New England

Hadley Homestead // c.1776

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George Hadley (1740-1823) moved to Weare, NH in 1775, buying lot sixty-one in town from the proprietors. Captain Hadley served in the French and Indian War and later in the Revolutionary War, though he was not so eager to serve again. He built his home soon after, living here with his family. The original Hadley Homestead would have been a more traditional Georgian farmhouse with large central chimney and minimal glass/windows. Sometime in the early 19th century – after his wife’s death in 1806 or after his own death in 1823 – the house was modernized in the Federal style. The stunning home has a fan light transom over the door, narrow corner pilasters and twin chimneys projecting through the roof. It sits next door to the South Weare Union Church.

South Weare Union Church // 1875

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In 1874, the Congregationalist citizens at South Weare, New Hampshire, decided to tear down their old church as it was in very poor condition and build a new one. The issue was that the Universalists owned a share of the old church, so, they decided to build a Union Church together. They broke ground in 1875 and it was completed months later in January 1876. The construction and furnishings were a group effort. The interior was furnished with circular ash pews, trimmed with black walnut. Osgood Fifield of Boston, a native of Weare, gave the beautiful pulpit; the Ladies Sewing Circle gave the carpet, assisted by the Universalists. The Victorian Gothic church building is impressive for such a small, rural congregation at the time. It has lancet windows, a circular rosette window in the gable end, and a steep gable roof capped by a towering belfry. The church even retains its historic horse sheds at the rear!

Bailey Farmhouse // c.1767

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One of the oldest homes in Weare, New Hampshire is this large, Georgian farmhouse apparently constructed around 1767 by Samuel Bailey. Samuel’s father, Ebenezer Bailey, had purchased a property called “Lot 54, Range 1” in Weare, New Hampshire, which he then divided among his sons, Daniel, Samuel and Ebenezer Jr. for their own settlement in about 1767. Samuel received this lot in South Weare, upon which, the twenty-two-year-old and his wife established a farm and a family of at least eight children. Samuel died in 1824 and the farm was inherited by his son, Amos Wood Bailey, who continued operations here. Today, the large five-bay Georgian farmhouse is connected to a massive barn. It is a really spectacular property.

Cyrus Hazen House // c.1850

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The backroads of New England always lead you to great discoveries! This time, driving around Weare, New Hampshire, I stumbled upon this large farmhouse on the side of the road. The home was owned by Cyrus Hazen by 1858 and due to its style, I would date it to be built in the 1850s. Cyrus Hazen married Louisa Bartlett (as her second marriage) in 1847 and they appear to have had this home built a few years later. The Hazen’s ran a farm from this home for decades. Sometime after the Civil War, the home would have gotten the full-length verandah (front porch) and a side tower, both Victorian-era additions. The home is now attached to the historic barn by an ell.

Osborne Memorial Hall // 1920

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Weare is the largest town in Hillsborough County, New Hampshire by land area. As a result, the town’s villages historically were fairly isolated (especially before the arrival of the automobile). Social halls were important gathering places for some of these rural communities, allowing for events and celebrations to be held in a designated location. Before 1920, South Weare only had a Union Church which could meet this demand. In her will, Nellie Osborne donated funds in the memory of her husband Wellman Osborne, who grew up in Weare, to erect a social hall there. South Weare residents established the South Weare Improvement Society to make use of the money and oversee construction of the Memorial Hall. The Arts and Crafts style community building with its pyramidally roof opened in 1921. After numerous decades of deferred maintenance and dwindling use of the facilities, Osborne Hall was in decline and danger of demolition. Luckily, new members banded together and funded a restoration and modernization of the building. Here’s to another 100 years!

Clinton Grove Academy // 1874

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Clinton Grove Academy of Weare, New Hampshire was the first Quaker seminary in the state when it was founded in 1834 by Moses Cartland (1805–1863). Moses Cartland was a Quaker abolitionist who served as the first Principal of the school and for fourteen years after. He later would move to Lee, NH, and aided those who escaped slavery in the south, sheltering them and assisting them on their way north to Canada. The original Academy here served as a private high school and included a classroom building, boarding house, barn and sheds. Students came from as far away as Ontario, Nova Scotia, Minnesota and Texas to study here under Mr. Cartland. In 1872, the Academy complex burned. It was quickly rebuilt as one structure here, in 1874. This building served as a district school until the 1930s. Today, it looks like the building is largely vacant, anyone know what its purpose is?

