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9 North Street Paint Analysis Staley McDermet Associates PHONE NO. : 978 745 4969 P02 $,2 E'tlCt,rrltll.0.t',tllll tyhi�r•rl,q.,sn 111L'1'n][utwslll:.Ilfrn,,dr�•� li"ll"MITI,ILAHL 1.lr'. 101.J u,s] I.r,rltln.l l nu u,nuu .r , I ' a,1 bl)led by Ilty Owlicr I ihrlrll,,,NF,rtll,wp arr•llhv lJ„Ip1J.'affbrr r�rrl','1fNffl rffGlvWfr, 1/rl•'�,,,•rih Jl•,/1+1.r(f,,r,l,rrl(,Iru•!1•fir^••1, 1„rl.,rlluun ,ril. rru�•+Il l•rW'r••',,.�:.,•• /•�•• rrw"I,u a4'1'A+uh•111 41.11 r1r$tll-'AM-r,Yllp.,0hrrr,rrx 11J!4—1.Pit la,.«rill dMd'rn- I";" rrulIF,hrth r,,,rr,. ..Iv Alt. Nn. l; Add benrhes in front of house. Alt. No. 3! Eliminate copper roof at ell ; install single-lily roof. 5chedule_of Other Alternates: Alt. No. 2: Bricks at rear ranlR in lieu of concre-Le (Add $2,600) . A decision nn thisl alternate will be made by the Owner subsu Merit to the skiing of this Agreement. This alternate and amount is valid unti]���C�� 1. Clapboard replacemeyiL: 2,40u LF ill unit price of $A.64/0- $8,7-it• 2. Wall sheathing replacement, 24 5F 0 unit. price of $Z.BU/SF= bbu 3. Roof sheathing replacement,: 2uO sl• in unlit price of $2.80/srg 560 Total Amount inr Unit Price items ( included ins 1,ontrjic-L Sum)- $7856 Allowance Items Tfie—f5-71awing aIlowances drl- included in tha Corltr-,1( t. Sulk: 1, Miscellaneous supplies At Moynlhdn Lvrnber, I,evr.n"ly, MA: $1,00U 2. Paint and Painting supplies at Wal,evs & o.wn, Salfmi, MA; $1,200 Total Amount for Allowance Items (iliclu in rentl'lacr. Sun!): $F,2DO • 4 A * * AR•11CLE 4 PROGRESS PAYMENTS 4.1 It.!'•t't!I,luln 11,I,1u•uu1n-1,11 lrati,1111r'R1 ,.Il+,u'Isr,l It 111' +.: l ill.h r ;,: 111 r , 11u 1r11)1ttO lilt'ltlr!Wl'AUII111-11+�Igsly?I'1•ti11..1%1114.1d,,1n;IL.1ulllt,11 :11t 1 •':It1.1 °+111•�nl!{1 I rnlli„t.n .r•�'.1• •.I,S111f1 :. n u•1t•lrs,11,•; .401.11 r 11111:ul•,•m• .LEu•hr'nutl I 1 n t�l��I ht I. �l,l,h,A;;[;J1 I'I ',11 Ik1 ,11,111s, ..nr,.1_I I.LI, n,1,:,ri; I'AII.... Iwr Il.lt 1,! I'It' 1111 rnilr +II .I'. I•,[. 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I. ,u •! , ,1 r' ,�.,r„r 1�, . ,1/,d iHrlt• •!h,,.•1n• rl•r �r'•'+ •1:11 I'r•)• ,,.!•,!. .1 , 1u.,. •1r�' d1r�1.� ,q .r1;,,rr,.at', 1drr.! ,' ..'iyrl.lP,1•' � .,,n nr ,. .1 , I ., aiiuOCulY1C1i7atar•u'I:n15r -_...,,.rlN, •• '�t1t' ++ b ,1.1.1�• 11 I••'1 11�1 ,,,I. ,•I!,+ A10719" 3 1:11 1Hlitnr•+t t'a'.+,lt I1 ut •.1,'.IIIIi� I�. 1 .Irr r1a,I+ +,I , Page 1 of 2 Larry Spang - Bowditch House Restoration: Historic Paint Analysis From: vze4247m@verizon.net To: Staley McDermet <staleymcderrnet@hotmail.com> Date: 8/5/02 11:04 PM Subject: Bowditch House Restoration: Historic Paint Analysis CC: Larry Spang <spang@arrowstreet.com>, "Margaret K. S. Twohey" <salemgrp@aya.yale.edu>, Paul Holtz--MHC <Paul.Holtz@sec,state,ma.us>, Elsa Fitzgerald--home <ElsaFitzgerald@aol.com>, Bob Levesque <Ievesque10@aol.com>, Richard Stevens <specwoodi@aol.com>, Allison Bates <aliisonb@essexheritage.org> August 5, 2002 (MON PM--approaching 11:OOPM) To: Staley McDermet, Staley McDermet Associates, architects of the Bowditch House restoration Re: Bowditch House Restoration: Historic Paint Analysis Dear Staley: After spending more hours than I care to admit (M) I have now completed HPD's pro bono Historic Paint Analysis of the existing exterior color pigments on the Bowditch House. The work, findings, and recommendations are now contained both in (1) the attached 13 page report"Paint Analysis--second draft" dated August 6, 2002, and in (2) four color renderings on 8-1/2 x 11 inch sheets, the originals of which are now in this office, and of which color copies can soon be made. It was a much more complicated challenge than I originally thought it would be, largely because the house has been so badly altered at so many periods. I finally extracted representative clapboard samples, at least 1 each, from all four exterior sides of the house for very detailed study and analysis for date determination. I conducted paint scrape tests on each, and did stratigraphic analyses. I prepared a master chart (see page 8)which allows one to "view"the four representative stratigraphies, side-by-side. Surprisingly, I tentatively conclude that (even though i found about 12 different paint layers and colors) ALL THE EARLIEST PAINT PIGMENTS ARE MISSING. I'm leaning towards the theory that the House was partly stripped by severe weathering and deferred maintenance during the Depression years of the 1930s--then more thoroughly stripped when the house was first"restored" in the 1940s. 1 push all the findings to their logical conclusions, and came up with 4 possible paint schemes,which each in its own way is historically justifiable. I presented color boards showing the effect of each. Happy reading--and happy viewing--and to be continued.... Best, John Goff Historic Preservation & Design file://C:IWINDOWSITEMPIGW)0001 O.HTM 8/6/02 Page 2 of 2 Attached: Paint Analysis--second draft Copy: House Committee members (Spang, Stevens, Twohey, Levesque, Goff), also Paul Holtz, Elsa Fitzgerald, Allison Bates. PS: Revised House Contract also arrived today from MHC. Will attempt to review it and get Meg's signature on it tomorrow. file:HC:IWINDOWSITEMPIGW}00010.HTM 8/6/02 Bowditch House Historic Paint Analysis By John V. Goff,M.Arch.,Historic Preservation&Design August 6,2002 DRAFT The Bowditch House, Salem, MA photographed ca. 1890 while at 312 Essex Street Introduction: the Bowditch House, a National Historic Landmark The Nathaniel Bowditch House,moved from 312 Essex Street to its present site at 9 North Street in Salem,Massachusetts in the 1940s, has been a National Historic Landmark since 1965. It is recognized to be one of the nation's most historically significant properties because it was owned and occupied by Salem's celebrated navigator,East Indies sea captain,mathematician,astronomer and scientist Nathaniel Bowditch(1773-1838)and his family between 1811 and 1823. Dr. Bowditch was one of America's most prominent and distinguished early scientists,and the Bowditch House was the last place in which the great Navigator lived in his native town, before living out his final years in nearby Boston,Massachusetts. While living here,Bowditch is thought to have translated Mecartique Celeste by LaPlace,furthered American science with astronomical observations,worked regularly as a Salern businessman,and provided updates and revisions to his New American Practical Navigator, first published in 1802. Architecturally,the Bowditch House is a fine example of a wood framed,three story hip roofed Federal Style residence with an attached two story rear ell. After about 1800, and when occupied by the Bowditches,the house also supported a fine Chinese Style roof balustrade which displayed concentric diamond patterns,crosses,and semi-hexagon shapes all outlined delicately and lace-like,in saw-cut wooden sticks. Due to its exceptional historical and architectural significance,the Bowditch House a/k/a the Nathaniel Bowditch House in Salem is a National Historic Landmark,as well as individually listed upon the State and National Registers of Historic Places,and a contributing building within Salem's McIntire Historic District. The significance of this house as a Bowditch residence has been enhanced since Bowditch's later Boston residence on Otis Place,made of brick,was demolished to make way for newer urban development. 