One of the unsung architectural landmarks in Downtown Providence, Rhode Island, can be found on Weybosset Street. The Providence Gas Company Building at 100 Weybosset Street was built in 1924 as the headquarters and offices for the Providence Gas Company, which provided services to a rapidly growing New England city. The architects, Clarke & Howe, used local precedence in their design, modeling the building as a commercial version of the 1774 Joseph Brown House on South Main Street, with its iconic ogee gable at the roof. Beyond its own ogee gable, the Gas Company building retains its columned entry and symmetrical facades. The building was converted into housing with a pub and rooftop restaurant.
On Weybosset Street in Downtown Providence, stands the facade of a building that tells the story of the city. The Providence National Bank originally opened in 1791 as one of just five banks in the country. The longtime home of the institution, the 1774 Joseph Brown House was outgrown and following a merger with the Merchants National Bank, the company elected to build a new headquarters. Constructed in 1929 on the site of the old Lyceum Building on Westminster Street, the Providence National Bank Building was designed by the local firm Howe & Church in a stately Colonial Revival style. The bank merged with the Union Trust and again expanded its facilities with a 1951 addition with frontage on Weybosset Street, the last remaining piece of the structure. Designed in the Colonial Revival style, the Weybosset elevation is five bays wide with a projecting central pavilion, quoined corners, and splayed keystone window lintels beneath a broad entablature. The bank itself passed through several names and owners over the decades, but the building’s real trouble began in 2005, when the Westminster Street portion was razed to clear the way for a proposed condominium tower that was never built, leaving behind a surface parking lot. Only the Weybosset Street facade survived, propped up on rusting steel beams for years and nearly slated for demolition in 2009 before preservation advocates and the Mayor’s office intervened. The site is a reminder to disallow demolition until a financed and permitted project is approved.
Despite the expansion of its Union Street building ten years earlier, by WWI, the growth of the Providence Telephone Company had made its original building inadequate. In 1916, the company began construction on its new Telephone Building at the corner of Washington and Greene streets. The 8-story, Colonial Revival style structure was designed by the Providence architectural firm of Clarke & Howe. The building is steel-frame and largely clad with red brick besides the arcaded first two stories in marble. At the roofline, a center gable projects above the cornice, likely in the 1950s renovation when the elevator headhouse was built on the roof. The building was again expanded in 1971 by a utilitarian addition that does not relate to its original design beyond the use of brick. The building is now home to the regional office of Verizon New England.
Tucked away behind Abbott Park, a small green in Downtown Providence, the Plantations Club has stood for 100 years as one of the city’s finest examples of Colonial Revival architecture and was long a vital women’s club organization. This Georgian Revival brick building was designed by the firm of Andrews, Jones, Briscoe & Whitmore, of Boston for the Providence Plantation Club, a women’s social organization founded in 1916. The club was a success, starting with about 150 members and it reached more than 1,300 members, just one year after its inception. As the only female architect of the society, Frances E. Henley got involved in promoting the Club in terms of its visuals and interior design of the building, working closely with the architects. Ms. Henley was the first woman to study architecture at the Rhode Island School of Design and the first woman to independently practice architecture in Rhode Island. When the club no longer needed such a building, Johnson & Wales University acquired the building in 1962, and since then, it has been known as Wales Hall, housing a variety of offices and services.
This Georgian Revival house on Butler Point in Marion, Massachusetts, was built in 1929 at the period of great transition of many coastal communities in New England between the Gilded Age and later summer cottage period of prosperity and the Great Depression.The “cottage” here was built for Jerome R. George (1867-1942), vice president and chief engineer of the Morgan Construction Company of Worcester and avid boater. A native of Ohio, he was a noted designer of steel mills in the United States, Europe, and India and built this home, likely as their summer retreat. The house is prominently sited and is one of the best examples of the Colonial Revival style I have seen in the seaside town. It is clad in cedar shingles as a nod to the vernacular coastal homes and larger Victorian-era summer homes seen in the village but resembles the 18th century Colonial homes with an elaborate pedimented entry, symmetrical facade, corner quoins, and massive brick chimneys.
