to commission a series of artists who explored what a monument would look like in Philadelphia in 2017. In addition to the many artists who were commissioned, a “Field Research Office” placed a Philadelphia artist in residence at the Barnes

Foundation on the Parkway. https://www.muralarts.org/artworks/monumentlab/

Look at “Two Me” by Mel Chin in Philadelphia City Hall Courtyard: https://www.muralarts.org/artworks/ monumentlab/two‐me/

New York: Prior to making the decision to remove the Equestrian Statue in front of the American museum of Natural History, the museum created an interactive website and exhibit to provide contest to the sculpture and gather public input to inform the sculpture’s fate: https://www.amnh.org/exhibitions/addressing‐the‐theodore‐ roosevelt‐statue

Richmond: Richmond created a public process for informing whether new sculptures should go in the place of the removed Confederate sculptures, or whether the bases should also removed: https://richmond.com/news/ local/a‐blank‐canvas‐and‐an‐opportunity‐for‐reinvention‐what‐should‐the‐new‐monument‐avenue‐look/ article_5d8Ɵ149‐0a68‐5a9e‐aba8‐9c4c268ed14b.html

Chicago : Chicago created a comprehensive plan to review the fate of controversial public art monuments as part of a “racial healing and historical reckoning project” that “will grapple with the often unacknowledged—or forgotten—history associated with the city’s various municipal art collections, and will provide a vehicle to address the hard truths of Chicago’s racial history.” https:// www.chicago.gov/city/en/depts/mayor/press_room/press_releases/2020/august/AssessMemorialsMonuments.html

London: The Fourth Plinth in Trafalgar Square. was originally intended to hold an equestrian statue of

William IV, but remained empty due to insufficient funds. The City of London put an esteemed commission in place that commissions a new work of contemporary to be placed on the plinth each year. This approach and the excitement it brings makes the Fourth Plinth a world‐class public art destination.

Spec Sheets for

World’s Best Graffiti Removal System

By Heritage

Heritage For the removal of spray can paints from stonework, brickwork and masonry on historic and heritage buildings

Product Data Sheet Product Code: WB0040 Issued: August 8, 2016

Urban Restoration Group US Inc. (URG US INC) maintains Safety Data Sheets (SDS) on all of its products. The SDS contain information that you will need to protect yourself, your employees and customers against health or safety hazards associated with our products. URG US INC requires that you obtain a copy of the respective SDS prior to using or transporting our products. The information in this Product Data Sheet is based on data that we believe to be reliable and is offered in good faith, but without guarantee, and subject to the terms and conditions set forth in URG US INC’s Product Data Sheet and any additional documentation provided by URG US INC’s, as ultimately the conditions and methods of the use of URG US INC’s products are beyond URG US INC’s control.

URBAN RESTORATION GROUP US INC MAIL: 1146 N Central Ave. #531, Glendale CA 91202 USA. WAREHOUSE: 5439 San Fernando Rd. W, Los Angeles CA 90039 USA. TEL: 1-818-247-2555. FAX: 1-818-247-2515. EMAIL: sales@graffitiremovalinc.com. WEB: www.graffitiremovalinc.com

PRODUCT DESCRIPTION

Specifically designed for sensitive, historic and important buildings to remove graffiti from stonework, brickwork and masonry without damage.

This product is effective first time every time and requires very low pressure to remove softened graffiti from the surface. Importantly, HERITAGE REMOVER will rinse very easily to avoid the presence of insoluble salts being left on the masonry.

Will remove all types of spray can paints from porous stone and concrete surfaces, including cinderblock, split face block and exposed aggregate. Safe and effective to use on all types of natural stone (such as limestone, granite, marble, and terrazzo).

Also highly effective on some painted and coated surfaces such as signs as well as stainless steel, trees and most plastics.

FEATURES & BENEFITS

• Fast acting penetrating formula encapsulates and dissolves spray can and other stains from behind as well as the front.

• Easily rinsed with a small pressure washer requiring very little rinsing water. Any resultant run off is a readily biodegradable gray water soap which can be left to biodegrade. Recycled or further diluted for use in gardens etc.

