Paint Analysis - Colors
   

Frank S. Welsh

[Welsh Color & Conservation] is one of the most renowned and experienced analytical laboratories in the United States specializing in the restoration and preservation of historic finishes primarily related to historic buildings but also to fine art and antiques. The company, provides expert paint analysis and wallpaper analysis for determining original colors and decorative painting techniques, plus pigment analysis and fiber analysis for authentication of fine art.

 
Jan 01, 2025

FSW Fall of 2007, by Ross Watson 2Frank S. Welsh: A Pioneer in Historic Paint Analysis

In the summer of 1972 Frank Welsh made connections with National Park Service architects Penelope H. Batcheler and Lee H. Nelson at Independence National Historical Park in Philadelphia to express his interests in historic preservation, restoration and painting. During discussions with them about their ongoing restoration efforts at Independence Hall, Batcheler’s pioneering work in using microscopy to study historic paint samples came to light. The architects expressed surprise at his interest in specializing in historic paints for restoration—a field that no one had yet considered. Frank’s early curiosity marked the beginning of what would become a broader movement in preservation practices, inspiring others in subsequent decades.

Later that summer, a meeting with Professor James M. Fitch at Columbia University revealed that while the university’s graduate program in historic preservation lacked specific courses on historic paint finishes, there was enthusiasm for the concept. When the idea of working with Batcheler at Independence Park was proposed, Fitch offered full support, recognizing the potential to advance this niche specialization.

By the fall of 1972, after several months of volunteering at Independence National Historical Park with Mrs. Batcheler, the National Park Service formalized a role for Frank to assist with restoration efforts across buildings in Independence Park.  This appointment was a pivotal step in advancing the investigation and study of historic paint finishes within the preservation field, aligning with preparations for the nation’s bicentennial in 1976.

Frank's first project at Independence Park was the Second Bank of the United States, designed by William Strickland and completed in 1826. This project introduced him to architectural terms, plastering techniques, and paint sampling methods.  He learned how the strategic selection, gathering and analysis of samples from painted plaster and wood could reveal both original colors and insights into a building’s construction and alterations. In addition, he gained foundational skills in using a stereo microscope to examine paint layers and their characteristics and was introduced to color-matching techniques using the two-volume Munsell Book of Color.

In the fall of 1972, he completed a report on his findings from the Second Bank, titled Paint Analysis,marking the first use of the term to describe such research and documentation. Previously, Mrs. Batcheler had referred to the work as a "Paint Study." The term Paint Analysis gained widespread acceptance over time, particularly after Frank’s 1975 article, “Paint & Color Restoration,” published in the Old House Journal, where he detailed the process. His article played a significant role in establishing Paint Analysis as a standard term in the field of historic preservation.

Frank also investigated the art of painted wall stenciling at the Harper House, a privately owned building in Society Hill, Philadelphia. At Mrs. Batcheler’s urging, he meticulously traced the patterns, collected samples, conducted microanalysis, matched the colors, and documented his findings for the Park’s records. With encouragement from both Batcheler and Nelson, Frank published an article on the stenciling in the APT Bulletin, marking the beginning of numerous contributions to the study of historic paints.

Following these early projects, Frank worked on additional buildings, including Old City Hall, the Deshler-Morris House, and the Longfellow National Historic Site in Cambridge, Massachusetts. Each one offered valuable opportunities to expand his knowledge and expertise. Simultaneously, he took on non-NPS projects referred to him by Mrs. Batcheler, such as several sites in Fairmount Park, Washington’s Headquarters in Valley Forge, and the William Paca House in Annapolis. These experiences laid the groundwork for his transition to private practice, culminating in the establishment of his own business in late 1974.