2 Earlier Historical and Architectural Studies of the Bowditch House Prior to May,2000, little was known about the true antiquity and evolution of the Bowditch House. The early National Historic Landmark and National Register nomination forms,prepared in the 1960s and 1970s, focused mostly upon the house's historical associations with Bowditch—overlooking the building's architectural evolution and history. Bryant F. Tolles,Jr., in Architecture in Salem:An Illustrated Guide, speculated in 1983 that the building was no older than about 1800—and categorically dismissed earlier accounts that the building might be 18t"century in origin and modernized later,in the Federal Period. However, between July, 1999 and May,2000 extensive new research was conducted upon the Bowditch House by Historic Preservation&Design(HPD),while preparing The Nathaniel Bowditch House:Historic Structure Re ort&Ada tive Re-Use Stud for Historic Salem,Inc.and the City of Salem, Massachusetts. The"Bowditch House HSR"as it is commonly known [archived at the Massachusetts Historical Commission]concluded that the Bowditch House was originally built as a 2 story,hip roof Georgian Style residence for Samuel Curwen in 1759-60;and only later modernized into the newer Federal Style with Chinese accent features for Salem China Trade merchant Capt. William Ward about the year 1800. Architectural features,early documents,and Mr. Curwen's rare surviving House Account book detailing 1759-60 construction al support the new interpretation of a longer house history,with greater age and a more complicated evolution. The HSR further concluded that the Bowditch House retained most of its Federal Period ca. 1800 appearance through the Bowditch Era(1811-1823)before finally being broken apart into two pieces,moved,and further altered in the 1940s and 1960s. 2151 century interpretation supported by these new findings and materials,holds that the Curwen-Ward- Bowditch House,a/k/a Bowditch House now at 9 North Street in Salem was, upon its old 312 Essex Street site nearby,raised from its two to three story height about 1800,Victorianized with later rear and side additions in the late 1800s,and then stripped of its later Victorian Era additions(as well as other older parts, including the Federal Period or earlier rear kitchen ell)when preservation was first undertaken in the 1940s. 21st Century preservation Challenges When the Bowditch House was moved and"preserved"first in the 1940s and later in the 1960s, an important Salem landmark was,along with the nearby Witch House,saved from destruction associated with the widening of North Street. Historic Salem,Inc.,a community preservation advocacy and preservation development organization also was created. However,due in part to limited public understanding of preservation practice and principles in the 1940s and 1960s,the Bowditch House itself was subjected to a series of alterations,not all of which were entirely beneficial. On the exterior: • Many old and original wood clapboards were removed and replaced. • All of the 19th century windows were removed and replaced. * All of the 19t"century wood blinds were removed and replaced. + A new asphalt roof was installed. • The original Chinese style balustrade was never reconstructed. • No historic paint tests or analyses appear to have been done prior to the house being painted a light yellow color,with white trim. 3 As a consequence of exterior alterations undertaken in the 1940s and 1960s,a great amount of early and original architectural"fabric"was removed,while some later inappropriate elements were also introduced. Historic Salem,Inc.re-acquired the Bowditch House for preservation and restoration in June,2000. The challenges before Historic Salem,Inc. now are to: • Correct some of the preservation"mistakes"from decades past,and to • Locate new sources of historical and architectural information which will enable and support a landmark restoration which is as accurate as possible. Historic Paint Analysis--2002 The May 2000 Bowditch House HSR discovered and reproduced 1880s and 1890s era photographs of the original Chinese style balustrade and early painted wood blinds which should allow both those elements to be accurately reconstructed. Analysis of nail holes in the sheathing boards in the attic may also be undertaken to determine the material of Bowditch Era roofing used upon the house. To complement the balustrade,blinds,and roofing studies outlined above,a new study was undertaken in 2002 by John Goff of Historic Preservation&Design and Bob Levesque of American Steeple and Tower Company, Inc.to shed further light upon the original and/or early paint schemes and colors used to protect and ornament the exterior of the Bowditch House. Prior to explaining how this year 2002 Bowditch House Historic Paint study was conducted, it is necessary to explain some of the parameters which impact how an historic paint study may be undertaken—and how its findings may be used. Historic Paint Analysis: an Above-Ground Archaeological Process The process of historic paint study and analysis is acutely similar to archaeology,the art and science of learning about past cultures and peoples through excavating and dating layers of cultural deposits and artifacts. Archaeologists typically undergo a study process following three basic steps: [[ARCHAEOLOGISTS' AEOLOGISTS' STEP#1: Attempt to locate an undisturbed archaeological site—Le.a here historic artifacts and layers of artifacts may be preserved in situ in the soil, urbed by later human,or animal,or natural activities(e.g. unspoiled by pothunters,fanners g fields,borrowing rodents,or natural erosion); AEOLOGISTS' STEP#2: Dig a test pit through the archaeological site,allowing the raphy,or cross-sectional configuration of the different historic layers to be studied at a ; AEOLOGISTS' STEP#3: Fix approximate dates to the various layers,using carbon,or other means,so as to be able to accurately understand exactly when changes in—and cultural deposits—occurred. Under controlled parameters,excavate and preserve from the various layers,as desired. Historic paint study and analysis holds as its goal the determination of 1)a paint chronology identifying the order in which various historic paints and paint colors were applied to a surface,and 2)the fixing of accurate dates to the times when successive paint layers were applied. Procedurally,historic paint analysis generally:troves through three steps, similar to archaeology: 4 PAINT ANALYST'S STEP#1:Attempt to locate undisturbed paint deposit"sites"on an architectural surface;(e.g. find areas where paint and painted elements have not been removed, replaced,altered,or eroded); PAINT ANALYST'S STEP#2: Cut a