337 Essex St - C of A application - new paint colors t�
Salem Historical Commission
98 WASHINGTON STREET SALEM,MASSACHUSETTS 61970 For Office Use Only
t978)619-56SS
APPLICATION FOR A CERTIFICATE OF APPROPRIATENESS
Pursuant to the Historic District's Act(M.G.L. Chapter 40C) and the Salem Historical Commission Ordinance,
application is hereby made for issuance of a Certificate of Appropriateness for:
L New Construction L Moving C Reconstruction C Alteration
C Demolition Painting C Sign E Other
District: CDerby Street r Lafayette Street McIntire i Washington Square
Address of Property: J?3 7 1-55,x .Sfree
Name of Record Owner(s):
Owner Mailing Address: 133 7 �S�t - -e- fc� �y� �YI 0 1270
Description of Work Proposed
Please type or print clearly. Attach additional sheets, as necessary.
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Signature: 4z-e3-✓ Date: !1 aDaO
Tel. #: 4? —3-7/y"0�5Vy E-mail Address:
Certificate will be mailed to the owner unless otherwise indicated here: Certificate
should be mailed to: Name
Mailing address: City: State:_Zip:
ATTACHED DOCUMENTATION
An application will not be considered complete unless all work items are thoroughly described, and
the application includes all information needed for the Commission to make a determination. Failure
to submit a complete application may result in a continuation to a future meeting.
Recommended information includes:
Photos of existing conditions,taken from all public ways
Site plan showing location of improvements
Elevation drawings of the existing conditions and proposed improvements
Drawings of details and other special conditions, including profiles
Description,photographs, and/or catalog cuts of proposed materials (please bring to the
meeting product samples, if appropriate)
Dimensions (i.e. height of fence, size of pickets and posts, etc.)
Paint color samples, if applicable (no less than 2"x2")
Location and size of all mechanical equipment, such as transformers, HVAC equipment,
electrical service and meters, and proposed screening
A. Be prepared to apply for approvals well in advance of commencing any exterior work. Before making any changes to the exterior of a property in an
historic district,the owner should call or visit the Commission representative at the Department of Planning&Community Development to discuss
proposed alterations and to determine the category of the application(Appropriateness,Non-Applicability or Hardship).
B. The Commission normally meets on the first and third Wednesdays of each month and notices are posted at City Hall. The meetings are held at 98
Washington Street, 1st floor,and begin at 7:00 p.m. All meetings are open to the public and any person is entitled to appear and be heard on any
matter before the Commission before it reaches a decision.
C. An application for a Certificate of Appropriateness or Hardship must be received by 3:00 p.m.on the Monday 16 days before the meeting in order to
make the agenda. An application for a Certificate of Non-Applicability may normally be added to the agenda up to the day of the meeting. In some
cases,a Certificate of Non-Applicability may be issued by the Clerk,without review by the full Commission,after notifying Commission members
and allowing 24 hours for any objection. There is no fee for any applications.
D. All applications for Certificates of Appropriateness or Hardship require a public hearing. Notice of the hearing must be posted with the City Clerk
14 days before the hearing and abutters must be notified in writing. Commission staff will handle these procedures. A public hearing is not required
for a Certificate of Non-Applicability.
E. Applications must be submitted by the owner of the property. A contractor for the owner,at the owner's request,may submit an application on the
owner's behalf. In case of a tenant,a waiver of the owner's appearance may be granted at the discretion of the Commission if it is requested by the
owner.
F. All applications must include photos of existing conditions,taken from all public ways. No certificates can be issued until receipt of photos.
G. An application will not be considered complete unless all work items are thoroughly described on scaled drawings and include specifications regarding
dimensions,materials,and any other information needed for the Commission to visualize the changes in order to make a determination. Applications
for paint colors should include a paint chip or chart. The following items should be included in your drawings as applicable(exhibits should be 8'/z
x 1 I or be able to be folded to 8'/z x 11):
I. Site plan showing location of improvements;
2. Elevation drawings of the specific improvements;
3. Details/profiles(i.e.moldings,fence caps,cornices,vents,etc.);
4. Materials(i.e.wood,brick,etc.);
5. Dimensions(i.e.size of trim);and
6. Transformers,heat pump and condenser locations,electrical entries and meters,lamp posts,stove pipes.
H. At the hearing,the Commission will discuss the application with the applicant or his representative,hear the abutters and take a vote. Owners having
professional consultants such as architects or contractors are urged to have them be present at the hearing. If the application is approved,a Certificate
will be mailed to the mailing address provided on the application and copies will be sent to the City Clerk and Building Inspector. Please note that
the application can be continued until the next meeting if the Commission deems necessary(i.e.for reasons of incomplete drawings,to perform a site
visit,etc.). In any case,the Commission must make a determination within 60 days from the date the application is received,unless the applicant
waives that requirement in writing.