Shortly after leaving the NPS, Frank undertook three significant projects: Cliveden, a National Trust property in Germantown; the Athenaeum in Philadelphia; and the Peter Wentz House in Worcester, Montgomery County. The Peter Wentz House, with its unique sponge wall paintings and bold color palette, became one of the most significant projects of Frank’s early career. He documented and reproduced the wall decorations himself, drawing widespread attention. His findings were featured in numerous articles in popular and professional magazines, as well as his own publication in the APT Bulletin.

In 1975, Frank developed a guideline to assist others in collecting and sending him paint samples. Over time, this guideline evolved into a comprehensive document titled The Paintpamphlet. Additionally, while working on the 1840s Vail House at Speedwell Village in New Jersey, Frank uncovered original graining beneath later paint layers. His meticulous exposure of the graining, which identified the type, color and character of wood being imitated, resulted in his third publication in the APT Bulletin.

This work caught the attention of Charles Granquist, the curator and assistant director at Monticello, who invited Frank to test doors at Monticello for exposing original mahogany graining. Frank’s successful visit marked the beginning of a transformative, 20-year relationship with Monticello, shaping his career and establishing him as a leading expert in historic paint finish analysis and conservation.

Shortly after his visit to Monticello, he relocated and established an office on Lancaster Avenue in Bryn Mawr. The office was located on the second floor of a commercial building owned by a close friend.

In the ensuing decades, Frank’s business grew from a regional startup to a nationally recognized authority. Between 1975 and 2000, he significantly advanced the field by publishing numerous articles, delivering lectures, and consulting on projects across the United States. His encounters with renowned chemical microscopist Walter McCrone in 1981 inspired him to study and apply microanalysis techniques to historic paints. Using a polarizing light microscope, Frank began analyzing pigments and binders, pioneering a new dimension of historic architectural paint study. This pioneering work earned him the Charles E. Peterson Fellowship, which supported his research into not just the colors but, importantly, the pigment composition of paints from early American buildings. His findings were later published as a chapter in Roger Moss’s acclaimed book, Paint in America.

In 1998, Frank launched a groundbreaking website for his business—the first of its kind in his specialization. The website significantly expanded his reach and led to the incorporation of Welsh Color and Conservation, Inc.

In the early 2000s, Frank was invited to study paints in numerous offices and several ceremonial spaces at the United States Capitol, including Statuary Hall. In an office on the Senate side of the Capitol, he identified a primer containing pigments he had never encountered before. The pigments, later identified as the minerals Franklinite and Zincite, led to a fellowship from the Architect of the Capitol. Frank’s research on these minerals and their use in brown zinc paint manufactured by the New Jersey Zinc Company was published in the APT Bulletin and earned him an award from the Association for Preservation Technology (APT) for his groundbreaking study.

Throughout his career, Frank’s achievements were widely recognized. In 2009, APT inducted him into its prestigious College of Fellows. In 2013, the Curator of the United States Senate invited him to join the United States Senate Curatorial Advisory Board, further solidifying his reputation as a leader in the field.

In May of 2024, Frank announced his retirement and the closure of his business at the end of the year, marking the end of an extraordinary 50-year career. Over the decades, he met and collaborated with many talented people, published more than 30 research papers and newsletters, traveled to nearly every state—including Hawaii—and worked on over 1,700 buildings across the United States, as well as in Bermuda and St. Croix. He meticulously archived over 50,000 paint samples, creating an invaluable resource for future research. His most notable projects included work on most of the historic buildings in Nantucket, Annapolis, St. Augustine, and Colonial Williamsburg, as well as Union Station in Washington, DC, Grand Central Terminal, Independence Hall, Dulles Airport, the White House, the Castle and the Arts & Industries Building (AIB) of the Smithsonian Institution, Fallingwater, and the state capitols of Alabama, Florida, Georgia, Virginia, and New Jersey.

In a final act of stewardship, Frank donated his extensive files and paint and pigment sample collections to the Athenaeum of Philadelphia, which unanimously accepted this significant contribution. The collection, including stereo and polarizing light microscopes, will soon be accessible to scholars, providing valuable resources and tools for research in the field.