scraping or cross sectional slice through the accumulated layers,similar to an archaeologist's test pit.The slice should be cut so as to allow the stratigraphy,or cross-sectional configuration of the different historic layers to be studied at a glance; PAINT ANALYST'S STEP #3: Fix approximate dates to the various paint layers, using pigment chemical analysis or other means,e.g. stylistic dating of contextual fabric(wood and iron near the paint can provide rough date estimates from changes in nail types,saw patterns,etc.; historic photo analysis can also be undertaken to more accurately date when architectural changes were made.)Fix approximate dates to the various layers so as to be able to accurately understand exactly when changes in culture—and cultural deposits—occurred. Under controlled parameters, excavate and preserve objects from the various layers,as desired. To undertake Step 1 (Attempt to locate undisturbed paint deposit"sites"on an architectural surface;) Messrs Goff and Levesque undertook a general examination of the paint condition,color,and thickness of deposits made while simply walking around all four sides of the house. Some areas with relatively thick deposits and of special interest were found on the south side of the house. To undertake Step 2 (Cut a scraping or cross sectional slice through the accumulated layers,similar to an archaeologist's test pit;)steel knives were used to scrape certain areas. In addition,many early layers and some wood clapboards and fabric could be seen without resorting to any scraping due to the extreme flaking,blistering,peeling and poor condition of much of the paint. Careful scraping and study was conducted in other areas(e.g. on wood columns flanking front door, window casings,cornice,etc.)to both: • Attempt to find areas of early paint deposits which had been protected from weathering and/or removal through all the centuries,and two earlier house restoration efforts;and • Attempt to determine if more than a two-color color scheme-was used upon the major house elements(body and trim)at any time. Were the front columns,for example,ever painted a slightly different shade of trim color,so as to stand out more as architectural accents? To undertake Step 3 [Fix approximate dates to the various paint layers, using pigment chemical analysis or other means....] a variety of dating techniques were attempted. Most were tied to dating using both logic,and conventional architectural dating procedures.For example,as we now believe that the third floor was added about 1800,paint samples from third floor elements were assumed to date no earlier than 1800. Similarly,as we now believe that a major Victorian addition was removed from the northeast corner of the house on its original site in the 1940s,the paint on the rear wall of the north half of the house on its current site can be no earlier than about 1940. To provide rough date"guesstimates" between the years 1800 and 1940,some historic painted clapboards were removed,and approximate dates on the milling of the clapboards(and ostensibly painting of the earliest paint layers)were established by studying saw-mill mill marks,and types of nails used to attach the clapboards. The specific clapboards which were removed for dating by sawmarks and nails,were tagged as to original location,and kept off the building to permit more detailed analysis of pigments,using more sophisticated laboratory techniques at a future time. 5 Findings of the Year 2002 Historic Paint Analysis Current Paint Scheme: The Bowditch House is currently painted a pale yellow color,with an off-white or cream colored trim. This color scheme appears to date from the 1960s, if not earlier. When first applied,the yellow color was brighter—more of a buttercup color—and it has faded in part due to sun exposure over the years. Samples of yellow paint which are brighter due to their having been kept from the sun still survive within the winter porch on the north wall of the rear ell. Clapboards(and paint)from Multiple Periods: At least one clapboard from each of the four major building elevations(north, south,east,west or right side, left side, front and rear), was/were removed from the Bowditch House for close-up study of paint eatures on th layer deposits,and age of clapboard and pigment determined from millmarks and other f e back sof the clapboards.Wood clapboards of three distinct types,and from at least three distinct periods, appear to now survive upon the Bowditch House: `Clapbt�ird In isolated areas(e.g. on the current south wall of the house,which was at the'pre-l 940s location the west wall, or alley side,facing and in the shadow of the Lindall-Gibbs House)some clapboards survive which appear to be"early." These clapboards were: • apparently milled and cut with a water-powered or mechanized up-and-down saw(no radial saw marks are visible),they were • cut from pine or from a similar softwood;they were • '/ inch thick at the butt; • measured 5-1/2 inches tall, and • were installed 4-1/2 inches to weather,were • feather-edged(or scarf-jointed in plan)at their ends and were • attached with a machine-cut 4 sided,square nail. The absence of rotary saw marks and other modern milling marks,combined with the nail type, suggest that re boards t a 1"could date from the re-1840 and ca. 1820-ca. 1840 period. Indeed,they could remain from the original 1811-1823 Bowditch Era. Where weathering has allowed the underlaying paint layers to be visible and inspectable on Clapboards Type 1, a bluish-gray paint layer can be clearly seen to be the earliest layer, upon which were applied later layers of off-white,cream,and light yellow. In areas,the latest,light yellow Layer can be seen applied directly to the earliest,bluish gray layer,indicating clearly that the Bowditch House has long had a history of peeling paint,and that even as late as the 1960s,newer layers were applied to severely weathered older surfaces. This observation of peeling paint problems is borne out and supported by the written record as well. Due to their apparent age,and the extent of remodeling and repairs which were done upon the Bowditch House in the 1940s and 1960s,Clapboards Type 1 seem to be early and rare. 6 Some clapboards on the Bowditch House[Clapboard Type 2 also found on the current south wall]apP ear to • have scarf or feather-edged end joints like Clapboard Type hand to • be of similar dimension,but to • have rotary—or double rotary sawmarks visible on their back side,indicating they were cut with a circular saw blade,a metal blade of about 8 inch radius,or 16 inch diameter. (These opposing and double rotary saw marks likely indicate that the clapboard was impacted by sawblade,as the blade both entered—and left the log). • Nail fasteners are square,but severely eroded. The presence of rotary saw marks on Clapboards Type 2 may indicate that they survive from the post 1840 era. Conventional wisdom holds that about 1840, both rotary sawblades and balloon frame construction revolutionized American building. However these general assumptions