I. A property owner or a contractor cannot receive a building permit unless a Certificate has been issued. Please be sure to obtain appropriate permits
from the Inspector of Buildings(or other necessary permits and approvals)prior to commencing work.
J. The homeowner may opt not to commence the work approved(unless it relates to resolving an outstanding violation). Work commenced must be
completed within one year from the Certificate date unless otherwise indicated.
K. The City of Salem reserves the right to inspect the project to determine compliance with the conditions set forth in the Certificate issued.
Violations
A person commencing or completing work to the exterior of a building in an historic district without the necessary approval of the Commission is subject to
fines of up to 5500 per day from the date of violation. The Commission is not responsible for an owner's neglect to inquire about necessary City permits and
approvals. All records are public and we will confidentially assist you if you are concerned that someone in your neighborhood is in violation.
Assistance
The Commission's guidelines are available for viewing at the City of Salem Department of Planning&Community Development(DPCD),at the Salem Public
Library or on-line at bUgs://www.satem.com/sites/salemma/files/uploads/ uidelines. df. The guidelines provide examples of what is historically appropriate
(or inappropriate)for Salem's neighborhoods including trim,siding,barrier free access,doors,fences,gutters/downspouts,masonry,mechanical equipment,
paint colors, parking solutions,porches/steps, roofmg, satellite dishes & solar energy systems, secondary egress, skylights, utilities, windows, etc. These
guidelines help you understand what changes are likely or unlikely to be approved. The Commission supports your efforts to improve your property and can
guide you on historical appropriateness. Further information,including City-wide architectural inventories,is available. For more information, contact the
Clerk of the Commission at the DPCD,98 Washington Street,Salem,MA 01970,978 619-5685. Rev.10/12
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CHRISTINE THOMSON
DECORATIVE ARTS &HISTORIC PAINT CONSERVATION
11
81 Essex Street * Salem,MA 01970
978-745-3364
c thomsonlgearthlink.net
ARCHITECTURAL PAINT STUDY
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Client: Salem Athenaeum, Salem, MA 01970
Project: Portico Paint Study
Date: May 18, 2020
Introduction and Description of the Project
The goal of this project, as described by Salem Athenaeum Chairman of the Building Committee
David Williams, is to document the history of paint colors on the building portico and determine
a commercial color match to the original paint colors.
The present Salem Athenaeum, located at 337 Essex Street, was designed by the architect
William Rantoul and built in 1907. It was modeled closely after Homewood, a Georgian-style
house with Federal detailing located outside Baltimore, MD. Homewood was built by Charles
Carroll, signer of the Declaration of Independence, as a wedding gift for his son in 1800.
The front fagade of the Athenaeum building has a centrally located portico, which consists of a
pedimented roof supported by four columns with Corinthian capitals. The elegant doorway
underneath the portico has a Palladian window with grillework over a set of double doors. The
doorway is flanked by two sets of engaged columns—the inner pair are fluted, whereas the outer
pair match the four smooth columns that support the pediment. The building is constructed
primarily of unpainted red brick but the walls underneath the portico have been coated with
stucco. Other architectural details are executed in white marble—including white marble bases
supporting the columns and marble sills underneath the windows. A marble baseboard connects
the bases of the engaged columns.
Terminology
1. paint layer—a single application of paint.
2. paint generation—a generation refers to a specific paint treatment, often made up of several
layers. A single generation may consist of a ground layer, followed by a number of finish coats.
Woodwork is often finished with multiple layers comprising one generation,the surface sanded
in between to give a smooth, glossy sheen to the wood.
3. stratigraphy-the sequence of paint layers visible in cross-section under a microscope, starting
from the substrate (wood, plaster or metal) and moving upwards to the most recent paint
treatment.
Methodology
The general procedure for determining the stratigraphy of paint layers in a given space is as follows:
1. Woodwork and plaster components are examined on-site with a field microscope to get a
sense of how many paint or wallpaper layers might be present. Comparison of paint
sequences on the various woodwork elements in the room can suggest different color
schemes that were used throughout the history of the space and can also indicate which
woodwork elements, if any,might not have been part of the original construction as they
would not exhibit a complete paint stratigraphy.
