Houses of the Hamptons, Revised Edition, 2013

1880 –1930 R EV I SED ED I T I O N

HOUS E S OF THE HAMPTONS

HOUSES OF THE HAMPTONS

Gary Lawrance and Anne Surchin

Gary Lawrance and Anne Surchin ACANTHUS PRESS

endsheet--front

endsheet--front

THE ARCHITECTURE OF LEISURE

HOUSES OF THE HAMPTONS 1880–1930 REVISED EDITION

GARY LAWRANCE AND ANNE SURCHIN Foreword by Jaquelin T. Robertson

Acanthus Press New York : 2013

Acanthus Press, llc 1133 Broadway, Ste. 1229 New York, New York 10010 www.acanthuspress.com 212-414-0108

Copyright © 2007, 2013, Historic Hamptons, ltd.

Every reasonable attempt has been made to identify the owners of copyright. Errors of omission will be corrected in subsequent printings of this work.

All rights reserved. This book may not be reproduced in whole or in any part (except by reviewers for the public press) without written permission from the publisher.

Library of Congress Cataloging-in-Publication Data Lawrance, Gary.

Houses of the Hamptons, 1880-1930 / Gary Lawrance and Anne Surchin ; foreword by Jaquelin T. Robertson. — Revised Edition. pages cm Includes bibliographical references and index.

ISBN 978-0-926494-77-0 (hardcover : alk. paper) 1. Architecture, Domestic—New York (State)—Hamptons—History—19th century. 2. Architecture, Domestic—New York (State)— Hamptons—History—20th century. I. Surchin, Anne. II. Title.

NA7235.N72H356 2013 728’.370974725—dc23 2013010041

Frontispiece: Sculpture of Aphrodite at Port of Missing Men

Printed in China

THE ARCHITECTURE OF LEISURE

AFTER U.S. CITIES EXPANDED in the 19th century, Americans sought respite from the stress of urban life by renewing their bond to the landscapes they saw as enduring symbols of American greatness. From the icy waters of Maine’s Northeast Harbor to the gentler shores of Palm Beach, from Bailey’s Beach in Newport to the faux-rustic camps of the Adirondacks, the creators of America’s great fortunes communed, played, and cut deals. They hired the future fathers of American architecture to build French châteaux, Scottish castles, old-money cottages, and Venetian villas. Mile-long driveways, private docks for ocean-cruising yachts, horse paddocks, acres of greenhouses, private bowling alleys, and movie rooms were essential amenities in this gilded world where time spent at the club and sit-down dinners for 50 lakeside were the natural counterparts to lunch at the city club and evenings on Fifth Avenue.

Recognizing that the story of American residential architecture is not complete without the history of American resort architecture, Acanthus Press has issued “The Architecture of Leisure” series to complement the Acanthus Urban and Suburban Domestic Architecture series.

CONTENTS

PUDDING HILL

Foreword [ 9 ]

Residence of Dr. Everett Herrick and

Introduction [ 13 ]

Harriet Ford Herrick [ 54 ]

MONTAUK ASSOCIATION Residences of Dr. Cornelius Agnew,William Loring

VILLA MARIA

Andrews,Arthur Benson, Henry and

Residences of Josiah Lombard and Marshall Ayres &

Robert de Forest, Alfred Hoyt,

Edward Phinley Morse and Ada Martha Gavel Morse

Alexander E. Orr and Henry Sanger[ 26 ]

[ 58 ] ROSEMARY LODGE THE ART VILLAGE

Residence of Reverend Henry Turbell Rose and

[ 65 ]

Mary Cromwell Rose [ 31 ]

THE WILLIAM MERRITT CHASE HOMESTEAD

THE DOLPHINS

Residence of William Merritt Chase and

Residence of James Hampden Robb and

Alice Gerson Chase

Cornelia Van Rensselaer Thayer Robb

[ 71 ]

[ 41 ]

CLAVERACK

MAYCROFT

Residence of Thomas Henry Barber and

Residence of James Herman Aldrich and

Harriet Townsend Barber

Mary Edson Aldrich

[ 74 ]

[ 47 ]

[6]

THE ORCHARD

BRIGHTWATERS

Residence of James Lawrence Breese and

Residence of William Cutler Atwater and

Frances Tileston Potter Breese

Ida Wilson Hay Atwater

[ 82 ]

[ 144 ]

THE DUNES

RED MAPLES

Residence of Frank Bestow Wiborg and

Residence of Alfred William Hoyt

Adeline Moulton Sherman Wiborg

and Rosina Elisabeth Hoyt

[ 96 ]

