This cottage on Ocean Ave in Oak Bluffs was built before 1880 for J.F. Riday, a manager at the American Mail and Export Journal at the Wesleyan Building on Bromfield Street in Boston. The quaint cottage was photographed shortly after it was built with Riday and two women (one likely being his wife) posing on the front porch overlooking the ocean. By the early 20th century, the home was owned by George and Corielle Evans, a couple from Mexico. They likely modified the home with the shingled siding and front porch with sheltered balcony above, while the original lancet windows and doors remained.
This charming little cottage in Oak Bluffs was built in 1876 for Charles N. Jones, a resident of Medford, MA who had a home built there in 1872. His family’s summer cottage on Martha’s Vineyard was designed by the Ripley Brothers, Alonzo and Walter, carpenters who lived in town and designed and built many of the charming little summer homes there. The home features a wrap-around porch, a covered balcony at the second floor, and pierced board balustrade and cornerboards. Oh, and the paint scheme is perfect!
Located on the iconic Circuit Street in Oak Bluffs, this Eclectic Victorian cottage has a storied past related to Black history on the island. Even though Oak Bluffs was a relatively safe place for African Americans to be, there were still limits on their rights. In some parts of Oak Bluffs there were laws that said that certain property could only be owned by whites. The island became a vacation spot for thousands every summer in the 19th century and seeing a lack of options for Black travelers, Mrs. Georgia O’Brien and Ms. Louisa Izett began to operate an inn for people of color. The inn was one of two such residences in Oak Bluffs and has since been listed on the African American Heritage Trail of Martha’s Vineyard. The home has since been named the Tivoli Inn and retains much of the original gingerbread trim. In recent years, Martha’s Vineyard was given the nickname, “The Black Hamptons,” due to its popularity as a place for wealthy African-Americans to vacation, it remains a very diverse island in summer months.
On a last-minute trip to the Berkshires, I couldn’t help but stop at the recently re-opened Massachusetts Museum of Contemporary Art (Mass MoCA) in North Adams. Being a huge nerd for industrial history and repurposed mills and factories, it was an absolute treat to walk through the large brick and steel buildings and wings lined with steel casement windows providing the perfect scenery for some amazing artworks. What is now known as Mass MoCA, – one of the premier art museums in New England – was once Arnold Print Works, a one time world leader in textile manufacturing with offices in New York City and Paris.
The Arnold Print Works were built on the Hoosac River near the center of North Adams. The company was the town’s largest industry during the city’s economic heyday from the Civil War until the early 20th century. The company was founded in 1861 by the John, Oliver, and Harvey Arnold, who began production of printed cloth at an existing cotton mill. At the dawn of the American Civil War, the newly formed company became flush with money due to government contracts for manufacturing Union Army uniforms. The company expanded after the war until a fire destroyed nearly all of the wooden buildings on the site. After the fire, a majority share of the company was purchased by Albert Charles Houghton, who became the first mayor of North Adams, and he oversaw the expansion and prosperity of the company, starting with new buildings of fire-proof construction.
By the early 20th century, many textile and cotton manufacturing shifted to the American South severely crippling the mill’s profits. In 1929, Sprague Electric Company moved to North Adams from Quincy, Massachusetts, and began buying the Arnold Print Works buildings. The print works moved much of its operation to nearby Adams and concentrated on a few particular products in its North Adams plant. The print works was finally sold in 1942 for just $1.9 million dollars, a far departure from its once prosperous past. The plant was shortly thereafter acquired by Sprague Electric Company.
While largely leaving the building exteriors as they were, Sprague made extensive modifications to the interiors to convert the former textile mill into an electronics plant. Sprague physicists, chemists, electrical engineers, and skilled technicians were called upon by the U.S. government during World War II to design and manufacture crucial components of some of its most advanced high-tech weapons systems, including the atomic bomb.
[Outfitted with state-of-the-art equipment, Sprague was a major research and development center, conducting studies on the nature of electricity and semi-conducting materials. After the war, Sprague’s products were used in the launch systems for Gemini moon missions, and by 1966 Sprague employed 4,137 workers in a community of 18,000, existing almost as a city within a city. From the post-war years to the mid-1980s Sprague produced electrical components for the booming consumer electronics market, but competition from lower-priced components produced abroad led to declining sales and, in 1985, the company closed its operations on Marshall Street.] (Mass MoCA History)
The complex sat vacant briefly before the Williams College Museum of Art, led by its director, Thomas Krens—who would later become Director of the Solomon R. Guggenheim Museum—advocated for a museum space for contemporary art that would not fit in traditional art galleries. The nearby Arnold Mills seemed like a perfect, yet daunting task to repurpose. Bruner/Cott Architects of Cambridge were hired to repurpose the mills and oversee the massive adaptive reuse project which today totals nearly 300,000 square feet of galleries and art venues.