2. To confirm a paint sequence identified on-site, a tiny sample of paint and wood is taken
and prepared for cross-sectional microscopy. Examination of a sample in cross-section
under a microscope using both visible and ultraviolet light can show details about the
paint that may not be obvious during the site examination. (For instance, if a particular
paint layer was given any special treatment such as glazing or sealing with varnish, it will
be likely to be observable in cross-section but not necessarily on-site with only a field
microscope.)
3. Samples set aside for color matching are first bleached under a fluorescent light for up to
two weeks. The purpose of this is to minimize the effects of aged linseed oil that can lend
a yellowish or brownish cast to the color. Colors are matched to commercial paint
samples under a binocular microscope with a color-corrected light source.
4. As per the request of the Salem Athenaeum board and staff,the first generation color on
every major woodwork element will be matched to the closet commercial paint color.
Benjamin Moore Classic Colors is the color palette preferred by most architects and
preservationists for color replication, but if it cannot produce a close match, Benjamin
Moore Color Preview and the palettes of other paint companies will be consulted.
5. A written report will be provided that describes the paint layer stratigraphies on various
woodwork elements and provides microscopy images of samples taken from key areas.
This report will include on-site observations,photomicrographs of representative paint
samples and a section providing color matches to key elements.
On-site Observations
1. The on-site assessment revealed that of the amount of paint layers on the columns varies
dramatically, most likely because the columns have been resurfaced at various times before
repainting. Areas retaining up to 13 layers of paint most likely represents a full stratigraphy of
paint history from 1907.
2. When looking up at the stucco portion of the ceiling, there is evidence of the original tan
color around the edges of the hanging light fixture.
3. The marble bases and trim are in need of professional cleaning.
4. The brick of the fagade was never painted or stained, as is sometimes found on 19t'century
brick buildings.
5. The shutters, now painted black,were once painted dark green on a light green primer.
Sample Sites
The following painted architectural elements examined and sampled are in the following
locations:
1. Stucco wall, left side of main doorway
2. Window frame, right side stile, right side of portico
3. Column base, outer right side
4. Engaged column, right side of doorway
5. Stucco wall, left side of main doorway (different location from sample 1)
6. Column, inner right side
7. Engaged column, right side of doorway, fluting
8. Doorway paneling, right side of opening
9. Window sill, front edge, window right side of doorway
10. Window frame, window right side of doorway, left side outer rail
11. Window frame, window right side of doorway, left side inner rail
12. Ceiling
13. Column capital
14. Pediment fagade
15. Shutter, right side of portico
FINDINGS
Stucco
Whereas the fagade of the building is primarily red brick, the wall directly underneath the portico
flanking both sides of the main doorway has been stuccoed. It exhibits a history of approximately
seven paint generations, starting with a warm tan color, followed by a cooler blue-grey.
Subsequent layers of paint are all white or off-white.
The ceiling is also partially stuccoed and was originally painted the same tan color as the walls.
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visible light, t 25X
This sample from the stucco wall shows the first generation warm tan followed by a greyish blue. The uppermost
layers are white. Some of the upper white layers are missing in this image. The dark area underneath indicates
fragments of plaster and sand.
Columns
Of the four outermost columns only the outer right side column base was found to have a
complete paint stratigraphy showing up to 13-15 layers of paint The other columns and bases
have been repaired and partially stripped, leaving only a few layers of paint evident.
Interestingly, the columns seem to have been repainted more often than the other woodwork and
stucco elements,possibly because they are more exposed to the sun and rain.
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Sample 3 ►risibie fight, 50
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A stratigraphy from the base of the outermost right side column. It shows the dark gray primer and first generation
paint layer,made up of a primer and finish coat. .The black dots are trapped dirt and grime.
Window Frames
Approximately ten generations of paint were identified on the window frames. The earliest
colors are now slightly tan, followed by mostly whites. The first generation paint treatment is on
a gray primer, lighter than the gray primer found on the columns.
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Sample 2
visible! ht.5OX
Sample 2 shows a stratigraphy from the right side window frame.The first generation tan paint is on a gray primer.
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Sample 11 Wisible light, 125X
Another sample from the right side window frame. There is no gray primer visible in this sample. Instead,the
primer was white.
Paint Color Matches
The following color matches were made from paint samples taken from representative areas of
woodwork and stucco in the Salem Athenaeum portico. The matches were made to samples of
the original first generation paints,using a binocular microscope with a color-corrected light
source. Before matching, the samples were put under a fluorescent light source for several days
to mitigate some of the yellowing caused by ageing linseed oil paint.
