The historic Omni Bretton Arms Inn, adjacent to the Omni Mount Washington Hotel in the White Mountains of New Hampshire, was built as a private home in 1896. The home was designed by, and occupied by architect Charles Alling Gifford, while he oversaw the design and construction of the iconic Gilded Age hotel. After the hotel nearby was opened, the interior was converted to hotel rooms, and opened to guests in 1907. The Colonial Revival building features a central mass with two wings. The building was occupied in 1944 as the headquarters for the Conference Secretariat during the 44-nation Bretton Woods Monetary Conference. The Inn was granted National Historic Landmark designation in 1986 and has recently undergone a $1.4 million renovation focused on bringing the outdoors in. Part of the Omni Mount Washington Resort, this property offers more seclusion and less crowds compared to its larger neighbor. Just down the road from the Bretton Arms is the equally stunning Bretton Woods Stable, likely built at the same time.
Located at the top of Rosebrook Mountain in the Bretton Woods Ski Resort, this stunning modern lodge building provides possibly the best mountain views in New England. After a couple runs on the slopes, I took the gondola up to the top, exiting to a sweeping view of the White Mountains and the iconic Mount Washington Hotel (more on that later). At the top, is this large, well-sited lodge which is perched upon the mountainside, and an excellent example of Contemporary design done right! Appropriately named Rosebrook Lodge, the new building was just completed in 2020 by designs from architectural firm Bull Stockwell Allen from San Francisco, with help from TruexCullins on the interior design. The two-story lodge is constructed from of timber, steel, stone and glass, which complement the region’s rugged natural beauty and provide a sleek space for on-mountain dining or aprés ski. Inside, the building highlights the outside with walls of windows with warm lighting and woodwork that make relaxing effortless.
For the last post in this series on Bristol, Rhode Island, I am leaving you with a house that is architecturally stunning, but holds a dark history. Linden Place was built in 1810 by slave trader, merchant, privateer and ship owner George DeWolf and was designed by architect, Russell Warren. The DeWolfs of Bristol, who became the biggest slave-trading family in U.S. history, transported well over 11,000 Africans to the Americas between 1769 and 1820. The U.S. banned the slave trade in 1808, but the DeWolfs continued dealing in the slave trade until the 1840s by going through Cuba, where they had numerous plantations. They also got help from a DeWolf brother-in-law, who served as a customs inspector in Bristol — thus ensuring family slave ships continued to come and go. In 1825, George DeWolf suffered major financial hits and he and his family fled to his plantation in Cuba, where they’d be beyond reach of his creditors. Stories explain that with the possibility of legitimate payment out of the question, the townspeople sought compensation for George’s debts where they could, and they broke down the front door of Linden Place, and took everything, even peeling the silk wallpaper off the walls.
William Bradford (1729-1808), who would become Deputy Governor of Rhode Island from 1775 to 1778, came to Bristol to practice medicine by 1758. When he arrived, he rented Mount Hope Farm (featured before), before building a home in town. When the British Navy bombarded Bristol on October 7, 1775, his home was among the buildings destroyed. He afterward went aboard ship to negotiate a cease fire, saving what was left of the town. In 1792, he built a 2 1/2-story Federal style, boxy house on this lot, close to the street. The home was willed to his son Hersey, who resided there until the 1840s, when he mortgaged the house to Francis Dimond, who resided in a Greek Revival temple front home (also featured on here previously). He gifted the modest Federal home to his daughter, Isabella, possibly as a wedding gift upon her marriage to Samuel Norris, a sugar refiner. Mr. Norris and Isabella hired architect Russell Warren, who designed her father’s home nearby, to renovate the house in the spring of 1845, moving the house away from Hope Street. The house was given its third floor and additional bay, along with the ornate design which characterizes it to this day, including the Ionic porch and Chinese Chippendale balustrade. The house remained in the Norris family until 1942 and is now a B&B.
In 1809, Giles Luther built this two-story, 5-bay, hip-roof Federal house, which has been substantially enlarged and altered over the years in succeeding styles. Original detailing on the facade includes the Palladian window, modillion cornice, quoins, and wide-beaded window casings with splayed lintels. Giles Luther (1775-1841), a shipmaster, merchant, and farmer, was more importantly the first Grand Marshall of the Bristol Fourth ofJuly Parade, which is believed to be part of the oldest Fourth of July celebration in the country. In 1825 Luther’s business failed; the Commercial Bank took this house and sold it in 1828 to Jacob Babbitt. Babbitt owned part of a wharf in town and in his will of 1849, he left the “use and improvement” of this house to his son Jacob, Jr. (1809-1862). The younger Babbitt was wealthy and likely made the mid-19th century modifications to the home, including the Italianate triple-arched door and full-width porch with delicate cut-out posts and railings. The home was occupied for much of the 20th century by the Bristol Nursing Association, and sold in the 1970s to a private owner. The home was for a period ran as a bed & breakfast but appears to be back to a private residence today.
