Believe it or not, living on an island in the 19th century wasn’t as easy as you may think. Before this bank building was constructed in 1855, all banking was done off-island. The bank was constructed to house the newly formed Martha’s Vineyard National Bank, whose first president was Dr. Daniel Fisher, who made his money as a merchant and operator of one of the largest whale and sperm oil processing facilities in the country. The bank relocated to Vineyard Haven and the Edgartown National Bank was created to fill the void in town. Amazingly, the building is still to this day occupied by a bank, Rockland Trust, seemingly adding to the continuous occupancy of the building by banking facilities for well over a century. The structure is one of the oldest brick buildings in town and is a late iteration of the Greek Revival style.
Located north of downtown Oak Bluffs, this oceanfront summer estate exemplifies the grandeur of Martha’s Vineyard at the end of the 18th century. This home was built in 1890 for Frank A. Ferris, a Manhattan meat dealer who processed and shipped his product to wealthy customers, markets, luxury hotels and restaurants all over the east coast. His processing plant on Mott Street in Manhattan remains an excellent example of Romanesque Revival architecture in the city. He lived at 5 Russell Terrace in Montclair, NJ, and in summers, stayed in this waterfront mansion overlooking the Atlantic. His summer home is a great blending of the Queen Anne and Shingle styles, both very common at the time.
Located on Trinity Park in Wesleyan Grove (aka the Martha’s Vineyard Camp Meeting Association), this 1878 church served the year round Methodist community in Oak Bluffs. The Trinity Methodist Church is a towered, Victorian Gothic structure of some distinction. Edward M. Hyde, a Methodist minister who had trained in architecture and art, designed it. The property that the church and Parish House sit on belongs to the Association, but the buildings are maintained by the congregation. Interestingly, should the congregation disband, the buildings would return to the Association.
One of the most unique buildings I have ever seen is the Union Chapel in Oak Bluffs on Martha’s Vineyard. The chapel, built in 1870 in the American Stick Style, is in the form of an Octagon, very unique for churches. Built as an inter-denominational house of worship, it is significant as the first non-sectarian religious building to be erected in a community that until 1870, was noted primarily for its strong association with the Methodist Church and its summer camp meeting (Wesleyan Grove) assemblies. The Chapel offered islanders and seasonal visitors regardless of religious affiliation not only an opportunity to worship but a gathering place for cultural activities. According to historic images, the chapel once had more elaborate stick work and finials, since removed, likely due to storms and general maintenance concerns. The chapel was designed by island resident Samuel Freeman Pratt (1824-1920) who had no known architectural training besides working as a wood carver in Boston, yet his work is characterized as having a dynamic and festive style. Pratt’s other major contribution to Oak Bluffs’ architecture, the Sea View Hotel, was erected at the head of the wharf in 1872, but burned down in 1892.
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.
The gorgeous Reuben Nickerson House on Bridge Road in Eastham is an excellent example of a transitional Greek Revival home with hold-over features of the Federal style. Reuben Nickerson was born in 1814 on Cape Cod and worked as a farmer and saltmaker, he later served as a senator, school committee member, and representative. He was married twice; first to Elizabeth Doane who died in 1849, and he remarried Elizabeth’s sister Sarah Doane just a year later. By the 20th century, the home was operated by descendants of Reuben as a funeral home and residence. After WWII, the home was a bed and breakfast and has since been reverted to a single family home. Detail on the home includes: wide, paneled pilasters, boxed, molded cornice, a pedimented gable, a 2-part wide frieze, and a fanlight at the entrance.
Built in 1793, the Eastham Windmill on the old Town Green is the oldest workable gristmill on Cape Cod. Typical of Cape Cod, Eastham’s windmill is an octagonal , “hat and smock” or Flemish design in which the revolving top or hat can be rotated to direct the sails into the wind. Local historians contend that Thomas Paine, a noted early millwright and resident of Eastham, most likely built the Eastham Windmill in the late eighteenth century. Some sources state that the windmill was likely built in Plymouth and later moved to Truro and eventually to Eastham in 1793. In 1895, the women of the Village Improvement Society raised money to purchase the windmill and two adjoining properties from private ownership for $ 113.50. Around the turn of the twentieth century, the windmill became a local tourist attraction and the subject of postcards and souvenirs. The windmill is now the main attraction of the annual Eastham Windmill Weekend.
Located just a stones throw from the Penniman House, the c. 1780 Knowles House stands at the historic end point of Fort Hill Road. Accounts differ on its history. Some sources explain the home was built in c.1790 by Seth Knowles (who died in 1787) a prominent citizen of Charlestown, Mass., and one of the original members of the Bunker Hill Monument Association and of its board of directors. From my research, the home appears to have been built for Thomas Knowles, Seth’s son, and was later willed to his son, also named Thomas. Thomas Knowles Jr., was born in 1803, in Eastham, and in early life settled at New Bedford, engaging in the whale fishery industry. Deed research would be required to find out more. The gorgeous Federal home features a large, center cross gable with dentils at the cornice.
