In 2021, J&G restored the ornate, hand-carved, quarter-sawn oak wainscoting within the Pennsylvania Governor’s Office suite, in the Pennsylvania State Capitol Building.

The wood restoration work included: removing 115 years of darkened wood finishes; hand-carving new pieces of oak ornament, and integrating them into the wainscoting where they were missing; and applying a new shellac and hand-buffed wax finish. We also faux wood-grained non-original elements to match the restored oak wainscoting.

The work also included re-installing the original PA Governors’ portraits on canvas, into their specific portrait niches within each room; as well as installing the historic c. 1906 clocks throughout the Governor’s suite. Each of the historic mantel clocks within the PA Capitol were designed by the architect Joseph Huston and are unique to their specific room.

The painting, “Paolo Veronese in Venice” by Tommaso Juglaris was all but lost, stored and forgotten for 55 years in an unheated shed. This amazing, and once lost masterpiece, had won an Honorable Mention in the 1880 Paris Salon. Years of water damage, and some of the worst environmental conditions in which to store a painting, had taken their toll on it. Sheets of paint were flaking from the canvas surface. The canvas was deteriorating. Areas of the ornate gilded frame had been turned to powder. The roof was about to cave in above it.

We stabilized and removed the 8-1/2 feet tall by 16 feet wide painting and frame from the quickly-deteriorating shed and transported them to our studio. We conserved the painting—consolidating loose and flaking paint; removing the darkened and dirty varnish; in-filling and in-painting areas of lost paint; then we attached the extremely brittle original painting to a new piece of canvas. We replicated elements of lost ornament and integrated them into the original frame, then stabilized original, extant gilding, and integrated new gilding to make the frame whole again.

We returned the painting and frame, and installed them in the lobby of the University of Pittsburgh at Bradford’s Blaisdell Hall, the new performing arts auditorium.

In 2020 J&G restored the plaster surfaces and interior decorative finishes of the main entry vestibule of President Lincoln’s Cottage. Our work included documentation and interpretation of the extant, exposed original decorative painting; consolidation, stabilization, and restoration of the plaster surfaces; consolidation, stabilization, and restoration of the painted finishes; and the replication of the c. 1865 faux oak and walnut wood graining on both the walls and doors of the vestibule.

Johnson & Griffiths Studio (J&G) conserved three large oil paintings on canvas which were painted by Filippo Costaggini in 1886 for Historic St. Mary’s Catholic Church in Lancaster, PA. .

The mural “Mary’s Assumption into Heaven” had been “restored” in the 1990’s. Unfortunately, during that misguided “restoration”, more harm was done than good. The painting was removed from its original stretcher frame and glued to a new piece of canvas with a construction-grade contact adhesive. During that procedure the original canvas must have become distorted and the person conducting the procedure cut out large sections of the painting so that it would lay flat. He filled these areas of missing canvas with an auto body-type filler; varnished over the entire painting with a polyurethane varnish; then completely repainted the entire painting on top of that.

Our conservation treatment involved: removing the 1992 varnish and over-paint; removing the original painting from the 1992 canvas; repairing the tears; replacing the missing pieces of painting with new canvas: attaching the original painting to a new piece of canvas with reversible conservation adhesive; and integrating and in-painting the new canvas with the original. Finally, we attached the painting to the original stretcher frame and installed the painting back to its original location.

We also repaired and cleaned the marble statuary and altars in the sanctuary and hand-painted the descriptions of the Stations of the Cross on the walls of the church.

We are currently restoring the c. 1880s Convent Chapel for St. Mary’s.

Between 2012 and 2013 J&G replicated the original historic decorative finishes throughout the ornate public and private spaces within Penn State University’s Old Main. The project work included a paint study of the historic finishes. The restored spaces included the two-story grand, main stair lobby, the University President’s Office and the Alumni Lounge. We were also tasked with art handling which included constructing custom crates, packing, transporting to safe storage then reinstalling 20 university presidents’ portraits which hang throughout the public spaces of Old Main.

