The relationship between John Canning & Co. and First Church of Christ, Woodbridge, CT (FCCW) began in late 2016 when the two were connected through the CT Trust for Historic Preservation. The FCCW had been seeking help to restore its historic meeting house. Due to age and the elements, the attic framework of the old New England church building (1832) was coming apart: the structure had shifted, cornices and joints separated, the ceiling cracked, the historic plaster pulled away from the lath, and the paint was severely compromised throughout. Together with GNCB Consulting Engineers of Old Saybrook, CT, Canning surveyed and wrote a report of the damage. This assessment helped to secure a 50% grant from the State Historical Preservation Office (SHPO) for the stabilization of the plaster and wood structure. Led by Canning in 2017-2018, this structural restoration was ultimately a success, but the interior decorative paint work, which had been last updated in 1986, was permanently defaced in the process. It was at this point that the relationship between Canning and FCCW would shift its focus from structural preservation to creative restoration.

David Riccio, Canning Principal, remembers sometime in 2018 representatives from Canning and FCCW meeting over tea to discuss the interior decorative possibilities of the church building. Within the congregation there was a range of opinions on embarking on this redecoration process, some wishing to cut losses and leave it “as is” while others suggesting an uncomplicated whitewashing of the entire interior. There was another contingent, though, which appreciated the importance of the church in the wider community, its place in the history of Woodbridge, and its standing on the National Register of Historic Places. This group recognized the need for a redecoration program that would honor the church’s past while at the same time reimagining it for a contemporary audience. This bold vision won the day, and what began as a simple conversation over tea was put on a path that would evolve over several more years and end as a grand, refined decorative scheme. [See “Enduring into the Future: The First Church of Christ, Woodbridge, CT” for a full discussion of the church’s redecoration.]

For David Riccio the FCCW project would become Canning’s exemplar of how guiding and assisting a client and offering a variety of services can allow a small congregation in a small country church to arrive at a place beyond their expectation. Looking back on the experience, Riccio distilled four key elements necessary for success: an understanding of the past; communicating with the client; a dedication to achieving the highest level of quality; and being open to serendipity along the way.

Canning’s approach to restoration, according to Riccio, is “to be in step with the times yet not out of reach of the past.” To achieve that aim, research must come first to understand the depth of the stylistic history of the site before an interpretation can be made for a new scheme. At FCCW that meant gathering information on earlier decoration contracts, especially the most recent in 1986, and photographs of past work. A historic paint investigation was completed and used to develop color schemes that honored the 1891 decorative program. And seemingly inaccessible areas of the building were explored, including when Riccio crawled into the organ box to uncover evidence of original 19th-century decorative wall painting that had been hidden for generations. As full and complete an understanding of the past was critical to creating a foundation for moving forward.

In his book Early Connecticut Meetinghouses (1948), J. Frederick Kelly notes that “a church is not simply a building but an organized body of Christians.” (p. xxiv) Similarly, Canning recognizes that a contract is not simply a commitment to work on an architectural structure but a relationship with a community of people. In the first place, that means consultation, providing the client with the information and advice they need to guide their choices in the restoration process. In the early stages at FCCW that meant preparing renderings, making mock-ups to scale, and offering presentations to the congregation after Sunday services. Meeting with the community in person means that questions can be answered and a vision for what is possible can be proposed. Second, being committed to a relationship with a client means listening and being open to what is meaningful to them. At FCCW the inclusion of images of local, historic crops – oats, tobacco trumpets, and flax flowers – in the decorative program was an idea that excited the community. Taking on the client’s creative ideas with thoughtful consideration allows all parties to feel fully invested in the project. Third, a relationship with a client requires patience with the process. In building a meetinghouse in the 19th century, everything was authorized by community vote, including all repair and alterations. (Kelly p. xxvii) The same is true today at FCCW where community approvals are required at every step of the decision-making process. Patience with the procedures and the tough negotiations that arise from the contractor-client relationship is essential to success. And, finally, when conflict arises in a relationship, there is return to commitment. In a project such as that at FCCW which demanded a total personal and financial investment on both sides, emotions can sometimes run high and every detail becomes rightfully important and in need of a satisfactory resolution. A complete dedication to the project vision and to the partnership of contractor and client puts difficult moments in perspective.