have yet to be tested against known sawmill blade configurations in New England,where it is clear that in some rural locations e.g. Maine,where tide power prevailed,the older up-and-down water powered saws were retained into the 1890s where the traditional milling technologies proved to be cheaper to run,than the newer rotary saws, which required newer power sources e.g, steam,and/or more power or different gearing to be operated at higher speeds. Clapboards Type 2 may survive from the ca. 1840-1880 period. Where paint layers have been exposed and/or may be inspected, it is apparent that the earliest layer is unpainted. Directly on top of the unpainted layer are traces of gray or blue-gray pigment. Overlay paint layers present a stratigraphy of white, yellow ochre,and later mixed and multiple layers of orangish-yellow,yellow ochre,creamy white, and light yellow. ....Vb�oar Type 3t . Many areas in the rear,sides,and front of the Bowditch House are covered with a Clapboard Type 3. [Representative samples were taken from the rear or current west side,and front or current east side.] These clapboards • Have no discernable saw-marks on their back sides at all;are • cut from cedar or a softwood which is reddish pink in color,they were • 1/inch thick at the butt; • measured 5-1/4 inches tall,and • were installed between 3 and 4 inches to weather, were • butt jointed at their ends and were • attached with a machine-cut modern wire nail, or with a square cut nail The absence of saw marks completely,combined with the absence of scarfed or feather-edged joints, suggest that Cla boards 'IT---3"likel date from the ca. 189D-196Ds eriod. Their being found on e ics the rear or west wall of the north end of the old house(where the Osgood'a. Victorian earlier,in the 1890s)clearly dates the installation of these clapboards to th additions stood t rian period. 7 Some Clapboards Type 3 are also currently installed against a layer of black asphalt tar paper applied to the sheathing,suggesting installation after World War II,or to the 1940s first period of House move, disassembly and repair. The paint layers on Clapboards Type 3 are generally very thin,consistent with a latest period of manufacture and installation.. Where the paint has been scraped,or peeled due to weathering conditions, allowing the stratigraphy to be studied,it is apparent that the bare wood was covered first by a light or blueish gray,which in turn was covered by later layers of white,sunshine yellow, and light yellow. In some areas(e.g, on the current north. .,wall of the house,which was at the pre-1940s location the east wall side facing the Witch House) some clapboards survive which are categorized as a Type 3a. They appear to be of cedar or a light reddish brown softwood,and to have no visible mill marks on the back, like Clapboards Type 3. However,they may be both butt jointed,and scarf-jointed. In addition,they were only • 3/8 inch thick at the butt; • measured only 3-7/8 inches tall,and • were installed only 3-1/4 inches to weather,were • attached with a machine-cut 4 sided,square nail. These are assumed to be a Type 3 (relatively modern)clapboard which were cut down for use in areas most subject to decay and loss,e.g. on the lower portions of the north wall,where water splashback from the ground may have required periodic clapboard replacement at regular intervals. Comparison of four Paint Stratigraphies found on four Bowditch House Clapboard Types Layer 1 I?ate CLAPBOARD , CLAPB©Atip' CLAPBOARll: CLAPBOARII TYPE i TYPE 2 TYPE 3 TYPE.3A ( erticahy sawn,and (rotary sown,scarfed (no millinarks (no 'a mmarks visiEsle, wtth scarfeal{Dints) ��sibk butt osnts scarf outs [bracketed samples I in tbickest deposit areas) SOUTH WALL 50I7TH WALL Rear.or WES I NORTH WALI WALL,Also Front or EAST WALL. Substrate BARE WOOD BARE WOOD BARE WOOD BARE WOOD Paint Layer A BLUE-GRAY BLUE-GRAY (BLUE-GRAY] BLUE-GRAY? Ca.1940? Paint Layer B. [YELLOW] CREAM PiIIt Layer,C.,.. PUMPKIN PUMPKIN YELLOW YELLOW Paint Layer D WHITE WHITE Paint Layer E YELLOW YELLOW Paint Layer 1(? . GREENISH- YELLOW Paint Layer G CREAM 1 WHITE WHITE WHITE CREAM/WHITE Paint Layer H SUNSHINE SUNSHINE SUNSHINE SUNSHINE YELLOW YELLOW YELLOW YELLOW Paint Layer I LIGHT YELLOW LIGHT YELLOW LIGHT YELLOW CREAM/WHITE Paint Layers)J+ MANY YELLOWS LIGHT YELLOW —faint Layer.K LIGHT YELLOW Ca; 1"09 Interpretation of the Clapboard Paint Stratigraphies: Several conclusions can be drawn from a comparison and study of the four paint stratigraphies summarized above: • Conclusion 1:The clapboards now on the Bowditch House appear to survive from multiple periods(early 19'h to mid-20 the centuries),as indicated by the diversity of clapboard dimensions and types,saw mill marks,nail types and over 10(ten)paint layers evident. • Conclusion 2:In a majority of the clapboards studied,the bottom-most and earliest paint layer(Paint Layer A)appeared to be gray or blue-gray in color. This blue-gray"base" layer requires additional study,which we are recommending for the future(see below). 9 • Conclusion 3: Layers of white paint appear to have been applied to the Bowditch House during at least two different times(Paint Layer D and Paint Layer G)These white paint layers may have been applied simply as "primer"layers to better create a foundation for and help brighten subsequent yellow or"sunshine"yellow layers applied in Layer E and Layer H. • Conclusion 4: Where paint deposits remain thickest on the clapboards,up to about a dozen different layers of paint and color appear to survive on the clapboards(Layers A through J+ or K). Some of the clapboards with the thickest paint deposits appear to be the Type 3 and Type 3a clapboards,which by joint analysis,nail analysis,mill mark analysis,and clapboard installation location appear to be the most recent clapboards installed on the house. Some Type 3 and Type 3 a clapboards appear to be no earlier than 1940,because they are found sheathing portions of the house where a Victorian addition was removed from the old northeast corner about 1940(and subsequently the exterior was re-clapboarded),and where a tar-paper or asphalt type building paper was installed beneath the new clapboards. Application of perhaps 12 layers with two layers of white primer=suggests that 10 layers of finish pigment over the circa 1940-1990 fifty year period might have been used. This would suggest that the house was repainted on average,once every S years between the 1940s and 1990s. This frequency is consistent with the written record,as in the 1960s,it was noted that the Bowditch House had a history of peeling paint,and so that frequent repainting was recommended by the National Park Service shortly after the 1960s restoration was completed. • Conclusion 5: The earliest exterior paint layers on the Bowditch House may be missing. If we conclude that the blue-gray layer(Layer A)dates from only as recently as the 1940s,and that Clapboards Type 1 and 2 are earlier,and 1901 century in origin(as is suggested by the mill marks),then it logically follows that