Newport Houses

Brattle-Thurston House // c.1749

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This early Colonial house with unique, rusticated wood coursing carved, treated, and painted to resemble ashlar stone, can be found on Prospect Hill Street in Newport, Rhode Island. This is the Brattle-Thurston House, a circa 1749 Georgian residence of an appropriate gray color, yet when I stopped by in early 2024, had peeling paint. The house was originally part of the Latham Thurston estate, and was later rented or purchased by Robert Brattle (Brattell), who lived here with his wife, children, and an enslaved person according to the 1790 census. The home would later be owned by William Thurston, a hatter and dyer, who likely inherited the residence from his ancestor. Beyond the unique rusticated wood siding, the design features splayed lintels, the main entrance on the side elevation and a later entrance facing the street with segmental pediment above.

Bowler House // c.1760

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This beautiful Georgian house in Newport, with its prominent gambrel roof oriented toward the street, was built by 1760 and owned by Metcalf Bowler (1726-1789), a merchant, politician, and magistrate. Bowler was for many years speaker of the house in the Rhode Island colonial assembly, and it was discovered in the 20th century that he was a paid informant (spy) for the British during the Revolutionary War. The house was owned by Metcalf before he would purchase what is now known as the Vernon House, an even more stately Georgian mansion designed by Peter Harrison. This house was sold, and later owned by Charles Wickham, a Captain in the war, and later to the Burdick and Merrill families.

Langley-Dudley Cottage // c.1870

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This charming mansard-roofed cottage can be found at 54 Prospect Hill Street in Newport, Rhode Island. While presently a residence, the cottage was originally built around 1870 as a stable or carriage house for the former Bowen-Newton-Tobin House at 204 Spring Street. After the Bowen heirs sold the property, this structure was owned by Mr. John S. Langley, an furniture dealer (who also made coffins and caskets) with the firm Langley & Bennett. The building may have been used for the storage of horses or as a workshop until it was purchased by Mary B. and Dudley Newton, a prominent local architect. They appear to have converted the former stable into a cottage, and rented the property out for additional income. In the renovation, Dudley Newton preserved much of the original detailing above the cornice, and altered openings to provide windows and doors convert the formerly utilitarian structure into a cottage.

Shaw-Thurston Double House // c.1760

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This pre-Revolutionary double-house is located at 128-130 Prospect Hill Street in the architectural historian paradise that is Newport, Rhode Island. This property was originally platted and purchased in 1752 by Anthony Shaw. By 1760, local papers advertised the property for sale, giving a built-by date. In 1777, the house was owned by Anthony Shaw Jr. and John Thurston. The property was purchased before the Civil War and went into single-ownership, which has remained to this day. The house, while seemingly a single-family, is preserved lovingly by the owners, who even retained the second front door!

Sunnyside // 1886

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Photo from recent real estate listing

During the height of the Shingle and Queen Anne styles’ popularity, architect Stanford White of McKim, Mead & White completed plans for one of the earliest Colonial Revival style residences, “Sunnyside” in Newport, Rhode Island. The residence was built in 1886 for “Commodore” William Edgar (1810-1887) and his wife, Eliza Lucille Rhinelander (1832-1916). William was a co-founder of the New York Yacht Club in 1844 and heir to a New York fortune. Eliza was an aunt of Edith Wharton and a grand-daughter of William Rhinelander, co-founder of the Rhinelander Sugar Refinery. The property remained in the Edgar Family as Lucille Rhinelander Edgar (1858-1948), an unmarried daughter of the couple, would live here year-round with servants. The house is built of buff-Roman-brick with a large central block flanked by L-plan wings under a hipped roof punctuated by massive chimneys. Of special note on the facade are the rounded bays, entry portico with Palladian window above, and side porch.