Weare Town House // 1837

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Weare, New Hampshire has a pretty cool history. Located at the northern edge of Hillsborough County, the land presently known as Weare was granted to veterans of the Canadian wars in 1735 by Governor Jonathan Belcher, who named it “Beverly-Canada” after many of the veteran’s hometown, Beverly, Massachusetts. After various disputes over the settlement and naming of the town, it became known as “Weare’s Town” before being incorporated by Governor Benning Wentworth in 1764 as Weare, after Meshech Weare, who served as the town’s first clerk and later went on to become New Hampshire’s first Governor. The town grew slowly during the 18th and 19th centuries around five major villages, with farmland and forests connecting them. Near the geographic center of town, this Town House was built in 1837 to be a government and religious center of the town. Originally, town meetings were held on the first floor and the Universalist Church met on the second floor and the local high school was installed on the second floor in 1919. The building remains the town offices with event space for rent inside today. The building is a great example of a vernacular Greek/Gothic Revival town house of the period with a two-stage tower with pinnacles at the corners of each stage and a louvered belfry at the bell.

Yale University Art Gallery // 1953

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Yale University’s School of Architecture was in the midst transition when Louis Kahn joined the faculty in 1947. The post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde, and Modernist principles brought over from European architects. When the University called for a new wing for its existing Venetian Gothic style Art Gallery Building (1928), they obviously had no choice but to make a statement for the future of the school. Architecture professor Louis Kahn worked with Anne Tyng, who was both a professional partner and his “muse”, who heavily influenced his works, including here where she designed the concrete tetrahedral slab ceiling at the interior galleries. As a professor and practicing architect, Kahn hoped for students and visitors would engage with the building, even interior spaces often overlooked design-wise, such as the stairwells. While the facades are fairly minimal in design details, because the attention was paid to the interiors, which provide protection from natural light while also allowing for large floor plates for customizable exhibitions. The structure is Yale’s first true Modernist building on a campus which soon after was dominated by some of the country’s most iconic examples of the style.

Yale University – Trumbull Gallery // 1832-1901

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Pre-1869 image of Trumbull Gallery, Yale Archives

Before there was Street Hall or the Old Yale Art Gallery Building, there was the Trumbull Gallery, the first college-connected art museum in the United States. This building was erected in 1832 by artist and collector, John Trumbull (1756-1843), who specialized in Revolutionary-era works, and was known as the “Painter of the Revolution”. In his later years, Trumbull sold 28 paintings and 60 miniature portraits to the Yale College, and helped establish the college-affiliated art museum. He is said to have designed this Classical style building, to house his collections, all with minimal windows to protect his collection from direct sunlight. The gallery also housed a crypt for Trumbull and his wife, hence its tomb-like appearance. When Street Hall was built, the collection and tombs were relocated there, and again in the late 1920s when the Art Gallery was constructed. In 1869, Yale College added windows to the building and operated the school treasury from here until it was demolished in 1901. The Trumbull Gallery stood just in front of the Old Library.

Yale University – Yale Art Gallery Building // 1928

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One of the most visually stunning and unique buildings in New England is the 1928 Yale Art Gallery building, which is connected to Street Hall (last post) via a skybridge over High Street. Completed in 1928, the Yale Art Gallery was designed by relatively little-known, but significant 20th century architect, Egerton Swartwout. Swartwout graduated from Yale College in 1891 with a B.A. degree and with no formal architecture training, was hired as a draftsman at the illustrious firm of McKim, Mead & White in New York before running his own office, Tracy and Swartwout. Built in a Gothic Renaissance style inspired by Italian buildings such as the Bargello in Florence, the sandstone masonry structure commands the prominent site with a corner tower and facade fronted by five gothic arched windows. Inside, visitors are transported to a historic Italian art museum within the Gallery Wing, with the full-height Gothic windows with walls, floors and ceilings restored and lined in stone.