we do not yet know what color the oldest clapboards were painted in the earliest years—because no pigment layers have been located or identified between Bare Wood and Layer A on any clapboards. There are three reasons for suspecting that the blue-gray layer(Layer A)may only date back to the 1940s: 1- When the"old"blue-gray layer was first discovered exposed on the south side of the house on its current site late in 2000,and the early paint color was shown to Mrs. Sirois,who then worked upstairs in the City of Salem's Health Department offices,Mrs. Sirois commented to John Goff who then showed her the color that she distinctly remembered that the Bowditch House was painted a blue-gray color when it was first moved to the 9 North Street site in the 1940s. This eye- witness and oral history memory would appear to substantiate the working conclusion that the blue-gray layer only dates from the 1940s. 2. The blue-gray"bottom"paint layer appears to be evident as a bottom layer on some of the Type 3 clapboards,which are of relatively recent manufacture and origin. This would suggest that the entire paint chronology described above is of similar,"modern"or recent origin,and that we are still missing the history and pigment colors from the pre-1940 decades. 10 3. Assigning the blue-gray layer a ca. 1940 time of installation and the latest layer a ca. 1990 time of installation produces a documentable and calculatable frequency of house re-painting about once every five years,over the last 50 years which seems both in accordance with general homeowner practice—and the practice of frequent repainting which was followed under early City ownership. While it is unusual to find that decades and/or centuries of pigment are missing from the oldest clapboards on a building,future research may find that the Bowditch House was mechanically and/or chemically stripped before the"first"layer of blue-gray pigment was applied in the 1940s. Such intentional stripping of old paint layers would account for the"missing"earliest pigment layers,and in general harmonize with antiques "restoration"philosophies of the 1940s, which routinely advocated a complete stripping of exterior paint finishes prior to repainting with an"historic"color. Deferred maintenance to the Bowditch House prior to the restoration of the 1940s,and in particular lack of repainting in the cash-strapped Great Depression years of the 1930s might also have contributed to paint weathering,blistering,peeling,and the loss of the earliest paint layers simply due to water and weather erosion. We recommend future historical research using newspaper accounts,oral interviews,Park&Recreation Department records and other materials to shed further light both on the condition of the Bowditch House paint when the Bowditch House was first"saved"in the 1940s—and the condition and color of the oldest paint layers which were applied between Curwen's building of the house in 1759-60 and the"rescue"of the house in the 1940s. We further recommend chemical and laboratory analysis of removed clapboard samples,if possible, to attempt to better date and identify all pigment residues,and to identify microscopic traces of paint colors and pigments which may be in,and which may underlie the blue- gray layer identified as Layer A in all the removed clapboard samples. Further Pigment Testing Recommendations • Recommendation#1: Conduct further historical research,as well as chemical, spectrographic,and laboratory tests to identify the composition,original color,age,and date(s)of original application of the blue-gray layer,and all layers on archived clapboard paint. • Recommendation#2: Conduct additional historical and paint test research and studies in an attempt to locate samples,or references to Bowditch House exterior pigment colors,from the 1759-60 to ca. 1990 decades and centuries. Conduct new historical research on the color of the Bowditch House during the"Bowditch Period"(1811-1823)as potentially reflected in the writings of Mrs.Bowditch sent to acquaintances and house-guests e.g. Caroline Plummer, and/or in the writings of the Bowditch and Plummer families and contemporaries. • Recommendation#3• As Bowditch House exterior paint is scraped and removed in preparation for receiving new colors,keep sharp eyes open to determine if other old paint colors and pigments—and layers of old pigments—survive beneath the later layers. It is possible that further important pigment deposits will be uncovered as the work progresses. Txz Corsi Paint scrapings were conducted on several trim elements. Tarim colors appeared to be various creams, whites, and off-whites for the entire depth of the pigment samples. € umn ors... . Paint scrapings were conducted on the front columns. Column colors appeared to be various creams, whites,and off-whites for the entire depth of the pigment samples. 11 Bowditch House: Options far Bowditch House Repainting Should the findings and conclusions drawn from our first Year 2002 scrape tests and anal ses as ri above be substantiated by additional and future testing, it would follow that: y P nted • (1)We know that for many decades,the Bowditch House has traditionally been various light yellow colors,with cream or off-white colored trim. An argumentpanted forwarded that the house should remain painted these general colors, a these appeacoulr be have been the chosen colors the house was painted when it was first declared a National Historic Landmark in 1965. * (2)It also appears that the Bowditch House was painted a blue-gray color,with off-white or cream colored trim,both when it was first moved to the North Street site in the 1940s—and Possibly earlier. An argument could be made scheme in the blue gray or gray that the house should be re painted a color or blue with cream colored trim, because that is the oldest known color scheme which was used on the house. ' (3)If our preliminary conclusions are supported by future testing and indeed all the pre-1940 exterior color pigments are in fact missing,and/or eroded from the Bowditch House completely,then:An argument could be made that all future painters will have little choice but to resort to "informed conjectural,,historic paint colors when attempting to paint the Bowditch House its "Bowditch Period"colors. Our preliminary investigations and tests therefore suggest three Options and Philosophical Approaches which could be used to inform the Bowditch House re-painting: 1. OPTS: Respect the 1965 and later color schemes used on the house,and keep the Bowditch House a yellow color,with cream or off-white colored trim. 2. OPTION 2. Respect the newest findings,and oldest paint scheme yet found on the house, and return the house to its blue-gray body color,wit colored trim, h off-white or cream 3. OPT_ ION 3: Recognizing that we have no surviving Bowditch House paint pigments or known exterior colors from the 1811-1828 Bowditch Period,and that it is necessary that the house be repainted a"Bowditch Era"color scheme to be interpreted educationally and most correctly,adopt a