It is important to note, however,that the color matches provided reflect the color that is the direct
result of ageing linseed oil. Despite having been exposed to fluorescent light for ten days,the
earliest layers still retain discoloration. A thorough examination of column and other woodwork
samples under a microscope at 50OX found no evidence of colored pigments in the earliest layer
that might have lent a tan appearance to the paint. We can therefore conclude that the original
color was an"off-white" lead-based paint in a linseed oil binder. The color of lead-based white is
a softer,more warm-toned hue, as compared with modern white paints which utilize titanium-
dioxide to make white. Titanium white pigment, used today instead of lead white and suspended
in an alkyd or acrylic binder creates a much brighter, "cooler"white,more like the current paint
color found on columns and woodwork.
When different areas on the same architectural elements are sampled and color matched,
sometimes the color varies slightly from site to site. This is due to a number of factors, such as
exposure to the bleaching power of light, uneven yellowing of the linseed oil component, and the
slight variations of color found in paints that have been hand-mixed. In cases where the color
differed slightly from sample to sample, as in the case of the column and window architrave
color matches,multiple swatches are provided for reference.
Images of the closest matches to examples in commercial color palettes (in this case Benjamin
Moore Paint palettes) is provided in this report for color reference only. Please note that these
colors are only approximate. To see a more accurate color, you can obtain truer color swatches
from any paint store that sells Benjamin Moore Paints.
Columns:
There are four outer columns and four engaged pilasters in the portico area. They appear to have
all been consistently painted the same color over time. In general, all woodwork, including the
columns, door paneling, and window architraves, was painted the same color. That color was a
creamy off-white,the result of using lead-based pigment in a linseed oil binder. Color matches
to the first generation varied slightly from sample to sample and is still showing the effect of
darkened linseed oil. To compensate,the chosen color could be even lighter. Four colors
identified on the samples are shown below as swatches.
Compensation for the yellowing of linseed oil was accomplished by exposing the paint samples
to fluorescent light for a period of 10 days. This has the effect of minimizing the discoloration
caused by degraded linseed oil binder. They still retain a degree of discoloration, as the four
color matches below indicate. As described above,the original color on all the woodwork was
much lighter when it was newly applied.
BM Classic Colors 1094 Barbados Sand BM Classic Colors 1073 Malton
BM Classic Colors 1066 Barely Beige BM Classic Colors 1107 Hilton Head Cream
Compensation for the yellowing of linseed oil requires an educated guess as to the original color
of the columns and other woodwork. The two swatches below are lighter than the actual colors
of the generation 1 paints but are a more accurate representation of the original color of the
woodwork. The warm tone of these swatches seeks to approximate the look of white lead-based
paint instead of modern white paint.
BM Classsic Colors 960 Dove Wing Farrow and Ball 2004 Slipper Satin
Window Architraves and Paneling
The outer window trim was originally painted a similar color as the columns,but the inner trim
next to the windows appears a bit lighter in some areas. Its color match is very close to that of
the columns, strongly suggesting that all elements were painted the same color. The paneling
surrounding the door also has the same stratigraphy.
Doors
The double doors are painted black. They only have two layers of paint. It appears from scrape
marks on the surface that the doors have been stripped in the recent past.
Shutters
The shutters appear to only have three generations of paint. The first generation is dark green on
a bright green primer. The two subsequent color schemes are black.
Stucco Wall and Portico Ceiling
The stucco street-facing wall under the portico, now painted white,was originally painted a
warm tan color. The second generation color was medium grey-blue, followed by several
whites. The first generation color falls in between the two colors below. The ceiling, now
painted white,had only the first generation warm tan color underneath the present paint.
BM Color Preview 2162-50 Arizona Tan BM Classic Colors 2163-50 Burlap
Generation 2 stucco color
Fort the purpose of documentation, a color match to the second generation paint color is included
here. All subsequent paint colors after generation 2 are white.
BM 1480 Sleigh Bells
Recommended color scheme:
Actual paint swatches of various colors identified in this report were applied to the wall and
woodwork at the Salem Athenaeum. The color scheme that most replicates what is believed to be
the original is as follows: all woodwork is to be painted off-white, and all stucco is to be painted
warm tan, in the following colors:
BM Color Preview 2162-50 Arizona Tan BM Classsic Colors 960 Dove Wing
Color Documentation:
The following information is provided to document the colors identified as original in two
specific color identification systems: CIELab and Munsell.
CIELab numbers: Munsell numbers
Benjamin Moore Color Preview 2162-50 Arizona Tan
L: 80.412 a: 3.716 b: 18.678 1OYR 8/2, Delta E: 3.076
BM Classsic Colors 960 Dove Wing
L: 91.600 a: -0.888 b: 5.705 10/YR 9/1, Delta E:1.951