Oakwood/ // 1902

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Oakwood, another massive gambrel-roofed “cottage” in Newport, Rhode Island, is another of the McKim, Mead & White designed residences in the Old Beach Road vicinity of town for wealthy summer residents. Built in 1902 for George Gordon King (1859-1922), Oakwood is a large, elongated two-and-one-half-story structure with a gambrel roof with walls in pebbledash finish. Its off-center main entrance with double-height engaged Corinthian columns supporting a pedimented gable and a blind balustrade set on smaller Ionic capitals. The massive home was later converted to condominiums. It sometimes amazes me that families (but with many servants) would live in these houses just for a season…

Boxcroft // 1883

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“Boxcroft” (also known as “Whileaway”) is a historic Shingle style summer “cottage” on Red Cross Avenue in Newport, Rhode Island. While it is surrounded by vegetation and tucked away, not facing the road, the house is a landmark example of the architecture style and very significant. The house was completed in 1883 from plans by the architectural firm of McKim, Mead & White a white shoe firm who designed many summer cottages in Newport for social elite. The original owner was Samuel Colman (1832-1920), a well-known landscape artist, the first President of the American Water Color Society, a connoisseur of Oriental art and an interior designer in business with Louis Comfort Tiffany specializing in fabrics and wallpaper. Colman lived here with his first wife, Ann Lawrence Dunham until her death in 1902. The property was later owned by Mary Appleton, an unmarried daughter of publisher William Henry Appleton. She would sell Boxcroft to lawyer and socialite J. Coleman Drayton, years following his bitter (and very public) divorce from Charlotte Augusta Astor, a member of the prominent New York Astor family, following a cheating scandal by Charlotte. Mr. Drayton died in Newport in 1934. Boxcroft remains an architecturally and historically significant piece of Newport’s Gilded Age.

Mary Walcott Almon Cottage // 1883

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Andrew Belcher Almon was born in Nova Scotia in 1824. He would enroll at Harvard College and graduate with a law degree before moving to Salem, Massachusetts, marrying Mary Walcott Baker, the daughter of Samuel Baker and Martha Pickman Wolcott. The couple first lived in Cambridge before relocating to Salem to live Mary’s widowed aunt, the late wife of Ezekiel Hersey Derby. After her aunt died, Mary and Andrew moved back to Cambridge until they built this fine Colonial Revival style mansion on Red Cross Avenue in Newport. No architect is attributed to the house, but due to it being an early Colonial Revival style house for the period, it can be inferred that it was a Boston/Salem-area architect. Does anyone know more?

LaFarge Cottage // c.1845

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Even the less ornate and grand summer cottages of Newport can have interesting histories! This c.1845 Greek Revival cottage sits on Sunnyside Place and is best-known as the summer home of nationally significant painter, muralist, and stained-glass master John LaFarge (1835-1910), active in the lively late 19th-early 20th-century Newport art scene. John LaFarge’s wife, Margaret Mason Perry LaFarge (1839-1925), was the granddaughter of Commodore Oliver Hazard Perry, and was a native of Newport, seemingly providing the connection between her husband and lucrative stained glass commissions for many Newport and New York buildings. LaFarge is arguably best known for his innovative, opalescent stained glass windows, which was later stolen and adapted by Louis Comfort Tiffany. The LaFarge Cottage was possibly moved to this site and renovated, adding the glazed entry.

Maud Howe Elliott Bungalow // c.1912

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This shingled Craftsman bungalow on Rhode Island Avenue in Newport was built in the 1910s for Maud Howe Elliott (1854-1948), a Pulitzer prize winning author and active member in Newport’s art scene and her artist husband, John Elliott. Maud Howe was born at the Perkins School for the Blind in Boston, founded by her father, Samuel Gridley Howe. Her mother was the author and abolitionist Julia Ward Howe. In 1887, she married English artist John Elliott. John is known for his epic Symbolist murals including working alongside his friend and colleague John Singer Sargent to provide murals for the Boston Public library, and a mural at the Smithsonian Museum of Natural History. In Newport, Maud became a founding member of the Newport Art Association, and served as its secretary from 1912 to 1942. She also took part in the suffrage movement as she was greatly influenced by her mother’s ideas and convictions about women’s role in society and particularly so in terms of women’s suffrage. She fought passionately for women to be liberated from the societal expectations and roles determined to them by male dominated society. This was her home in Newport until her death in 1948.