• No shadows, no damage, no harsh scrubbing required.

• Pleasant smelling and non toxic.

• Safe and effective to use on all types of natural stone (such as limestone, granite and marble), stainless steel, trees, plastics and playground equipment.

• May be used on painted surfaces as well as natural surfaces.

INSTRUCTIONS FOR USE

HERITAGE REMOVER is applied to the surface with a nylon brush, broom or pump-up sprayer, 3 times at 3 minute intervals, liberally flooding the graffiti / stain with the product.

For typical graffiti, approximately three minutes after the final application, rinse using a hot or cold pressure washer (hot is best) at low pressure. If one is not available, then a stiff nylon brush and bucket of water may suffice.

Agitation, as you apply this product, can be of great assistance. Continued experience with the product will enable the user to judge how many applications are necessary for varying surfaces and particular spray cans.

On older / thicker graffiti patience is the key. Keep the graffiti wet with the product, as long as possible before rinsing.

Do not blast too close, in order to remove the graffiti, as it may cause damage and will possibly only remove a small percentage more.

Remember, a pressure washer in this instance is really only a quick release rinse of the dissolved graffiti, and not the primary means of cleaning.

Ideally use 1500 - 2000 psi with a 15º or 25º fan jet at about 6 inches from the surface. Do not blast or use ‘turbo’ type nozzles which risk doing damage.

FOR EXPERT TECHNICAL ADVICE ON YOUR REMOVAL JOB,

PLEASE CALL 1-818-247-2555 OR

EMAIL SALES@GRAFFITIREMOVALINC.COM

masonry on historic and heritage buildings

Product Data Sheet Product Code: WB0040 Issued: August 8, 2016

Urban Restoration Group US Inc. (URG US INC) maintains Safety Data Sheets (SDS) on all of its products. The SDS contain information that you will need to protect yourself, your employees and customers against health or safety hazards associated with our products. URG US INC requires that you obtain a copy of the respective SDS prior to using or transporting our products. The information in this Product Data Sheet is based on data that we believe to be reliable and is offered in good faith, but without guarantee, and subject to the terms and conditions set forth in URG US INC’s Product Data Sheet and any additional documentation provided by URG US INC’s, as ultimately the conditions and methods of the use of URG US INC’s products are beyond URG US INC’s control.

URBAN RESTORATION GROUP US INC MAIL: 1146 N Central Ave. #531, Glendale CA 91202 USA. WAREHOUSE: 5439 San Fernando Rd. W, Los Angeles CA 90039 USA. TEL: 1-818-247-2555. FAX: 1-818-247-2515. EMAIL: sales@graffitiremovalinc.com. WEB: www.graffitiremovalinc.com

SAFETY ISSUES

While HERITAGE is very safe to use in comparison to most graffiti removal products, the intended use for the product is stripping paint, waxes and oils from building surfaces and is thus naturally much more aggressive on skin and eyes than normal every day cleaners.

If the intended user is not familiar or confident in implementing the safety precautions below we urge that they do not use the products.

1. Always wear solvent alkali protective gloves, goggles and long sleeve clothing.

2. Be sunsmart. Wear a wide brimmed hat; after all, you are outside.

3. Always know where water is available, in case of a splash.

4. Carry a spare set of clothing. Do not leave contaminated clothing on.

5. Use in well-ventilated areas.

LIMITATIONS

1. HERITAGE can occasionally mark aluminum or galvanized steel surfaces.

2. Use synthetic brushes and plastic buckets.

HERITAGE can damage natural fibers like hair or wool.

3. Do not spray HERITAGE unless determined safe to do so.

4. Do not dilute HERITAGE (use as supplied).

INSTRUCTIONS FOR USE cont...

When rinsing dissolved graffiti with a pressure washer try to remove a LITTLE of the graffiti from the bottom of the tag without wetting the whole area.

If satisfied, then proceed to full scale. Wash the whole area from top to bottom.

Remember, if the remover has not done its job then no amount of ‘blasting’ will fix the problem.