Since 2020, J&G has been tasked with the assessment, care, and maintenance of Henry Varnum Poor’s “Land Grant” frescoes. The work involves yearly documenting and assessing changes and/or damages to the frescoes. We then conduct only the most minimal, and least invasive treatments to preserve the integrity of Poor’s artwork.

Between 2013 and 2017 Johnson & Griffiths was charged with the investigation, conservation and restoration of the historic decorative finishes in the Pennsylvania State Law Library and entry hallways. In 2013 we conducted a comprehensive analysis and study of the decorative finishes within the Law Library and entry hallways that included the ornate ceilings, walnut wainscoting, metal and marble surfaces. From this study we developed a conservation and restoration treatment plan and mock-ups for the artwork, decorative painting, wood finishes and marble.

Within the Law Library Reading room we removed the deteriorated original wood finish, repaired damaged elements, reattached delaminated sections of veneer, in-filled areas of lost veneer then applied a new hand polished and waxed finish.

We restored the decorative painting and gilding on the ceilings of the entry hallways, as well cleaned and polished the marble walls. 

Johnson & Griffiths conserved the decorative metal grates, railings and hardware within the spaces, including: the decorative mezzanine aluminum and brass railings; miscellaneous door and window hardware; along with the brass and glass hallway mail chute.

The project also included upgrades to the electric system. Old surface-mounted electrical hardware was removed and re-routed behind marble baseboards. This left damage and holes in the woodwork where the old electrical hardware was once attached. We in-filled and in-painted these areas of damage.

In 2014, then again in 2022, Johnson & Griffiths conducted conservation treatments on the wall and ceiling murals in the Pennsylvania State Forum Auditorium within the State Capitol Complex in Harrisburg, PA. The project work included the emergency stabilization of actively delaminating paint and canvas as well as the consolidation and stabilization of the plaster substrate. The work also included the assessment of current conditions of the artwork and substrate; the effectiveness of previous conservation treatments and recommendations for future treatments for the long term preservation of the artwork.

The Forum ceiling mural was designed by artist Richard Brooks and architect Eric Gugler. It was painted c.1931 and represents the major astrological symbols seen in the night sky of the Northern hemisphere.

Architect Eric Gugler (1889-1974), educated at Columbia University and the American Academy of Rome, played a pivotal role in alterations to the White House in the 1930s and 1940s. After objecting to President Franklin D. Roosevelt's first plan for an expansion of the West Wing in 1934, Gugler prepared alternative plans that were accepted and resulted in the redesigned West Wing that exists today.

Johnson & Griffiths was awarded the contract to conserve and restore the grand North lobby of the K. Leroy Irvis Office Building of the Pennsylvania State Capitol Complex. The project work included the restoration and conservation of water damaged plaster and decorative finishes on the ceiling and cornice. Johnson & Griffiths conserved and reinstated the historic decorative finishes. The work also included delicately cleaning all surfaces within the lobby including murals, marble walls, ornate metal and glass light fixtures.

in 2013 Johnson & Griffiths Studio conserved the Eugene Savage mural on the ceiling of the South lobby of the PA Finance Building. The work included removing years of atmospheric grime, stabilizing loose paint and canvas and in-painting areas of loss.

Thorough testing was conducted to determine the condition of the mural and to develop the most effective and appropriate treatment to preserve the artwork.

The conservation treatment included the careful and sensitive removal of years of dark atmospheric grime that had obscured the true richness of Eugene Savages original artwork.

In 2014 Johnson & Griffiths Studio restored the walnut, satinwood, and rosewood wainscoting throughout the decorative Art Deco spaces on the top floors of 1616 Walnut Street in Philadelphia, PA.

Built in 1929 the building was originally home to Sun Oil Company and the Pew family (and most recently the home of the Pew Charitable Trust). 1616 Walnut Street was considered an architectural marvel at the time it was built. The iconic property was listed on the Philadelphia Register of Historic Places on January 7, 1982 and the National Register of Historic Places in 1983. The Southern ends of both the 24th and 25th floors of 1616 Walnut still retain much of the original 1930’s Art Deco woodwork including: paneled walnut, rosewood and satinwood wainscoting; hand-carved decorative walnut friezes and door surrounds; herringbone-patterned teak floors and bird’s-eye maple panels on the interiors of the elevator cabs.