Riccio says that Canning fundamentally seeks to get a job “done right”. To that end, holding the highest standards of craftmanship is, of course, a given, but employing technology to achieve an even more exacting level of quality is also called for. At FCCW the illusionism of the painted panels, moldings, and scrolling leaves on the ceiling was enhanced by research of the natural light source. Using software with 3D model capability allowed Canning to analyze realistic light movement across the surface of the ceiling and apply that knowledge when creating the canvases in studio that would later be installed in the church building. This attention to detail raises a project to the highest reaches of success.

There is reward in adding value to a project as things are discovered along the way. One serendipitous find in the process at FCCW was the richly decorated plaster medallion for the brass chandelier, which had been removed to the church basement at some point. Although the congregation was hesitant to put it back due to its size and weight, Canning’s enthusiasm to repaint and reinstall the piece as central to the ceiling restoration was infectious. Although not originally part of the project scope, the chandelier medallion is now a uniquely three-dimensional centerpiece for the otherwise two-dimensional tromp-l’oeil ceiling decoration. More broadly it is emblematic of Canning taking joy in doing some things simply to make the end result better than expected.

On April 21, 2024 FCCW celebrated the rededication of its sanctuary. After a moving service filled with songs of praise and words of appreciation to all those involved in the restoration and reimagining of the church interior, a reception followed featuring a beautiful silver tea service. What began as a simple conversation over tea in 2018, concluded six years later with tea served in an unexpectedly magnificent way.

Distinguished by four elements of success – understanding the past, communicating with the client, dedication to achieving the highest level of quality, and being open to serendipity – Canning was able to bring the FCCW project from a hope and vision to a completely restored and refreshed church interior. As David Riccio proudly asserts, the work at FCCW shows that with the proper guidance, skill, and passion that Canning offers, the most humble of patrons can ultimately achieve results beyond all expectation.

What qualifications makes a good decorative painter? Here we take a look at some of the things to look for when hiring a painting restoration contractor. Whether you are restoring or recreating a historic paint surfaces, selecting the right decorative painting restoration contractor for your project is essential. The qualifications, experience and knowledge mentioned are the key things to look for when hiring a decorative painter. Read More 

The paint investigation aims to discover a list of information that can be leveraged by the structure’s owner and architect in order to understand what kind of restoration, preservation, or conservation work may be appropriate. Namely, this information includes the original colors, their makeup, and the existence of decorative stenciling, woodgraining or other decorative elements. Here we take a look at what exactly happens during a historic paint investigation. Read More 

The National Catholic Register recently featured Canning's historic decorative paint and fine art conservation work that was performed at the Basilica of Sacred Heart in this article "Basilica of the Sacred Heart Restored to Artistic and Historic Glory".  Read the full story here. 

After more than 90 years, the National Catholic Register continues to provide its readers with timely news reporting from across the United States, from the Vatican, and from around the world. The National Catholic Register have become America’s most complete and faithful Catholic news source.

Earlier this month the Belmont Chapel Foundation hosted the Belmont Stakes, simulcast from the Belmont Chapel grounds at Island Cemetery. The Belmont Stakes day (3rd annual fundraising event), which Canning was a sponsor for, was an outdoor gathering which provided a chance for people to learn more about this historic treasure and experience first-hand the work of local trades and crafts people in restoring it.

During the event, a presentation by David Riccio was given covering the historic decoration and color palette of Belmont Chapel. It was highlighted that the chapel’s replicated patterns were adopted from the side chapels at Notre Dame in Paris, originally designed by Eugène Viollet-le-Duc. Famed American architect Richard Morris Hunt was notably inspired by Viollet-le-Duc's designs, influencing his architectural contributions. Stay tuned for more on the Belmont Chapel in the future.