The Massachusetts Normal Art School was one of the many Richardsonian Romanesque buildings constructed in the Back Bay, but it did not survive like so many others did. The building’s history goes back to the 1860s, when wealthy Bostonians petitioned for the Commonwealth of Massachusetts (State Government) to assist with the founding of new institutions to enhance the quality of life in the state. Due to this, the legislature funded three major institutions including the Massachusetts Institute of Technology (1860) and the Museum of Fine Arts (1870), and founded in 1873, the Massachusetts Normal Art School. The Normal Arts School was tasked with training future teachers for public schools and budding professional artists in the arts, with courses ranging from drawing to architecture. The Commonwealth of Massachusetts rented space in various buildings in Downtown Boston before they appropriated $85,000 and hired the firm of Hartwell & Richardson to design and oversee construction of the new school at the corner of Newbury and Exeter Streets. The Richardsonian Romanesque building was constructed of red brick and brown freestone, featured entrances on both street facades, and held gallery spaces inside for members of the public to view the work created at the school. The school outgrew the original building, which could comfortably fit just 100 students, and in 1929, a new building was constructed at Brookline and Longwood Avenues. Before moving one more time to its current location in 1983, the school was renamed to the Massachusetts College of Art and is best known as MassArt today. The original school in Back Bay was demolished in 1967 and was home to a surface parking lot before the existing building was constructed.
Standing just 24 years, the Hotel Boylston at the corner of Boylston and Tremont Streets, evoked the Victorian-era grandeur of Boston. Built in 1870, the Victorian Gothic hotel (what we consider apartment building today) was designed by the architectural team of Cummings and Sears, who were very busy at the time in Boston and beyond. The 5 1/2-story building was constructed of sandstone and featured Gothic arches, dormers of varied sizes and shapes, and a mansard roof with iron cresting. The building (and the three others on Tremont Street) was razed in 1894 and replaced with the Hotel Touraine a few years later.
Formerly located on Tremont Street in Downtown Boston, this ca.1670 Georgian gambrel home went from residence to candy shop to billboard in its lifetime. The home was constructed by John Crane (1744-1805), who was a housewright by trade but a patriot and soldier most importantly. At the tender age of 12, he had an early military experience when he substituted for his father in the French and Indian War when his father received the draft. Records state that Crane was an active member the Sons of Liberty, a secret revolutionary organization that was founded by Samuel Adams to fight taxation from the British government. Hours before the Boston Tea Party, Crane and the other participants met at his shop at his home to disguise themselves as American Indians as disguises for the events that would take place that night. He was in the hold of one ship when he was knocked unconscious by a falling crate of tea. His fellow patriots thought him dead and hid him under a pile of wood shavings in a carpenter’s shop off the harbor, only for Crane to recover later. Less than a year later, Crane and his family moved to Providence, Rhode Island where he would later serve under a militia there in the Revolutionary War. After serving, and seeing battle, he was awarded land in Whiting, Maine (Maine was part of Massachusetts at the time) where he built a home and spent his last days.
Crane House, c.1880s, courtesy of BPL.
His former house on Tremont Street in Boston was occupied as a home until the late 19th century until it was occupied by a confectionary shop, with a storefront added on the street. Due to the shifting demand for theater-oriented development and lodging, the candy shop began struggling. The owner, James Grace, then allowed for the home to be covered with signage and notices advertising various theaters nearby. Ironically, the home was demolished by 1908 for the Shubert Theater, which remains today.
Perched atop a seaside cliff on a neck jutting into the Atlantic ocean, this large summer cottage exhibits the rugged, yet enchanting character of the Maine coast. The house is part of the Cape Arundel Summer Colony and is one of the last built as part of the original period of development. The home was designed by Henry Paston Clark, a Boston architect who previously built a home on Cape Arundel and had summered there for years. His most notable design here is St. Ann’s Church, built for the summer residents of the area. The Bayberry Cove Cottage was built in 1915 for James Harrison and his wife and employed the use of cedar shingles, stone, and slate, to blend in with the rugged plot of land.
One of the larger Shingle style homes in Kennebunkport, Inglesea Cottage, was designed in 1889, possibly by Henry Paston Clark, who designed or worked on many homes and buildings in the summer colony. The original owner, Dr. George Frederick Brooks, a doctor based out of New York, who spent his childhood on the coast of Maine, and decided to spend his elderly summers there. By 1903, the home was purchased by Ms. Lucy Fay (1864-1937) of Fitchburg, MA, who hired Henry P. Clark, to add the cross gambrel addition to enlarge the home. Lucy Fay was the daughter of the the wealthy industrialist George Flagg Fay and his wife, Emily Upton, and upon their deaths, inherited their fortune (her sister died at just seven years old, making her an only child). The home remains in impeccable shape and is a head-turner everytime I drive down the coast.