When we started the project the wood was coated in darkened, cloudy and scuffed finishes, occluding the beautiful rich grain. In a few locations there was literally water running through the ceilings, cascading over the hand-carved friezes and down the wood wainscoting.

This project was awarded the 2015 Preservation Achievement Grand Jury Award by the Philadelphia Preservation Alliance.

In 2018, Johnson & Griffiths restored the oak wainscoting, and replicated the c. 1928 upholstered ceiling, in the Executive Chamber of the North Office Building, of the PA State Capitol Complex.

The work included removing the old darkened and deteriorated wood finishes, then repairing and/or consolidating the veneered panels, and applying a new linseed oil and shellac finish.

One of the most challenging parts of the project was replicating the original decorative upholstered ceiling. The original upholstered ceiling was filled with (most likely) hog or horse hair batting, attached to the plaster ceiling with an animal or lead based adhesive, then covered with canvas and the pattern laid out with brass upholstery tacks. Somewhere in this original mix, asbestos was found, so the entire ceiling was removed, including the plaster, down to the concrete substructure.

A new ceiling was fabricated out of a metal support structure and fire-rated plywood, built at the same height as the original plaster ceiling.

We replicated the decorative, upholstered ceiling using a non-flammable spray adhesive, fire-rated polyester batting, and fire-rated theater canvas, and new 3/4”, domed, brass upholstery nails. Detailed measurements of the original pattern were taken before it was removed, and the pattern was replicated as closely as possible to the original.

We also restored miscellaneous metal elements throughout the project including the decorative bronze grates in the room.

In 2019, J&G conserved the mural “Signing of the Declaration of Independence” in Courtroom #1 in the Blair County Courthouse in Hollidaysburg.

The mural was originally painted on canvas and attached to the plaster wall of the courtroom. Within the wall behind the mural were the plumbing pipes for the restrooms in the courthouse. Leaks in the plumbing over many years had caused damage to both the mural and its plaster substrate. Large sections of the veneer plaster had become detached from the base plaster, pushing against the paintings canvas and causing it to distort the surface of the painting.

The painting’s varnish had also darkened considerably over the years. The darkened varnish, as well as years of atmospheric dirt and grime, had occluded the vibrant color palette of the artist’s original artwork. There was also evidence of past repairs that involved cutting through the face of the mural, peeling back the canvas to repair the plaster beneath.

We thoroughly documented the mural’s condition, mapping areas of damage and old repairs. We then faced the mural with a long-fiber tissue paper, attached with a reversible glue. Once the glue had cured and the paintings surface was secured to it, we carefully removed the painting from the wall. The painting was rolled over a large diameter cardboard tub strengthened with an internal wooden structure.

We built a 20 feet long by 10 feet wide wooden work surface, a large work table or stage of sorts, right in the courtroom to work on the approximately 7’-10” tall by 19 feet long mural. We first unrolled the painting face down on the work surface, and carefully and painstakingly, removed the old adhesive and remnants of plaster and old repairs from the back of the painting. When not working on the painting, we weighted it under large sheets of heavy plywood on top of silicone paper, to work the distortions out that were caused by the damaged and detached plaster.

Once the back of the painting was sufficiently clean, we flipped the mural over and removed, first the years of atmospheric dirt and grime. Then we removed the darkened varnish as well as the many past over-paint and repair interventions.

The painting was actually painted on two sections of canvas. A vertical seam ran between the two section of canvas and mural. There were also two sections of the mural where access flaps had been cut through the canvas to repair the plaster behind them. The county did not have enough money to completely rebuild the original wall and/or relocate the plumbing.