Architect Russell Warren (1783-1860), who I have featured on here numerous times, built this 2-story, 5-bay, hip-roof Federal house in Bristol, Rhode Island. This residence as interpreted by Warren as an example of the Federal style with stylistic features most notably being the angulated quoins (at the corners of the house). The house was designed for William Van Doom, a Bristol tailor of modest means. In 1814, Warren, a young and aspiring architect, saw the significant wealth in Bristol and decided to buy this home he designed. Siting himself in the vicinity of the extremely wealthy DeWolf family, he gained recognition and success by designing three expensive and elaborately crafted houses for them at this time, only Linden Place remaining. Warren lived in this house from 1814 until 1823.
When strolling around Bristol, Rhode Island, you are overloaded with gorgeous early 19th century house styles, primarily in the Federal and Greek Revival styles. Among these, one house (or should I say mansion) stands out as a flamboyant Victorian Gothic showpiece at the southern end of the downtown area. Built in 1873 for Augustus O. Bourn (1834-1925), the founder of the National Rubber Company (and from 1883 to 1885 governor of Rhode Island), “Seven Oaks” could go toe-to-toe with any house in the state. Bourn’s architect was James Renwick of New York, one of the most celebrated architects of his time. Before designing Seven Oaks, Renwick’s resume included: Smithsonian Institution Building, Washington, D.C.; St. Patrick’s Cathedral, New York City; and the Renwick Gallery, Washington, D.C.. Seven Oaks is a large, hip-and-cross-gable-roof Victorian Gothic mansion constructed of stone, with multiple towers and a slate roof capped with iron cresting.
Lemuel Clarke Richmond (1782-1876), a whaler, built this Octagon home in his seventies. This was the second home he built in Bristol Rhode Island, the first being the Richmond-Herreshoff House I featured previously. When Lemuel Richmond sold his 1803 Federal style home, his home was empty as his wife passed and all of his children married and moved out of the house. Octagon houses are fairly rare nationwide, and most were built in a small timeframe in the 1850s. The publication of Orson Squire Fowler’sA Home for All: or the Gravel Wall and Octagon Mode of Building in 1853 briefly brought popularity to octagonal structures. The octagon, according to its proponents, offered greater floor space, increased air and sunlight, and was a healthful natural form. Orson Squire Fowler was a phrenologist (a pseudoscience which involves the measurement of bumps on the skull to predict mental traits) and lecturer who had a huge impact on American architecture, though only for about a decade. The Richmond House in Bristol also features an octagonal cupola, bracketed porch, and a single-room addition over the porch over the front door. Could you live in an Octagon?
In 1687, William Throope 1637-1704, who migrated to Bristol from Barnstable, Massachusetts by way of England, purchased land in Bristol, Rhode Island. On it, he constructed a small, one-room deep, two-story house. Throope’s grandson, Thomas, Jr. (1710-1771), enlarged the house about 1760, when he constructed this four-bay Georgian home, adding the old 1687 Throope house to the rear. Interestingly, house moves were very common in America to the early 20th century, as materials such as glass, nails, and brick were more expensive while labor was much cheaper, making the reuse of original structures and materials common. The farm eventually passed to Isaiah Drown Simmons (1810-1882), a dairy farmer, in 1830, and remained in the Simmons family until 1922. Records show that the original 1687 house that was moved to the rear of the 1760 house was replaced in the 1830s by Simmons. The home remained in the Simmons Family until after the death of their only daughter Elizabeth, who died in 1914. It appears that the existing front portico was added after that time, which appears more Colonial Revival.
Formerly located on the Poppasquash Peninsula in Bristol, Rhode Island, the William DeWolfe House, also known as Hey Bonnie Hall, was constructed in 1808 for William DeWolf (1762-1829) and his wife Charlotte Finney (1764-1829). William DeWolf was a member of the infamous DeWolf Family of Rhode Island, which is believed to have transported tens of thousands of enslaved people to the United States and Caribbean before the African slave trade was banned in Rhode Island. The Ocean State played a leading role in the transatlantic slave trade. Not only did Rhode Islanders have slaves—they had more per capita than any other New England state. The beauty of Hey Bonnie Hall, and its melodic name hid the dirty money with which it was built. With his extreme wealth, William hired Providence architect Russell Warren to construct the home in a high form of the Federal style. Eventually, the home was willed to Anna DeWolf, who married Nathaniel Russell Middleton, from a slave-owning family in Charleston, South Carolina (birds of a feather…). It was Anna Middleton who gave the house its curious name of “Hey Bonnie Hall”. When she was younger, she used to sing an old Scottish song called “Hey The Bonny Breast Knots” over and over again to delight her grandfather, William, the first owner of this home. After Anna’s death, the home was willed to her two unmarried daughters. The Great Atlantic Hurricane of 1944 proved fatal for the grand estate, when the front portico was ripped off the home and flew away. The damage was deemed too expensive to repair and the home was demolished that year.