The Edward Penniman House is the finest example of Second Empire style in Eastham, and is one of the finest examples of this architectural style on Cape Cod. The grand home was designed and occupied in 1868 for Edward Penniman (1831-1913), one of the most successful whaling captains in New England.
Born in 1831 in Eastham, Edward Penniman set sail for the first time at age 11. The voyage was to the dangerous and unpredictable waters of the Grand Banks, a rich fishing ground off the coast of Canada’s Newfoundland. Nantucket had a flourishing whaling industry as early as the late 1600s, but it was New Bedford with its deep water harbor and railway system that would become New England’s whaling capital. In 1852 at the age of 21, Penniman would journey to New Bedford and sign on to his first whaling expedition. Later when Penniman became a captain he would select New Bedford as his home port setting sail seven times to hunt whales.
With whale over-harvested in the Atlantic along the shores of New England, whalers were forced to go further and further from home to hunt. Whaling expeditions often spanned three or four years, and it was not uncommon for wives and families of ship captains to go along on the trip. Penniman’s wife, Betsy Augusta Penniman, called “Gustie” by her husband, went on three such voyages often assisting with navigation and other shipboard matters. In addition, each of the three Penniman children accompanied their parents on various journeys with eldest son Eugene eventually becoming a whaling captain himself.
After the Captain’s death in 1913, Mrs. Penniman and their daughter, Betsey, continued to live in the home. Mrs. Penniman’s died in 1921. Betsey Penniman, who never married, stayed around and raised her niece, Irma. Upon Betsey’s death in 1957, the home was left to Irma Penniman Broun. Irma and her husband sold the house with twelve acres to the National Park Service in 1963 when the Cape Cod National Seashore was formed.
The Chapel in the Pines church had its origins in the growing desire by many late-19th century New Englanders to move away from the strictures of fundamentalist religion. A Universalist Society was formed in Eastham on the Cape for the erection of a new place of worship. Local families and esteemed citizens pooled resources and constructed the building themselves over five months, under the direction of an Elkany Hopkins (though sources state he died in 1885). The Victorian Gothic church has a certain flair with the turned posts at the entry, bell tower, and roof cresting. After serving various congregations and uses (including as the First Encounter Coffeehouse a renowned venue for folk and acoustic music since 1974), the building was purchased by the Nauset Fellowship. In 2017 and 2018, the Chapel underwent a renovation with money raised from the community along with two grants from the Town of Eastham’s Community Preservation Act funds.
This old farmhouse in Swansea, MA, was built by 1820 for Preserved Gardner (1795-1873), one of five sons of Peleg Gardner, who owned much of Gardners Point. Preserved lived in the home until his death in 1873, and the home and acres of farmland were willed to his only son to live past childhood, Ira Gardner (1836-1901). Ira donated a large tract of land adjacent to the farmhouse to the town in 1882 for a cemetery, in which his father was buried. Later, the farm was purchased by Thomas D. Covel a bank president of Fall River who operated it as a gentleman’s farm and made the house his summer home. A ‘gentleman farmer‘ utilized their farms for pleasure rather than for sustenance or profit. After WWII, the land was purchased by the town to be used as a park and the property is still owned by the town. The Federal home with its veranda that wraps around the side has been neglected by the town for decades while the parks adjacent are maintained adequately.
The town has weighed various options for the home ranging from demolishing it, to preserving the front facade and converting it to a garage and storage shed (with a small museum on the second floor). I hate that idea personally. This seems like an ideal candidate for the town to allow a private individual or developer to move the home and restore it back to its original grandeur. Thoughts?
The Hotel Touraine at the corner of Boylston and Tremont Streets in Boston was built in 1897 as one of the most luxurious hotels in the city. Designed by the local firm of Winslow and Wetherell, the Jacobean Revival style building commands the well-trafficked corner opposite the Boston Common. Early articles described the hotel as “a large and sumptuously equipped house, with internal decorations in the style of the Chateau de Blois (a French chateau). Winslow and Wetherell appeared to have been inspired by the Louis XII wing of the Chateau, as many design elements of the hotel closely resemble it. The hotel was advertised as having 350 rooms valued at $2 a night up to $3 a night for a room with a private bath. Separate men and women’s parlors, a library, and elevator service made the hotel desirable for the upper-class Bostonians and visitors to the bustling Downtown area. The hotel’s rich clientele eventually began frequenting the larger hotels near Copley Square and the stature of the Touraine slipped with a changing Downtown character. By the 1960s, the hotel closed and was converted to apartments.
Buildings of New England 