To remove the risk of future damage to the mural, we reattached the original painting’s canvas to a new stretched canvas. We stretched a new piece of canvas on a temporary wooden stretcher frame. Then coated the new canvas with reversible, thermoplastic adhesive. We applied a compatible, thermoplastic adhesive to the back of the original painting as well. Once the adhesives were properly set, we essentially glued the original painting to the new canvas. We heated the back of the new canvas to approximately 145 degrees Fahrenheit to meld the two compatible adhesives together.

We had a custom, expandable wooden stretcher support built. To this we attached the original painting attached to its new canvas support, then expanded the stretcher frame until it was evenly taut.

The stretched original painting, attached to its new canvas support, and new wooden stretcher frame was installed in its original, decorative plaster framed section of wall. A small piece of molding along the entire edge of the painting holds the painting in place, but also allows for easy removal if ever necessary in the future.

The final infilling of seams and damage; in-painting areas of loss and damage; and the final varnish were all done in place.

Historic NY Stock Exchange Post #16 is permanently installed in the lobby of the Wharton School’s Steinberg-Dietrich Hall on the University of Pennsylvania’s Philadelphia Campus. Post #16 was one of 17 original horseshoe-shaped trading posts installed in the New York Stock Exchange between 1929 and 1932. All 17 posts were replaced in 1981.

J&G’s conservators and restoration specialists conducted tests on the historic wood, metal. leather and linoleum surfaces of the post, to determine the most effective and sensitive treatments to preserve as much of the historic integrity of this important historic artifact.

At the beginning of the project, the wood surfaces were coated with a complicated combination of original finishes and newer coatings. Where possible, we retained and conserved original finishes, removed non-original coatings, and integrated new finishes, always being conscious of the Post as an important historic artifact.

The original brass surfaces also were treated very sensitively, being every cautious to remove only oxidation and not historic material. Every inch of the metal was hand buffed then given a coat of new lacquer.

The original linoleum counter tops and leather seats were simply cleaned and given a coat of wax.

In 2019 we conserved the two plaster maquettes “Winged Wheel” and “Pennsylvania State Seal” that were sculpted by the artist Carl Paul Jennewein (December 2, 1890 – February 22, 1978).

The word ‘maquette’ is a French term that means ‘model’ or ‘sketch.’ In sculpture, maquette typically refers to a three-dimensional mock-up or sketch of a finished sculpture, but made out of a cheaper material. This process allows the finished work to be visualized and approved before a more expensive material is used to create the final product. In this case, the Jennewein maquettes were made of plaster reinforced with wood. They were the mock-ups and models of the finished marble versions installed on the upper North wall of the 1st floor South lobby of the North Office Building.

The two plaster maquettes were never formally intended to be displayed—merely used by the sculptor and probably the architect to visualize the design for the North Office Building lobby. The plaster versions were likely moved around considerably within the sculptor’s studio and then cast aside after the marble versions were complete. With all that movement, and with not very careful regard, they became broken and cracked. At some point in their lives someone repaired them and did some in-painting. It is fairly remarkable that they have survived.

We treated the plaster maquettes as archeological artifacts. The maquettes are not only object that hold aesthetic value, but also maintain elements of historical value. Some of the marks on the plaster were made by the artist, and they tell the story of how the object were originally used.

On each maquette the plaster surface was cleaned. Sections of loose pieces of plaster were stabilized by injecting an archival adhesive between the cracks, securing loose sections to more stable ones. Old pencil marks, over-paint, and any other relevant marks were preserved as evidence of the piece’s history. The back of each maquette, where the plaster is attached to its wood structure, was also strengthened. A new wood frame was constructed for each (quarter sawn oak for the “Winged Wheel” and mahogany for the “State Seal”—chosen to match the specific room in which the maquette was to be displayed), and the original wood support structure of each maquette was integrated into its new frame. Thick clear acrylic glass was attached to the new frames to protect the original plaster surface, but off set slightly to allow free flow of air to the artifacts. The entire frame structure, which supports the original maquette, is anchored directly into the terracotta and plaster walls.