conjectural historic paint scheme which is justifiable through architectural and/or historical study. For example,we now know that Capt.William Ward,the Salem China Trade merchant, was the wealthy Federal Era house owner who added the third floor, installed the Chinese Balustrade,and adapted the house to its Federal Style(from an earlier Georgian Style) about 1800. What were his motivations in doing this? Can we discern a possible Salem Federal Period color scheme,based upon Capt. William Ward's known resources and motivations? Option 3:Experiment A: Assume that Mr. Ward modified the Curwen House to its Federal Style and three story height with Chinese balustrade primarily to advertise Ward's own status as one of Salem's new mercantile elite. Assume Ward wanted his house to look more like William`Billy"Gray's House on Essex Street(his brother in law's mansion)or more like the Gardner Pingree House on Essex Street,also built new, and of three stories,about 1800. Deduce that Ward wanted to create a"3 story brick Federal Style showpiece"from the old wood frame Georgian Style structure. Adopt a new"brick red"RaiRL9212r to assist with the illusion and transformation. 12 Option 3:Experiment B: Assume that Mr. Ward modified the Curwen House to its Federal Style and three story height with Chinese balustrade primarily to advertise Ward's own status as one of Salem' house to advertise his own worldl s new mercantile elite. Assume Ward wanted his y status as a Far East trad r. Hypothesize that the e oldest color on the house may have been in the blue-gray spectrum (and leaning more towards a brilliant blue,that later faded to gray). Hypothesize that Ward may have house be a China Trade masterpiece adopted a bold and contrasting Chinese blue-and-white house color scheme to have his . Adopt a new Indigo Blue,or China Blue plus Cream or off-white paint scheme to assist with the illusion that the house plus its Chinese balustrade is/was an integrated masterpiece of China Trade design. Bowditch House: an Four Historic Color Pallette Options To visually test in advance the appearance of the Option I, Option 2, Option 3A and Option 3B colo pallettes,color renderings were prepared on August 5, 2002 using magic markers on Bowditch House front elevation drawings,reduced to fit on an 8-1/2 x I I inch page. To shrink the front elevation onto smaller page, Staley McDermet Associates's architectural elevation dated June 20,2002 at %inch= 1 the 0' scale on Sheet A-5 was reduced to 60 percent of its original size to make a new copy"master." • A"Light yellow"Color Scheme was tested in one rendering(Option 1).A deep Essex Green color was used upon the blinds to better balance the yellow. • A "Blue-Gray"Color Scheme was tested in one rendering(Option 2). With black used for the blinds,and cream or off-white for the trim,the"blue-gray"color scheme was filled out to be black,gray and white,three distinct shades in the black-white visual light spectrum. • A`Brick Red"Color Scheme was tested in one rendering(Option 3,Experiment A). To complete the "image"of the building being built of brick,the Bowditch House eornerboards and cornice were also painted a"body"(brick red)color in the Option 3,Experiment A rendering. Black was retained for the blinds,and off-white or cream color for the window casings,headers(or lintels)and sills. Some surprise discoveries were made while coloring the Option 3,Experiment A rendering: 1. The ca. 1800 historic architecture of the Bowditch House lent itself ve ry well to this color scheme. 2. Specifically,the off-white or cream color of the window trim made the window sills and headers appear to be marble elements(and marble and brownstone lintels were often found in Federal period masonry buildings). 3. The larger margin now of"brick red"color above the lintels over the third floor windows—as well as to the left and right to the house corners—tended to"explain"the unusual(now painted out)"headers" over the third floor windows. 4. The retained presence of the third floor"lintels"made in wood (combined with the first floor thick wall with splayed window jambs, first floor room on the right)may add more evidence to the argument or suggestion that the house was altered about 1800 specifically to look more like a Federal period stylish mansion,built of brick. 13 • A"China Blue" Color Scheme was tested in one rendering(Option 3,Experiment B). The four renderings were submitted to the House Committee and to the Architect for consideration and color scheme selection. Recommended Pigments and Colors to Be Used to Repaint the Bowditch House 1)Body Color: Light Yellow,Blue-Gray,Brick Red or China Blue as determined by Architect To Be Used For: Clapboards and other elements as indicated by rendering(s) Appropriate Pigment Colors: [to be determined after color scheme selected] 2)Trim Color: Cream or Off White To Be Used For: Window sills,window casings,flat decorative"lintel"wood element over third floor windows on the front elevation of the house,front columns and entablature beside and over front door, also Greek Revival period recessed entrance. Appropriate Pigment Colors: [to be determined after color scheme selected] 3) Sash Color: Black To Be Used For:Muntins and sash, Appropriate Pigment Colors: [to be determined after color scheme selected] Page 1 of 2 Larry Spang-Bowditch House Restoration--contract, next meetings, she/historic paint colors From: Historic Salem<vze4247m@verizon.net> To: Staley McDermet<StaleyMcDermet@hotmail.com> Date: 1/8/03 1:53 PM Subject: Bowditch House Restoration--contract, next meetings, she/historic paint colors CC: Larry Spang<spang@arrowstreet.com>, Meg Twohey <salemgrp@aya.yale.edu>,Nate Bowditch<natebowditch@hotmail.com>, Paul Holtz<Paul.Holtz@sec.state.ma.us>, Bill Steelman<bills@essexheritage.org>, Elsa Fitzgerald<elsafitzgerald@aol.com> January 8,2003(WED) To: Staley McDermet,Preservation Architect Re:Bowditch House Restoration--contract,meetings,she/historic paint colors Dear Staley: 1.CONTRACT: I was very pleased by the Bowditch House Committee's meeting this morning,and to see that HSI's contract with Rich Turner d/b/a Hamilton Works is now SIGNED--and the project officially underway(even though groundbreaking will likely not occur until February). I will work soon to forward the necessary contract copies,and schedule,etc.to Paul Holtz of MHC and Bill Steelman of ENHC and to invite them to any and all upcoming"small group" Bowditch House Construction meetings which will occur. 