[ 152 ]

THE CREEKS

VILLA MILLE FIORI

Residence of Albert Herter and

Residence of Albert Barnes Boardman and

Adele McGinness Herter

Georgina Gertrude Bonner Boardman

[ 102 ]

[ 162 ]

WOOLDON MANOR

COXWOULD

Residences of Peter Wyckoff and Cora Dillon Wyckoff &

Residence of Dr. John Frederick Erdmann and

James Paul Donahue and Jessie Woolworth Donahue

Georgina Theresa Wright Erdmann

[ 112 ]

[ 174 ]

GRAY GARDENS

OLD TREES

Residence of Mrs. F. Stanhope Phillips

Residence of Goodhue Livingston and

[ 124 ]

Louisa Robb Livingston [ 179 ]

ONADUNE Residence of S. Fisher Johnson and Sarah Seymour Johnson

MINDEN

[ 132 ]

Residence of John E. Berwind and Katherine Murray Wood Berwind [ 188 ]

MEADOWCROFT Residence of Theodore Eaton Conklin and Emma Adelaide Brigham Conklin

BALLYSHEAR

[ 139 ]

Residence of Charles Blair MacDonald and Frances Porter MacDonald [ 196 ]

[7]

BARTLETT RESIDENCE

FOUR FOUNTAINS

Residence of Edward Everett Bartlett and

Residence of Lucian Hamilton Tyng

Jessie Mitchell Bartlett

and Ethel Hunt Tyng

[ 204 ]

[ 270 ]

BLACK POINT

OCEAN CASTLE

Residence of Henry Huddleston Rodgers Jr. and

Residence of William F. Ladd and Cornelia Lee Ladd

Mary Benjamin Rogers

[ 280 ]

[ 208 ] SUNSET COURT/WESTERLY NID DE PAPILLON

Residence of John W. Kiser Jr. and Mary Peirce Kiser

Residence of Robert Appleton and

[ 288 ]

Katherine Semple Jordan Appleton THE BOUWERIE

[ 222 ]

Residence of Wesley C. Bowers and THE WOODHOUSE PLAYHOUSE

Gladys Seward Bowers

Marjorie, Lorenzo, and

[ 296 ]

Mary Woodhouse Playhouse THE SHALLOWS

[ 228 ]

Residence of Lucian Hamilton Tyng and Ethel Hunt Tyng [ 306 ]

BAYBERRY LAND Residence of Charles Hamilton Sabin and Pauline Morton Sabin Davis

Portfolio of Houses [ 314 ]

[ 238 ] Bibliography [ 321 ] CHESTERTOWN HOUSE

Acknowledgments [ 324 ]

Residence of Henry Francis du Pont

Photo Credits [ 326 ]

and Ruth Wales du Pont Index [ 328 ]

[ 250 ] PORT OF MISSING MEN Residence of Henry Huddleston Rogers Jr. and Mary Benjamin Rogers [ 257 ]

[8]

INTRODUCTION

THE HAMPTONS began as a group of Puritan villages along Long Island’s South Shore. Because of the area’s dense woods, moors, rolling grass-covered hills, and topsoil-rich land, the Hamptons developed initially as a farming community. By the end of the 19th century, it became a quiet resort community that by the 1920s had evolved into an elegant, glamorous, renowned community—the American Riviera.

The eastern end of Long Island is geographically split into two land masses, known as the North and South Forks, by a series of interlocking bays. Fifty miles long, 12 miles at its widest point, and 80 miles east of New York City, the Hamptons occupies the South Fork of eastern Long Island.

Situated west of Montauk Point and east of Westhampton Beach between the Atlantic Ocean on the south and Great and Little Peconic Bays, Gardiner’s Bay, and Block Island Sound on the north, the area encompasses the townships of East Hampton and Southampton. These in turn contain the four Hamptons: the villages of Westhampton Beach, East Hampton, Bridgehampton, and Southampton. The latter is the historical resort epicenter of the Hamptons, which in its day regarded everyplace else as a suburb. As well, the Hamptons includes numerous hamlets and villages.

The Early Settlers Southampton was founded in 1640 by colonists from Lynn, Massachusetts, with land acquired from England’s Charles I. They arrived by boat at Conscience Point and encountered a landscape of fields, bays, marsh, moors, beach, ocean, and forest. The first settlers were helped by the Shinnecock Indians, an Algonquin tribe whose ancestors had inhabited the area for thousands of years and had developed an agrarian

and fishing community. By the 19th century, Southampton Township grew to include the incorporated villages of North Haven, Quogue, Sag Harbor, Westhampton Beach, and other communities. With the exception of Sag Harbor, in the late 1700s a port of trade larger than New York’s and in the mid-1800s a booming and cosmopolitan whaling port, Southampton remained a sleepy backwater until the 1872 expansion of the Long Island Railroad line.