In 2019 J&G replicated the c. 1900 historic decoration on the 8 feet wide by 16 feet tall wall behind the dais of the Main Courtroom in the Blair County Courthouse.

The wall behind the dais of the main courtroom had to be reconstructed. The bottom 1/3 of the wall had to be completely reconstructed. We prepared the new wall, then applied a piece of thick canvas to the wall, then primed and sanded the surface until smooth surface was achieved. We then replicated the original decoration by first applying a sold base of aluminum leaf, on top of which we applied a translucent golden glaze. On top of that, we applied a multi-colored stencil pattern to match the exposed original c. 1900 decoration.

The central “sword and scales of justice” motif was achieved by hand-painting and glazing the design to replicate the trompe l`oeil affect of the original.

In 2013 Johnson & Griffiths Studio was awarded the contract to restore the decorative plaster and historic finishes to their original 1928 splendor in the public lobbies of the Rittenhouse Plaza in Philadelphia, PA.

Work involved restoring the ornate low relief decorative plaster ceiling. The ceiling had become obscured over the years by repairs of water damage and multiple layers of paint. We conducted an analysis of the original paint and replicated the decorative finishes based off of this analysis. The finishes included gilding and a glazed polychrome scheme that simulates age metalwork.

We also restored the original woodwork throughout the lobbies and replicated a faux bronze finish on the ornate decorative iron grills.

In 2014 the project won a Preservation Achievement Grand Jury Award from the Philadelphia Preservation Alliance.

Over the past 35 years, J&G founder and principal, Jeff Johnson has worked on the restoration and conservation of many of the ornate public and private spaces throughout the Pennsylvania State Capitol building.  The notable projects that Johnson has directed within the State Capitol building have included: The Senate Chamber and ante rooms; The Supreme Court Room; the House of Representatives Majority Caucus Room; the Governor’s office woodwork and reception room ceilings; the Lieutenant Governor’s Office Suite;  public corridors including the main rotunda; as well as numerous private legislative offices.

J&G is currently caretaker of the over 230 historic clocks throughout the Capitol Complex. The project involves the regular maintenance, repair, cleaning, conservation and weekly windings of the historic c. 1906 clocks located in the Governor's & Lt. Governor's offices, legislative offices, House & Senate Chambers, and the Supreme Court Room.

J&G is also currently tasked with the repair and integration of historic decorative finishes at areas of new security cameras throughout the ornate spaces of the Capitol Complex. 

Johnson & Griffiths Studio was tasked with the restoration of the U.S Treasury Secretary's conference room ceiling. We had done some consolidation and in-painting of water damaged decorative finishes in the summer of 2011. The day after we finished with those repairs a 5.8 magnitude earthquake hit the DC area. Structural cracks developed through large sections of the ceiling and two of the bays had significant areas of dangerously weak plaster, about to fall. The Treasury asked that we fix the damage and also replicate the historic decoration.

We replicated the original decorative painting on canvas in our Harrisburg studio. Canvas was cut to the proper dimensions, stretched, primed then the decorative pattern matching the historic one was stenciled and hand-painted. When done the canvas was cut from our studio walls, rolled and transported to the Treasury Building and attached to the Secretary of the Treasury's Conference room ceiling.

Johnson & Griffiths Studio was also awarded the contract to conduct paint analyses of the corridor wall finishes of the U.S. Dept. of the Treasury. Once the analysis was completed we replicated one of the trompe l`oeile panels.

In 2019 J&G restored the interior of Historic St. Mary’s Convent Chapel. The Restoration included restoring water damaged plaster; replicating the decorative finishes; conserving the original paintings of the four Gospel Saints; restoring the statues of St. Mary and St. Joseph; restoring the 14 Stations of the Cross; as well as restoring the original woodwork.

Historic St. Mary’s Chapel occupies the 2nd floor of the 1882 Gothic revival building, designed by the prolific Philadelphia architect, Edwin Forrest Durang (1829 - 1911) and built to house the St. Mary’s Orphan Asylum and Convent.

