The west wall mural was originally executed in an oil medium using a limited pallete of colors in the style of late 19th c. and early 20th c. Colonial Revival Tonalists. The work appears to have been painted by a landscape painter working in oil directly on the plaster wall. There is clear evidence that the artist painted on the walls after they had just been stripped of wallpaper - for he or she painted not only on the wall, but also directly on top of damages in the wall and bits of remaining paper. It seems likely that the artist stripped the walls of their paper and, without any real preparation of the wall, painted directly upon it, completing the murals within a short time period similar to the way an itinerant artist might work. The timing of this work appears to have been after the last quarter of the 19th c. and before about 1920, when Lester Hannant bought the property. The post-date is based on alterations to the house that were done in the late 1800s and which predate the creation of the mural.

The paint was in very poor condition due to its having been covered with wallpaper at least two different times – one as recently as 1991 - and aggressive removal. Test removals of the wallpaper revealed that the 1991 paste was more readily soluble and covers an older, significantly less soluble starch layer. Carolyn Gorden, niece of Isabelle Hannant, recalled in 2008 how she had taken the pictures of the walls in 1991 after several layers of wallpaper had been removed. Those photographs reveal that the workman spackled areas of imperfections in the wall prior to papering. However, china cabinets had been built into the southwest and southeast corners of the room at some prior point. When the southwest cabinet was removed in course of treatment of the mural, an earlier layer of wallpaper, plaster and spackle was uncovered as well.

The west wall painting was addressed during the first phase of treatment from October 15, 2007 to April 4, 2008. After a hiatus, the mural was further treated and completed between January 11 to 29, 2010. The condition of the mural was documented before and after treatment in black and white film, color slides and digital format. The removal of the wallpaper began after tests revealed that the wallpaper could be carefully removed by scoring the upper layer of paper, applying an enzymatic detergent (DIF), and following this with an application of steam. It was necessary to open up the top layer of the wallpaper to allow the solution to penetrate into the starch layer. Residue of starch paste was further removed using DIF and this solution was removed by rinsing with a damp swab. Fragile areas of wallpaper were consolidated with concentrated acrylic B72 in ethanol.

In November 2007, the china cupboard was removed from the southwest wall. The wallpaper below was documented and removed in a similar manner to the other later wallpaper. The condition of the painting was documented once the paper was removed. The spackling compound used prior to 1991, had been smeared over much of the surface of the mural in order to obtain a smooth surface for papering. On removal of the spackle, the areas below had been somewhat protected and were in better condition than other areas.

A carpenter was employed to remove the molding over the door. Wood bracing was evident, as well as the connection with the more recent concrete (?) fill on the north wall. Edges of old wallpaper still existed under the side molding. It appeared that this wallpaper predates the mural and was ripped off before the painting began. Scattered sections of wallpaper that have been painted over by the muralist occured throughout the painting. Several of these areas curled up as a result of the use of steam to remove the later wallpaper, and were adhered back down to the wall using BEVA adhesive (butyl ethylene vinyl acetate in a solvent). The adhesive was applied to the fragment, left to dry, and the fragment was then tacked to the wall using a warm tacking iron.

Holes postdating creation of the mural were filled with a water-borne commercial filling compound, Polyfix. An electrician disconnected and removed a dual electrical outlet on this wall, near the door. Fiberglass scrim was used to back the hole prior to filling the gap with plaster. After curing and sanding the area smooth, small defects were filled using spackle to some degree, but not enough to make the area look unusually defect-free.

The wall was varnished with 10% B72 in toluene and documented using photography prior to inpainting.

Missing details and larger swaths of missing paint in the mural were inpainted using reversible, stable acrylic paints diluted slightly with water. The mural was varnished at the end of work in 2008 using Soluvar matte varnish in mineral spirits to protect it until treatment resumed. The painting was again inpainted in January of 2010 using acrylic paints and the work was again varnished with Soluvar matte varnish diluted 1:1 with odorless mineral spirits.

The project required over 570 hours of work, not including travel time (2 hours rt/day for each conservator). Of this, the great majority of hours, 450, were employed in inpainting. Two conservators and three conservation technicians worked on the project.