2.NEXT MEETINGS: Our new House Construction Committee(comprised of Staley McDermet,John Goff,Larry Spang and Rich Turner)will now be meeting bi-weekly--once every two weeks--each Thursday morning at 7:30AM here at the Bowditch House,begining two weeks from tomorrow--and meet through June,when the project will end. There will be TWELVE such meetings over the next six months. Paul Holtz and Bill Steelman are invited to come to as many of these meetings as they wish,as well as to schedule other meetings as may be required. Tentative HouseConCom meeting dates will be: • January 23 • February 6 • February 20** • March 6 r March 20 r April • April 17 • May 1 (unless otherwise moved to avoid Labor Day) • May 15 • May 29 • June 12 and • June 26. ["Please note that John Goff will be unable to attend Meeting#3 because he will be out of State on vacation Feb 13-211 3)SHC 1 HISTORIC PAINT COLORS: We understand that the Bowditch House cornice/gutter detail will be forwarded to the Salem Historical Commission for their review and approval next week,and that the Historic Paint Colors for the Bowditch House will be forwarded to SHC for review and approval in February. Wearing my Historic Preservation& Design consultant's hat,I completed a careful analysis of the historic paint colors at the Bowditch House this morning,and am pleased to report that(as final product in our$2,000 in kind historic paint analysis pro bono contribution)we are now forwarding a recommendation to return the Bowditch House to its earliest known paint scheme--with body a gray color,and trim an off-white. f le://C:IWINDOWSITEMPIGW)00002.HTM 1/8/03 Page 2 of 2 Based on that,can you please now order larger paint chips of Benjamin Moore HC-165 Boothbay Gray,and BM 2126-40 Sweatshirt Gray as well as BM Black(interior/exterior ready mix),and BM Navajo White(exterior,ready mixed)for possible new color scheme for February SHC presentation of gray clapboards,black blinds,and cream colored trim? I have concluded that the black-gray-cream paint color is the single scheme which is most historically justified. Our color specialist Dick Thompson also approves it whole heartedly,based on elegant appearance,historic fit with neighborhood,and longevity/ ability to hold up in our pollutant rich highway-side building site. We are requesting that you now order larger swatches of two shades of Gray--because while the BM 2126-40 is not technically in the"Historic Colors"series, it does appear to be a closer color match. We will defer to HSI Board approval,and Architect's final color selection and sample approval as per Section 09900,Part 11,Section 2.04 of the project specifications. I am delighted that this project is off to such a very good start. Sincerely, John Goff Historic Preservation&Design and Executive Director Historic Salem,Inc. Copy: Spang,Twohey,Bowditch,Holtz, Steelman,Fitzgerald. file://C:IWINDOWSITEMPIGW}00002.HTM 1/8/03 Page 1 of 2 Larry Spang-Re: HSI Board meeting 1/13/03 +House Colors--continued From: Historic Salem <vze4247m@veriz0n.net> To: <SalemGrp@aya,yale.edu> Date: 1/9/03 10:45 AM Subject: Re: HSI Board meeting 1/13/03 +House Colors--continued CC: Staley McDermet<StaleyMcDermet@hotmailXom>, Larry Sng <sPang@arrowstreet.com>, Tim Jenkins<dolphinadv@ om> _. .. . ... _. .. January 9,2003(THURS--AM) To:Meg Twohey Re:HSI Board meeting 1/13/03+House Colors--continued Dear Meg: Thanks for taking a first stab at the Board Meeting Agenda for next Monday PM. Could we please also make sure we have alloted time for the following? 1)MEMBERSHIP COMMITTEE. Let's please allow Tim Jenkins 5 minutes to provide Membership Committee report.I just met with Tim for 1 hour this morning[we were to have meet last week but he was ill]and many very great things are now in the works. Most exciting,and I'll let Tim tell you and us more about it Monday night. 2)HOUSE COLORS: I believe if we will need to present the House Colors schemes to SHC in early February,we will need to get HSI Board consensus and approval at Monday night's January Board Meeting. Larry Spang informed me that there are still some on the Board who feel quite strongly in favor of keeping the body color yellow. While I have no basis to professionally recommend that wearing my HPD hat,I do feel that wearing my HSI Executive Director hat,we should certainly honor and support a broader house colors discussion. Towards that end,please note that I have completed a further color study of the Bowditch House yellows this morning. Back in the winter porch area(where the paint was sheltered and never hit by sun),the yellow color match there is with Benjamin Moore Historic Colors"HC-9 Chestertown Buff." On the front(where the yellow has been sun struck,and gotten much paint the blinds a dark green with either of those schemes,the green would like lighter over the years)the yellow more closely approximates Benjamin Moore"#2019-50,Lemon Drops." If we were to ly be Ben arnin Moore Essex Green,Exterior Ready Mixed,or Benjamin Moore Chrome Green,Exterior Ready Mixed. I can certainlyj bring the small 4 x 4 color chips for all those colors to the Board Meeting Monday night. I will leave it to Larry Spang,as chair of the House Committee,to decide whether larger swatches of all those colors should now be ordered too,to present an alternate color board for submission to SHC in early February.(With 3-5 days lead time,we would likely not get any of the large swatches in time for Monday night's HSI Board meeting.??) Perhaps we can Iet Larry,as Chair of the House Committee,inform us how much additional time he wants to budget to conduct a report or further discussion of house colors,at Monday night's Board meeting. Thank you for your attention to these matters. On a related note,the Beverly Historic District Commission recently gave up the"pallette mallet"and is no longer reviewing historic paint color choices. [see North Shore Sunday,December 1,2002,p. 3.] To be continued.... Sincerely, John Goff Copy: Staley McDermet,Larry Spang,Tim Jenkins. REFERENCING: Meg Twohey wrote: To the Board of Historic Salem - file://C:IWINDOWSITEMPIGW)00002.HTM 1/9/03 Page 1 of 1 Larry Spang - Re: Paint Colors From: Larry Spang To: McDermet, Subject: Re: Paint Colors Morning Staley: My goal was not to get approval of the colors from the Board on Monday night since we weren't ready, so there was a bit of miscommunication between John and 1. In the midst of all my other fun, I've been trying to do a couple of color studies to review with the committee first, then present an option to the board for ratification. So I'm hoping to have the studies complete next week. In the meantime, you might ask Jane if we can get on the agenda for the 5th without being specific about the colors. If not, then we should aim for the 19th and confirm with Rich that he's not going to be painting before then. (its hard to imagine that he would be ready for painting by then). Also, I've elected to recuse myself from tonight's presentation, so you'll have to carry the gutter discussion by Yourself. Give a call if you want to talk further. 15 January 2003 Larry Spang >>> "Staley McDermet" <StaleyMcDermet@hotmail.com> 01/15/03 09:14AM >>> Larry: Were the paint colors approved Monday? I'd like to forward to SHC for their 2/5 meeting. John seems to be our Of commission for a while. Staley 1/15/03 STALEY McDERMET ASSOCIATES PRESERVATION&RESTORATION ARCHITECTURE 175 Essex Street Salem,Massachusetts 0I970-3726 ¢ ¢ ¢ COPY 978-745-4969 DATE: February 21, 2003 TO: Hamilton Works -Richard Turner(US Mail) COPY: Bowditch House Building Committee -Larry Spang, Chair(E-mail) Historic Salem, Inc. -John Goff, Executive Director(E-mail) FROM: Staley McDermet Associates - Staley McDermet PROJECT: The Nathaniel Bowditch House Phase 1 -Preservation and Restoration SUBJECT: Approved Exterior Colors to date Following are the exterior colors as approved by the Salem Historical Commission on February 19, 2003. 