Failures are usually a result of not flood coating adequate-ly and not leaving product on long enough and cannot be resolved by blasting too close or at higher pressures.

TIPS FOR EFFECTIVE USE OF HERITAGE

TIP 1. Some spray cans such as reds can stain surfaces. Other spray cans change colors once HERITAGE has been applied. For complete and total removal of these stains use our FELTPEN FADEOUT after or while HERITAGE is still on the stain.

TIP 2. If you are fixing someone else’s former failure and maybe having problems, then HERITAGE can be left overnight on the wall (if safe to do) ensuring maximum dwell time. Return in the morning and the problem will usually be solved with another application and a wash off.

TIP 3. As a general rule, avoid trying to remove spray can graffiti from porous unpainted surfaces, whilst the walls are facing the hot summer sun. Wherever possible, try to work in the shade or during a cooler time of day.

On days when there is a likelihood of the graffiti remover drying out within minutes or less, the wall can be thoroughly wet with water and towel patted dry BEFORE applying HERITAGE.

Stone Walls

Historic Brick and Masonry masonry on historic and heritage buildings

Product Data Sheet Product Code: WB0040 Issued: August 8, 2016

Urban Restoration Group US Inc. (URG US INC) maintains Safety Data Sheets (SDS) on all of its products. The SDS contain information that you will need to protect yourself, your employees and customers against health or safety hazards associated with our products. URG US INC requires that you obtain a copy of the respective SDS prior to using or transporting our products. The information in this Product Data Sheet is based on data that we believe to be reliable and is offered in good faith, but without guarantee, and subject to the terms and conditions set forth in URG US INC’s Product Data Sheet and any additional documentation provided by URG US INC’s, as ultimately the conditions and methods of the use of URG US INC’s products are beyond URG US INC’s control.

URBAN RESTORATION GROUP US INC MAIL: 1146 N Central Ave. #531, Glendale CA 91202 USA. WAREHOUSE: 5439 San Fernando Rd. W, Los Angeles CA 90039 USA. TEL: 1-818-247-2555. FAX: 1-818-247-2515. EMAIL: sales@graffitiremovalinc.com. WEB: www.graffitiremovalinc.com

CAUTION

Before commencing any large scale use, always test first in an inconspicuous area. This product is designed to remove all types of markers and stains, and may have an unpredictable or even damaging result on certain man-made or stained surfaces. If necessary wait for surface to dry to ensure perfect results.

Any building which has suddenly been washed (even with clean water) after many years of dryness can give rise to what we call ‘secondary efflorescence’, that is a few soft fluffy ‘salts’ which in itself is not harmful and will disappear in no time never to return again.

This is not to be confused with the production and consequential rise of harmful salts which cause the spalling of masonry surfaces.

In our experience we have never witnessed such a result-ing outcome unless the building has:

1. Not been rinsed properly, or

2. The building surface is situated in a repetitive wetting and drying situation.

COVERAGE GUIDELINES

1 gallon will remove approx.:

• 200 sq ft of typical graffiti on concrete, brick, block or masonry surfaces

• 80 sq ft on sandstone, limestone and other soft absorbent surfaces (per 3 flood coat application).

On painted / coated surfaces expected removal is approx.

1000 sq ft per gallon.

Exact coverage varies depending on type of stain and the porosity of surface material.

TEMPERATURE USAGE

For hot weather removals avoid direct sunlight whenever possible. Wet surface down first and apply HERITAGE to damp wall. Allow for longer dwell times in cold weather.

Expect considerably slower reaction times in weather below 40°F / 5°C.

TECHNICAL DATA

Composition HERITAGE is a premium aromatic liquid made from natural citrus oils alcohols designed to penetrate the surface, fully dissolve graffiti and other marks as well as rinse away very easily under low pressure.

Properties Color: Orange Brown liquid.

Odor: Citrus solvent odor.

PH: ~ 12-14

Storage: Store in a cold dry place away from heat or flames.

Shelf Life: Approximately 2 years but up to 5 years in unopened container.