In 2012, J&G conducted a comprehensive study of the historic finishes, which included microscopic analyses of paint samples to develop and understanding of the original c. 1880’s decorative finishes. We were also able to expose large areas of the original, gilded, glazed, and stenciled finishes. The gilded finishes included glazed aluminum leaf and real gold leaf ornament. The use of aluminum leaf in the chapel as decoration, is one of the earliest examples of its use in the U.S.

During the preparatory work phase of the project that included scraping years of water damaged paint and plaster, we exposed large areas of the original c. 1880s stencils. We were able to integrate the original decoration into the newly replicated finishes.

Johnson & Griffiths was honored to be part of the team that relocated the tomb and sacred remains of St. Katharine Drexel from her original resting site, at the Motherhouse Community of the Sisters of the Blessed Sacrament in Bensalem, PA, to the Cathedral Basilica of Saints Peter and Paul in Philadelphia.

We removed, crated, transported, conserved, and re-installed the painted and gilded, hand-carved wood panel depicting the “Adoration of the Holy Eucharist.”

The project included removing well intentioned, but poorly-matching, gold spray paint from the real gold frame and panel; cleaning the original paint and gilding on the bas relief panel then reinstalling it within its new niche above the tomb; touching-up the paint on the front of St. Katharine’s tomb; as well as cleaning, polishing the original marble adjacent to the tomb’s new location within the Cathedral Basilica.

J&G was entrusted with the conservation of four large Dean Cornwell murals on canvas. The four murals originally hung in the corporate headquarters of Bethlehem Steel in Bethlehem, PA. They now are hanging in the Sands Casino and Convention Center in Bethlehem.

The building in which they had originally hung had been vacant for years. Water infiltration had caused a severe mold issue throughout the building, creating a dangerous environment that subsequently lead to the building being condemned. We received the paintings after they had been hastily peeled from the walls on which they had been glued. The murals were rolled around a three inch diameter plastic pipe and simply wrapped in plastic. When we opened them in our conservation studio, there was a disheartening amount of original paint that had been reduced to powder, that spilled out of their makeshift containers.

The project involved consolidating flaking paint; in-filling and in-painting areas of loss; relining, making custom expandable stretcher frames, then transporting and then installing the conserved murals in the new Sands Casino and Convention Center in Bethlehem, PA.

In 2013, J&G documented, protected, designed and conducted the removal, relocation and conservation of the Joseph Servello murals in the Bala Cynwyd Library in Bala Cynwyd, Pennsylvania.

The mural was painted on two walls within the original Bala Cynwyd Library. During an extensive renovation and expansion project in 2013, the murals were removed from their original location and moved to the newly built children’s section of the library.

J&G documented the mural’s current conditions; faced the painted surface with tissue and reversible adhesive; designed and coordinated the removal are relocation of the murals, along with their wall and support structure; then cleaned and in-painted areas of loss.

J&G’s conservators have the philosophy that conservation is the perfect marriage of art and science. We bring with us the sensitivity of artists and the deliberation of scientists into every conservation challenge. We are bound by the code of ethics and guidelines of the American Institute for Conservation of Historic and Artistic Works (AIC) and are ever conscious of our role as caretakers of our cultural heritage.

J&G was entrusted with the conservation of 26 original Melbourne Brindle oil paintings of Rolls-Royce Silver Ghosts. The paintings were originally completed by Brindle for the book, Brindle, Melbourne. Twenty Silver Ghosts Rolls-Royce: The Incomparable Pre-World War I motorcar, 1907-1914. Doubleday, 1978.

Our conservators cleaned years of atmospheric grime from the paintings, repaired and in-painted areas of damage, then applied a new layer of protective varnish. We also made custom crates for their safe storage and transportation from our studio, to the framers, and finally to their permanent home at the Rolls-Royce Foundation.

In 2017 Johnson & Griffiths was given the honor and incredible responsibility of conserving the Robert von Ezdorf mural in the Hotel Hershey's Iberian Lounge. The original vibrant colors of the painting had become occluded by years of cigarette and cigar smoke and atmospheric grime.