Located just south of Portland Head Light, on the rocky ocean shore of Cape Elizabeth, is the settlement called Delano Park, a group of summer cottages, many of which were designed by iconic Maine architect John Calvin Stevens. Arguably the most significant and interesting is this Shingle style cottage, completed in 1886 for Charles A. Brown of Portland as a summer home. The cottage, sits atop a fieldstone foundation that are the very color of the ledges out of which the building grows. The walls above the are of shingle, “untouched by paint, but toned a silvery gray by the weather” as Stevens noted in his writings. Stevens was a master in siting his designs perfectly into the existing landscaping, and by covering all of the home with shingles, Stevens created an unembellished, uniform surface, which celebrates the honesty of its form. The home originally had a wood shingle roof, finished with a green stain. The home remains extremely well preserved by the owners and showcases the Shingle style of architecture brilliantly.
Built in 1889, this interesting structure is located away from the rocky coastline of Cape Elizabeth, a lasting remnant of the agricultural history of the town. The building was constructed as the Cape Elizabeth Grange Hall. The National Grange of the Order of Patrons of Husbandry, is a social organization in the United States that encourages families to band together to promote the economic and political well-being of the community and agriculture. The Grange organization, as it is often known as, had grange halls all over the country, where farming community members would gather to discuss issues and challenges that needed addressing. The building echos late 19th century architectural styles, blending multiple to create an elegant composition, wrapped in wood clapboard and shingle siding. In 1916, the hall was purchased by P. W. Sprague from the Cape Elizabeth Grangers to insure its use and upkeep – and it is still the home of the Patrons of Husbandry, Cape Elizabeth Grange #242.
The Cape Cottage Casino and Theater was one of several amusement parks developed in the late 1890s by Portland’s electric railways in order to increase business on their trolley lines. Residents of Portland would be able to take a surface trolley to the outskirts of the city in record time, and soak up the sun at luxurious summer communities. The Cape Cottage Casino and Theater was designed by iconic Maine architect John Calvin Stevens, completed in 1899. The casino represents the best in Neo-Classical design, with a full-height, projecting classical pediment supported by bold ionic columns. A wide entablature is accentuated with dentils and modillions; and at the entry, the main front door has a fanlight and is flanked by two small windows, creating a Palladian motif. In 1922, due to the demise in the trolley ridership, partly caused by the rise in personal automobile, the casino was sold off and the Cape Cottage Park Company then hired E.C. Jordan & Company, civil engineers, to subdivide the land and retained John Calvin Stevens and his son as consulting architects. Roughly 50 house lots were platted, resulted that were arranged around the former casino, which was extensively downsized and remodeled as a private residence. While the side wings were removed, the building does retain much of its architectural integrity, while its sheer size has been severely diminished.
This charming home in Cape Elizabeth, Maine looks to have been built after the American Civil War, as an interesting Italianate cottage. The home is clad with scalloped shingle siding which works well with the paired round headed windows facing the street. The deep overhanging eaves are supported by brackets. Running under the eaves on the sides are octagonal windows, a very unique detail. The home is located at the center of town, away from the summer cottages which sprouted up along the rocky coastline in town starting around this time. It was converted into condominium units sometime in the late 20th century.
I normally am not a fan of dark houses, but I really like this one, but some of the amazing detail is harder to see due to the singular, dark paint color. This home in Cape Elizabeth was built in 1915, during the housing boom in the early 20th century when the formerly sleepy farming town saw massive development as it became a summer resort and bedroom community of Portland. Owner David A. Calhoun hired the Portland firm of Miller & Mayo to design this home, and they pulled out all the stops for a modest budget. Calhoun moved to Maine in the 1880s and became a founding member of the plumbing and heating firm of Willey & Calhoun, quickly making a name for himself. The two-story home has a shingled exterior, a cross-gambrel roof and a shed dormer on the front facade. The main entry door is flanked on either side by small windows. The house is a great blending of Colonial Revival and Shingle styles.
Buildings of New England 