Precautions: Flammable.

DOT Markings: UN2924, Flammable liquid, corrosive, n.o.s., (Ethyl Alcohol, Potassium Hydroxide), 3, (8), PG III

ENVIRONMENTAL CARE

HERITAGE is biodegradable and conforms to all statutory environmental requirements for graffiti removal including VOC limits. Designed to be fast, effective and non damaging requiring very little rinsing water. If necessary, water can be collected using a wet vac and disposed of safely.

We believe nothing other than rainwater should enter our precious storm water systems.

See SDS for further information.

LEGAL DISCLAIMER

Read and follow label directions and observe all safety precautions in the use of this product. Because conditions of product use are outside of our control and vary widely, the following is made in lieu of all express or implied warranties: This product will conform to Urban Restoration Group US, Inc.’s published product specifications and be free from defects in material and manufacture on the date of purchase.

masonry on historic and heritage buildings

Product Data Sheet Product Code: WB0040 Issued: August 8, 2016

Urban Restoration Group US Inc. (URG US INC) maintains Safety Data Sheets (SDS) on all of its products. The SDS contain information that you will need to protect yourself, your employees and customers against health or safety hazards associated with our products. URG US INC requires that you obtain a copy of the respective SDS prior to using or transporting our products. The information in this Product Data Sheet is based on data that we believe to be reliable and is offered in good faith, but without guarantee, and subject to the terms and conditions set forth in URG US INC’s Product Data Sheet and any additional documentation provided by URG US INC’s, as ultimately the conditions and methods of the use of URG US INC’s products are beyond URG US INC’s control.

URBAN RESTORATION GROUP US INC MAIL: 1146 N Central Ave. #531, Glendale CA 91202 USA. WAREHOUSE: 5439 San Fernando Rd. W, Los Angeles CA 90039 USA. TEL: 1-818-247-2555. FAX: 1-818-247-2515. EMAIL: sales@graffitiremovalinc.com. WEB: www.graffitiremovalinc.com

Except where prohibited by law, Urban Restoration Group US Inc., further disclaims, and shall not be liable for any incidental, special, consequential or indirect loss or damage and/or personal injuries including death arising from the use of this product or the cost of labor involved in its application or any reapplication of product that is replaced, regardless of the legal theory asserted.

SELLER MAKES NO WARRANTY, EXPRESS OR

IMPLIED, CONCERNING THE USE OF THIS PRODUCT

OTHER THAN INDICATED ON THE LABEL. BUYER

ASSUMES ALL RISK OF USE AND/OR HANDLING OF

THIS PRODUCT AND MATERIAL WHEN SUCH USE

AND/OR HANDLING IS CONTRARY TO LABEL

INSTRUCTIONS. NO OTHER WARRANTIES ARE

MADE, EXPRESS OR IMPLIED, INCLUDING WITHOUT

LIMITATION WARRANTIES AS TO

MERCHANTABILITY OR FITNESS FOR A PARTICULAR

PURPOSE. IN ALL EVENTS, URBAN RESTORATION

GROUP US, INC’S LIABILITY SHALL BE LIMITED

SOLELY TO THE REPLACEMENT OF THE PRODUCT

PURCHASED.

This limited warranty may not be modified or extended by manufacturer’s representatives, distributors or dealers of Urban Restoration Group US, Inc. products. This warranty gives the purchaser specific legal rights, as well as rights which may vary from state to state. Urban Restoration Group US, Inc. specifically disclaims any and all other obligations or liability to any party relative to the sale, use or application of its products.

If this product is defective upon your receipt, your exclusive remedy shall be, at Urban Restoration Group US, Inc.’s option, to replace the product or refund the purchase price of the Urban Restoration Group US, Inc.

product.

CONTACT MANUFACTURER

Urban Restoration Group US Inc.

5439 San Fernando Rd. W., Los Angeles CA 90039 USA Tel: +1-818-247-2555. Fax: +1-818-247-2515 Email: sales@graffitiremovalinc.com Web: www.graffitiremovalinc.com