Across Sippican Harbor from the town village of Marion, Massachusetts, the Kittansett Club property provides some of the best views and recreation in town. The Kittansett Club was founded by a group of members of the Beverly Yacht Club in 1922, who at the time held some recreational uses on the tip of this peninsula, known as Butler’s Point. Kittansett was derived from two Native American words, “Kittan,” said to mean “sea,” and “Sett,” said to be a common word-ending for “near”, roughly translating to “near the sea”. The wealthy group of men who developed the peninsula with assistance from the Olmsted Brothers, landscape architects, totaling over 180 acres, a substantial portion was leased to the golf club while approximately 16 house lots were retained for those fronting the cost, to members of the club to help defer the expenses of developing the course. In 1925, the Kittansett Club undertook the construction of what became known as the “Winter House,” (the current clubhouse) which was a winterized building with heating and plumbing. The Colonial Revival building is sited so elegantly at the tip of Butler’s Point, looking out at Buzzards Bay. The buildings and grounds were heavily damaged by the Hurricane of 1938 and the property would soon after serve America’s defensive interests during World War II, when all of Butler’s Point was taken over by a Coast Artillery Unit. More than 100 G.l.s were billeted in Winter House. Today, the exclusive club is open to members and private events.
Beginning in the late 19th century, affluent urban dwellers from cities like Boston and New York were traveling by train and steamship to seaside destinations like Marion, on the South Coast of Massachusetts. The town began to attract many notable political, literary, and art world figures seeking a seaside respite away from the heat and pollution of urban centers. Initially visitors stayed at hotels or rented private houses, but as the end of the century neared and Marion became nationally known as a desirable vacation destination, wealthy individuals began to build their own permanent summer residences. The Burdett Cottage on Water Street was built around 1911 for Boston lawyer, Everett Walton Burdett and his wife, Maude. The couple hired the Boston architectural firm of Bigelow & Wadsworth, to design the Colonial Revival style “cottage” with an accompanying garden designed by noted landscape architect, Arthur Asahel Shurtleff. The house features two end wings with porches and balconies to provide sweeping views of the harbor.
Since its founding in 1863, Marion’s Masonic organization, Pythagorean Lodge, has been one of the town’s most important social and charitable organizations. The organization originally met in a historic Greek Revival style building near the harbor, but it was eventually deemed obsolete for the well-connected group of men who were members there. In 1908, discussions began to build a new, purpose-built Masonic Hall in the village. It was intended to have a three-story building with retail space and apartments on the ground floor to supplement the cost of maintenance, reception and member’s rooms on the second floor, and the banquet hall and kitchen on the top floor. Approximately one-third of the cost for the new building was funded by Henry E. Converse, of the Converse Rubber Company (now the iconic shoe brand), who was a member of the local lodge and summer resident of Marion. Opened in 1911, the new building was designed in the Colonial Revival style with fanlight windows, corner pilasters, and columned entrance, but today lacks the original flair with its unfortunate vinyl siding.
During late 18th and early 19th centuries, the rise of the coastal schooner trade and whaling ushered in a long period of prosperity for coastal towns in New England, which continued unabated until the Civil War. The War of 1812 provided many Marion sailors and sea captains with the chance to experience life at sea with privateers papers issued by the United States government, these captains went to sea in their schooners to hunt down British ships, plundering them like pirates. One of these captains was Ward Parker Delano (1819-1867), who lived in this house overlooking Sippican Harbor. The house likely dates to the mid-late 1700s and was probably originally built by his grandfather, Captain Stephen Delano (1749-1821). Under subsequent owners in the Delano family, the home was modified on numerous occasions in styles popular at the time until the early 20th century when it was Colonialized, which added the portico, gable, and dentils, possibly by Ward Parker Delano II (1851-1915) or his son, Ward Parker Delano III (1883-1940) descendants, who summered at the old family home, and were both prominent architects of the early 20th century.
Located on the edge of the Town Common in Billerica, Massachusetts, this handsome civic building stands as one of the community’s best examples of the Colonial Revival style. The building was constructed in 1895 to replace the mid-19th century Town Hall that was destroyed by fire in 1893. The community hosted a design competition, where prominent firms from the Boston area submitted designs, and ultimately selected the plans from the firm of Warren & Bacon, led by Herbert Langford Warren and Lewis H. Bacon, who had a short-lived business partnership lasting just one year. The symmetrical, two-story brick building is trimmed with limestone and capped with a gray slate roof. The facade is embellished with a Palladianesque arched loggia sheltering the entrances with a centrally placed Palladian window above on the second floor. Additionally, the roof is adorned by a Christopher Wren inspired cupola with a gold leaf dome capped with a weathervane. The building functioned as the Town Hall with offices and a grand hall on the second floor for city meetings until the town hall relocated in 1979 to a former school building. Since 2000, the former Town Hall of Billerica has housed the Billerica Public Library, which was formerly located in a smaller historic building nearby.