The conservation treatment of the mural involved removing the thick amber layer of atmospheric grime built up from years of cigar and cigarette smoke; repairing damage, in-painting areas of loss then applying a protective layer of conservation varnish.

Robert von Ezdorf was prolific if not eccentrically so. As well as designing and painting the Iberian Lounge mural he also designed the interiors of the Hotel Hershey, the Waldorf-Astoria and Commodore Hotels in New York City, as well as the interior of the Waldorf School of the University of Pennsylvania.

J&G conserved the wall murals, restored the decorative painting on the ceiling, and restored sections of the original oak wainscoting of the dining room in the historic Lippincott House in Philadelphia, Pennsylvania.

The Woodlands:

"The Woodlands’ 54-acre undulating landscape is at once a one-of-a-kind 18th-century English pleasure garden, 19th-century rural cemetery, and a modern green oasis for its neighbors in bustling University City and West Philadelphia. The Woodlands was designated a National Historic Landmark District in recognition of its unique history and rich resources."  --The Woodlands' website

J&G was hired by Woodlands in 2015 to conserve a group of damaged 19th century stone grave markers. Damage included fallen and broken stone markers.

The goal was to repair damaged stones while maintaining the historic and aesthetic integrity of the original materials. Inappropriate iron pins that had been added in the past to "repair" the damaged stones were removed and replaced with more stable and appropriate pins. Dirt and biological accretions were gently removed, cracks were repaired with sympathetic materials that again maintain the historic and aesthetic integrity of the original stones.

J&G was contracted to restore the ornate mahogany entry doors and to repair the ornate carved Caen stone elements in the grand stair hall of the Matthew J. Ryan Building, the oldest building within the PA State Capitol Complex. The Ryan Building was built in 1894. It was originally designed to house the State Library, the State Museum as well as the Governor's office and reception room.

J&G maintains the more than 230 historic clocks throughout the Pennsylvania Capitol Complex. This project involves providing regularly scheduled cleaning and oiling, as well as the unscheduled maintenance and repairs, as needed, of all the historic clocks throughout the complex.

J&G is also responsible for the weekly hand-winding of all the clocks in service throughout the Capitol Complex, including those in the Senate and House Chambers, the Governor's and Lt. Governor's offices, the Supreme Court Chamber as well as those in the many private legislative offices within the Capitol building.

 in 2011 J&G completed the replication of the historic stencil pattern on the apse wall behind the church’s main altar.

In 1889, William West Durant established a town on Long Point of Raquette Lake. He built a post office there and a general store, naming the town Durant , NY . A year later, he responded to the needs of the Catholics in the area by donating the land, the materials and the money to build a Catholic Church just down the shore from the general store. Designed by the J.C. Cady Company of New York City , the church was completed in 1890 by Hammond and Mosher, a contracting company in Saratoga Springs . William West Durant entitled the church St. Williams.

Conservation of the painting and frame above the fireplace, as well as cleaning and touch-up of the original woodwork surrounding the fireplace in the Gallery room of Char’s Tracy Mansion.

Between 2015 and 2016 Johnson & Griffiths restored the exterior wood doors, windows and trim of the historic Broad Street Market in Harrisburg, PA.

J&G also designed and built two new historically sensitive entry vestibules in the older Stone Building.

The Broad Street Market, placed on the National Register of Historic Places in 1974, is actually two separate structures. The older Stone Market house was completed in 1863. The Italianate Brick Market house was built between 1874 and 1878.

Between 1999 and 2003 Johnson & Griffiths' principal Jeff Johnson was lead decorator and preservation project manager of the conservation and restoration of the interior and exterior decorative finishes of the Hershey Theatre. The project work included conducting a comprehensive analysis and study of the interior and exterior finishes; conserving original artwork and decorative finishes and also replicating damaged or over-painted original finishes. 

The theater, built by entrepreneur and philanthropist Milton S. Hershey during the Great Depression and dedicated in 1933, is decorated to resemble a richly gilded Venetian palace.