Mrs. Martin’s School – Jenks & Gaugengigl Studio // 1872

This unique three-story building on Otis Place in Beacon Hill, Boston, was actually constructed in 1872 by owner/architect, Abel C. Martin (1831-1879) as a school run by his wife, Clara Barnes Martin (1838-1886). Clara B. Martin was born in Maine to Phineas Barnes, a prominent publisher in Portland, who educated his daughter at the best schools. She in turn, became a writer and educator herself, writing a book about Mount Desert Island in Maine and publishing articles in national papers, along with operating a school in this building, designed and owned by her husband as they lived next door. After Clara died in 1886, the property was sold by the Martin heirs and in 1895, renovated into artist studios with two floors of large windows to provide natural light for the work inside. The building was owned and operated as artist studios by Ignatz M. Gaugengigl (1855-1932), a Bavarian-born artist who spent most of his professional life in Boston and was a prominent member of The Boston School, and Phoebe Jenks (1847 – 1907), a portrait painter who divided her career between New York and Boston. The building, while heavily altered, showcases the history of the Beacon Hill Flat neighborhood, which, during the late 19th and early 20th centuries, became a popular place for artists and Bohemians, who renovated existing houses and stables in the Arts and Crafts, neo-Federal and other fashionable styles into loft spaces and studios. The 1895 renovation was undertaken by architect, Edgar Allen Poe Newcomb, who was the nephew of sculptor, Thomas Ball, likely providing him insight into the design of artist studios.

Weir Farmhouse // c.1780

Impressionist painter, Julian Alden Weir was looking to build a home in New York’s Adirondack Mountains when Erwin Davis, an art dealer, offered him a farm in Ridgefield, Connecticut, for a painting he owned plus ten dollars. After a visit in 1882, Weir agreed and acquired the 153-acre farm. The old farmhouse, which dates to the 1780s, and was modified in the Greek Revival style before Weir’s ownership and expanded and renovated again during its time as an artist’s retreat. The house was often filled with family and friends as a popular artistic retreat for Weir’s closest friends, including: Childe Hassam, Albert Pinkham Ryder, John Singer Sargent, and John Twachtman. Weir’s daughter Dorothy Weir, a noted artist in her own right, took over management of the property following her father’s death in 1919. Sculptor Mahonri Young would build a second studio at Weir Farm after the couple married in 1931. The Weir Farm site was designated as a National Historic Site in 1990, but prior to its permanent protection, Weir Farm had been subdivided for housing development in the late 1980s. The Trust for Public Land worked to reacquire the divided land through close to 2 dozen transactions, preserving the site for generations to come.

Katherine Forrest Home and Studio // c.1860

This vernacular cottage in Noank was built in phases (and likely added onto from other historic buildings) since 1860. While the building dates to the 1860s, its significance derives from a later owner, Ms. Katherine Forrest. Katherine Forrest (1883­-1952) was a graphic designer and part of the Arts & Crafts movement of the early 1900s. She specialized in textile design and printmaking. Forrest came to Noank in 1914 and purchased her house in 1926. She was locally known by the nickname ‘Speedy’ and was remembered for dying textiles in a bathtub outside the house. The building’s vernacular character and its significance as a locally historic site as part of the village’s rebirth as an artist colony in the 20th century showcases how even smaller, unpretentious buildings in New England can tell a story.