1. Body -Main body of house (clapboards), lattice at steps and under porch, and exterior and interior of bulkhead: Benjamin Moore's House Paint: 2126--40 Sweatshirt Gray. 2. Trim - Window and door casings, window sills, flat decorative "lintel"woad element over third floor windows, front columns and entablature beside and over front door, also Greek Revival period recessed entrance, roof balustrade, entire cornice (gutter-including copper covering face of moulding, fascia, soffit, frieze board, etc..), roof rake and fascia boards and face of copper roof edge/stop, wood gutter, corner boards, downspouts on corner boards, water table, rear entrance railings, risers, trim boards, and fence at ramp: Benjamin Moore's House Paint:Navajo White. 3. Sash-Muntins and sash: Benjamin Moore's House Paint:Navajo White. Note: Includes the new sidelights and transom at front door, except metal muntins unpainted. 4. Blinds: Benjamin Moore Sash &Door Gloss Black 5. Basement screen frames: Benjamin Moore's House Paint:Navajo White. 6. Handrails on ramp: "Paint out"to match the surface on which they're installed. (Body color on clapboards,trim color on trim and fence.) 7. Ram surface and stairs treads at rear: Moore's Porch & Floor Enamel with non-skid aggregate mixed-in: Color to be determined. S. From: Finish and color to be determined. Enc to Hamilton Works only: Two color samples. SM/sb ¢ ¢ ¢ ¢ COPY STALEY WDERMET ASSOCIATES PRESERVATION&RESTORATION ARCHITECTURE 175 Essex street Salem,Massachusetts 01970-3726 978 745-4969 DATE of job meeting: January 23,2003 DATE minutes prepared:January 24,2003 TO: Hamilton Works-Richard Turner FROM: Staley McDermet Associates-Staley McDermet COPIES: HSI-Larry Spang,HSI-John V.Goff PROJECT: The Nathaniel Bowditch House-Phase 1 Preservation&Restoration SUBJECT: Minutes of job meeting. Attending were:R. Turner,HW;L. Spang,HSI; S.McDermet, SMA. ACTION/ Info — OLD ITEMS HW I. Job signs are ready to go up pending thawing of ground,or placement on surface supports. HW/SMA7. Items that were submitted to SMA: Certificates of Insurance(except Workers'Comp.,which will be forthcoming in a couple of weeks). Preliminary progress schedule(to be revised in bar chart format,with monthly payment estimates). Schedule of Values(SM to review). Names of Proposed Subcontractors(received,no exceptions taken). Info 11. Approval of gutter detail was obtained from Salem Historical Commission at Jan. 15 meeting. NEW— ITEMS Info 13. HW has applied for bond to occupy sidewalk(staging,etc.). SMA 14. Building permit OK except building department does not have Historical Commission approval for ramp, SM confirmed that SHC approved ramp. SM will talk to Frank DiPaolo. HW 15. HW questioned 6d galvanized nails specified for clapboards. Will submit alternative nails. Criteria is that nails must have a substantial size head and provide good holding power. HW/SM 16. HW and SM will review clapboards at some point to determine replacement criteria/samples. SMA 17. Discussion of balustrade. HW was cautioned not to order all materials for balustrade,as some things might change after review of mock-up. HW said the mock-up would probably be constructed of scrap wood. HW questioned size of tracery in balustrade(there is a conflict on the drawings between l"x 1"versus 1"x 1%"). SM said tracery should be 1"in vertical dimension and 1 Y2"in horizontal dimension(pending mock-up). SMA 18.LS requested drawing of blind to add to his colored front elevation. SMA I9. LS requested procurement info from SM for MHC procurement report. UNRESOLVED ITEMS FROM PREVIOUS MEETINGS SMA 10. (1/8)Copy of survey has not been located. Yet to be forwarded to HW. LS/SMA 12. (1/8)Paint colors have not been released by HSI. Will be reviewed at Feb. 10 HSI Board Meeting. Paint colors will be submitted to Salem Historical Commission by Feb. 5 so that they can be reviewed and hopefully approved by SHC at Feb. 19 meeting,assuming HSI Board releases them on 2/10, [Paint chips have been submitted to HSI.] NOTE:Proposed sash color has been changed from black to the trim color. Please review the above list,and inform me of any corrections,changes,additions. If exception is not received within five days of date of preparation,notes stand approved by all parties. Unless specifically noted,no change in contract price is connected with any of the above items or comments. SMlsb I HIM Em �C'I�Il$i�i�l�llfEB��t 'fail i ��rrare r .r. ........... Yb� "YCY HH.CY� fl;l-EN�fl� � � �t YYYYIC1IY3i7giA6 C�I _. !_l'11 II�Ealll,I�E�l�E�1� ! l;IilEllElif� ��1 IIEIi11Ef1lElf!!i I�i'!E!! ''1 `�f, JJ 1 ! IfIfIEE�l111` � ` u.,,. - ,•"„«^" "r rwrY rrw�' �Yxaxe........... offs NONE ►!I, i Will 11116h�� r������i�lm� lIl�Ilili�l�ll(II Proposed Exterior Colors The Nathaniel Bowditch House 9 North Street Owner: Historic Salem,Inc. Salem, Massachusetts 9 North Street Samples of all colors are included, Salem, Massachusetts 01970 except black PREFERRED COLORS Return the Bowditch House to its earliest known paint scheme-gray body, off-whit black blinds. ("...the single scheme which is most historically justified") a trim,with l. Body- Main body of house (clapboards), lattice at arch under and d interior of bulkhead: porch, and exterior and Benjamin Moore 2126-40 Sweatshirt Gray. 2. Trim- Window and door casings, window sills, flat decorative "lintel"wood el ement third floor windows, front columns and entablature beside and over front door, also G evere Revival period recessed entrance, roof balustrade, entire cornice (gutter-including copper covering face of moulding, fascia, soffit, frieze board, etc..), roof rake and fascia boards d face of copper roof edge/stop, wood gutter, corner boards, downspouts on corner boards water table,rear entrance railings,risers, trim boards, and fence at ramp: Benjamin Moore Navajo White. 3. Sash-Muntins and sash: Note: Includes the new sidelights and transom at front door, except metal muntins unpainted. Benjamin Moore Navajo White. 4. Blinds: Black. 5. Basement screen frames: Benjamin Moore Navajo White. b. Handrails on ramp: "Paint out" to match the surface on which they're installed. (Bod color on clapboards, trim color on trim and fence.) y ALTERNATE COLORS* 1• *Body-Main body of house(clapboards), lattice at steps and under porch, and exterior and interior of bulkhead: Benjamin Moore HC-9 Chestertown Buff. 2. Trim: Benjamin Moore Navajo White (no change). 3. Sash:Benjamin Moore Navajo White (no change). 4. *Blinds: Benjamin Moore Essex Green or Chrome Green. 5. Basement screen frames:Benjamin Moore Navajo White (no change). b. Handrails on ramp: "Paint out" to match the surface on which they're installed. (Body color on clapboards,trim color on trim and fence.) (no change) &_