One of the more unique summer cottages in Kennebunkport is the Talbot Cottage, a ca.1890 eclectic Shingle style home. The home features curvilinear Flemish gables crowned with ball finials, diamond paned windows, gabled dormers with finials and pendants, and a wrap-around Colonial Revival porch with fluted columns. The stunning home was built for Julian Talbot, of the Talbot Family who ran a mill in Lowell, MA. The home was soon after sold to George Hubbard Clapp, a Pittsburgh pioneer in the American aluminum industry, who summered in Kennebunkport.
Saint Ann’s by-the-Sea Episcopal Church in Kennebunkport is possibly my favorite building in the seaside town. As the Cape Arundel summer colony of Kennebunkport was rapidly developing in the 1880s, summer residents needed a place to worship and sought an appropriate location close to their mansions. Boston architect Henry Paston Clark sketched up some conceptual drawings for a stone chapel pro-bono as he already had active commissions in the town and summered there himself. Funds were raised and the current site was donated by the Kennebunkport Seashore Company, who developed the neighborhood. The cornerstone was laid on August 22, 1887. Five years later construction was completed, and the church was debt-free. The large sea-washed stones were hoisted and dragged to the church site during the winter of 1886-1887, and work on the building began May 27, 1887. The same sea-washed stones that grace the building’s exterior were also used for the interior of the church and sacristy. The roof over the central part of the church (the nave) is framed with hard pine hammer beam trusses and the floor is cleft slate.
The majestic Greek Revival house on Maine Street in Kennebunkport was built in 1853 for Eliphalet Perkins III, a member of the Perkins Family, one of the earliest families to settle in the area known today as Kennebunkport. Eliphalet apparently sold the home to his son, Charles, who moved in within the year with his new wife Celia Nott. The couple decorated the ornate home inside and out with furnishings still retained inside after the Kennebunkport Historical Society acquired the building in 1955. The home is now known as White Columns, and houses the First Families Museum. One interesting thing I noticed is the rounded arch windows in the pediment, an awareness to the Italianate style which took over in the 1850s-1870s throughout New England, though this home is quintessentially Greek.
This shingled cottage was built in 1900 for Dr. Francis B. Harrington, a surgeon who worked at Mass. General Hospital in Boston. The stunning cottage was designed with double gambrel gables, a large piazza/porch overlooking the ocean, and a porte-cochere, which was likely added after the home was completed. The home was designed by architect Henry Paston Clark (1853-1927), a Boston area architect who was briefly associated with Henry Vaughan, a leading Boston architect who executed several significant institutional and ecclesiastical works in the Boston area. Clark would later become best-known for his Shingle-style and Colonial Revival works throughout New England and spent his final years in Kennebunkport, where he died.
Thought to be the largest home in Kennebunkport, the Nathaniel Lord Mansion remains one of the most significant and ornate in the region. Captain Nathaniel Lord (1776-1815) was the son of Tobias Lord, a Revolutionary War veteran and later, a shipbuilder in Kennebunk. He followed his father’s footsteps and ran a shipyard, owning many ships and being one of the most prosperous merchants in the area. Kennebunkport was an important shipbuilding center and port of entry until during the War of 1812, when the British blocked the mouth of the Kennebunk River. All ship building and commerce ceased in this area at that time. Consequently, with no shipping being done, and no ships being built, the ship carpenters became idle. Nathaniel Lord commissioned these men to build him a large house and barn upon a piece of land given to his wife, Phoebe Walker, by her father Daniel Walker, who’s home stands to the north. The home was passed down for generations in the female line until the 1970s when it was restored and converted to the gorgeous Nathaniel Lord Inn.
William Jefferds Jr. was born August 30, 1779 in Kennebunk. On October 25, 1802 he married Sarah (Sally) Walker who was born in Arundel on March 4, 1783. Twenty years later, in 1803, Captain Daniel Walker gifted his son-in-law, Captain William Jefferds, Jr., “80 square rods of land, with love and affection” on the lane leading to Walker’s Wharf (he also gifted land to his other son in law, Nathaniel Lord. In 1804 the 2-story, Federal-style building that now houses Captain Jefferds Inn was built as their private home.
Capt. Jefferds was a ship owner and captain in the West Indian trade; he later became a merchant in Kennebunkport. He and Sarah had 11 children, and their family was considered one of the most aristocratic in Kennebunkport. Following Sarah’s death at age 88 in 1871 (her husband had predeceased her in 1851), the household furniture was sold at public auction and the home sold outside of the family.
The house was a two-story hipped roof Federal style dwelling, somewhat outdated by the latter half of the 19th century. By the 1880s, the Agnew Family who owned it at the time, had the home remodeled with Colonial Revival detailing, including the portico and large central dormer. The home was eventually converted to an inn, and is known as the Captain Jefferds Inn.
Check the Inn’s website for more images and history!