Initially established in 1833 as the Connecticut Literary Institute and later renamed Suffield Academy in 1937, the institution was founded with the mission to educate young men for the Baptist ministry. As the Connecticut Literary Institute was the only high school in Suffield, the town tax dollars paid for local students to attend. Originally built for the Institute in 1854, this large brick academic building was designed in the Italianate style with brackets and decorative brickwork at the cornice until about a century later when the school redesigned its campus in the Colonial Revival style. The Memorial Building was stripped down of pomp and renovated into its present appearance, but it maintains its historic form and fenestration.
One of the many charming buildings on the Flat of Beacon Hill can be found here at 73 Chestnut Street, which has long been one of my favorites when strolling in the neighborhood. The building was constructed around 1895, replacing a wooden stable on the site, and appears to have been built as a stable and converted soon-after to commercial use. In 1917, the building was leased to tradespeople, and included a plumbing shop and cabinetmaker, but as the area gentrified after WWI, the building was purchased by Israel Sack, an antique dealer as his new store. Israel Sack was born in Lithuania and emigrated to the United States, first working as a cabinetmaker and later becoming an instrumental force in the antiques world, where he assisted with developing the private collections of Henry Ford, Henry Francis du Pont, Ima Hogg, and other leading collectors and supplying the Americana collections of many major museums. A year prior to buying and renovating this building, in 1924, Sack purchased the Robert “King” Hooper House in Marblehead, Massachusetts, and turned the 18th-century mansion into a showroom for his antiques. Israel Sack gave the building at 73 Chestnut Street its distinctive Colonial Revival facade with its urn finials and Bullfinch-eque Federal Revival storefront. Later operators of antique stores within the building include: Louis D. Prince and Stephen Score, until recently when it was converted to a residence, with the owners removing bright blue paint from the brick and restored the facade, down to the iconic wooden statuette on the second story.
In 1929, Eleonora R. Sears (1881-1968), a tennis champion and great-great-great granddaughter of President Thomas Jefferson, had a 19th century stable she inherited from her late father, demolished and replaced with this stunning residence with garage on Byron Street in Boston’s Beacon Hill neighborhood. The present three-story building was designed by Henry Forbes Bigelow, who lived a few blocks away in his own mansion, as a unique Colonial Revival style building with symmetrical facade. Eleonora Sears was one of the first American women to drive an automobile and fly a plane and lived here with her chauffeur when she was not at one of her other properties. After Eleonora died in 1968, her Beacon Hill residence was converted into condominiums, while the facade retains its architectural features when built nearly 100 years ago.
Photo courtesy of Boston Public Library collections.
When the Toy Theatre on Lime Street in Beacon Hill (last post) was formed in the early 20th century, the members of the small theatre group of well-connected artists and actors had their sights on something with permanence. By 1914, the group had funding and acquired land on Dartmouth street, a block away from Copley Square, and ground was broken to build a large new theatre. Designed by the architecture firm of Putnam & Cox, the fashionable Colonial Revival style building featured a large, rounded facade and was constructed of brick with a marble base and detailing. The theatre was designed with a retail space for supplemental income. Inside, decorations were refined and also included a staircase and railings donated by Isabella Stewart Gardner’s Fenway Court mansion, that were removed when she created the Tapestry Room in her home. The organization could not support running the building through shows, and the space was sold and rebranded as the Copley Theatre within a couple years. Continuing the bad luck, the City of Boston decided to extend Stuart Street by 1921, and this building was along the proposed route. The Toy Theatre was demolished in 1921, after just seven years.
Similar to the Brimmer Street Terrace development nearby, this set of three rowhouses on Chestnut Street on the Flat of Beacon Hill, is an excellently designed development of residences as a collection rather than individually designed townhomes. The Chestnut Street Rowhouses replaced a stable formerly on the site, and were designed by the architectural firm of Richardson, Barott & Richardson, made up of Philip Richardson, Chauncey Edgar Barott, and Frederic Leopold William Richardson. Philip and Frederic Richardson were sons of architect Henry Hobson Richardson, but they did not reach the same level of notoriety as their late father, and charted their own course. The rowhouses read as a single composition with a unique center section flanked by two matching wings. The center house has a three bay front façade with the first-story clad in limestone which is all recessed and supported by Doric columns.