East Hampton, considered one of Southampton’s many “suburbs,” followed a similar developmental trajectory. In 1648, East Hampton’s Puritan settlers purchased 31,000 acres from the colonial governors of both Massachusetts and Connecticut who had previously purchased it from the Montauk Indians. Some of these early residents came from Maidstone in Kent, England, and called their new home Maidstone, as well. For its first eight years it functioned as an independent “plantation” and, in 1662, became known as East Hampton. Two years later it joined the province of New York as part of what would become New York State. Farming, cattle-raising, fishing, and whaling comprised the basis of the settlers’ early economy.

Before becoming a vacation resort, East Hampton’s allure had been spread by writers such as Walt Whitman in his 1849 exposition on the “wonders and beauties” of Montauk in “Letters from a Travelling Bachelor.” As well, William Cullen Bryant’s Picturesque America of 1872–74 stated that “perhaps no town in America retains so nearly the primitive habits, tastes and ideas of our forefathers as East Hampton.”

The case of Watermill was typical of the many villages that sprang up in the area. It was founded by English colonists, who created the town by dividing their land according to how much was invested by each individual. Lots were sold

[ 13 ]

HOUSES OF THE HAMPTONS

“The Dunes,” residence of Dr. Theodore Gaillard Thomas, social founder of the Southampton Summer Colony

to “outsiders,” but the title to the common grounds belonged to the original investors, respectfully known as “proprietors.”

Farms and cattle pastures were established along with a water mill (a common sight in the Hamptons) used for the grinding of grain and corn.

When the Long Island Railroad came to the area in 1872, visitors built summer houses along Mill Creek, Mill Pond, and Mecox Bay, originally a whaling community. Some even helped preserve relics of an earlier time, such as Howell’s Mill.

Water Mill’s Hayground Mill, featured in the 1916 motion picture Hulda of Holland with Mary Pickford, operated until 1919.

A Resort Is Born Until the 1870s, when the first summer houses began to appear in the village, local residents in the towns of the

Hamptons opened their homes and farms to boarders during the warmest months. Some residents either expanded their houses to accommodate paying boarders or converted them to inns; small hotels also appeared.

Boarders often came from great distances and stayed for a substantial amount of time. When a two-hour train trip from New York gave Southampton’s first vacationers easy access to the village, the town began to prosper. In the early 1870s, Leon Depeyre de Bost, a New York dry goods merchant, bought a South Main Street house to use as a summer cottage. Prominent New York physician Theodore Gaillard Thomas, at the invitation of de Bost, his patient, visited Southampton and became enamored of the village and, according to The New York Times, “the purity of the air, the dry and healthy soil, and the perennial breezes which blew continually, and no matter which quarter they came, brought coolness and health with them.” Shortly after

[ 14 ]

INTRODUCTION

Main Street, Southampton

his visit, Dr. Thomas built The Dunes, sited on the ocean at the foot of Lake Agawam, a quarter-mile wide by one mile-long sheet of fresh water stretching from the base of the village to the ocean beach. Dr. Thomas’ house was also known as The Birdhouse for its many wraparound porches.

He communicated his love for Southampton and its health benefits to his wealthy friends and patrician patients, and they followed his lead. This infusion of visitors known as “Yorkers, rusticators or cottagers” by the locals, built cottages along the dunes, Lake Agawam, and at the beginning edge of what is today considered the estate section, forming the “summer colony.”

Owing to the proximity of the town to New York and the ability for men to work in the city while their families stayed by the ocean, Southampton became a “social annex” to New York. In 1890, the Brooklyn Eagle reported that from 1877 to 1890, Southampton Village’s combined summer and winter

population of 1,400 had doubled in the summer alone. The article’s author writes, “the summer residences are nearly all large and expensively furnished. They stand amid level lawns that are kept as closely cropped as a small boy’s cranium. . . . It is quiet – so quiet and peaceful that one’s brain ceases to worry and one wonders what use there is of anything more elaborate in the world than Southampton and Southampton life.”

During America’s Gilded Age (1870–1930), the comings, goings, and extravagant doings of Newport, Rhode Island’s rich were the talk of the society columns. Later resorts were considered mere alternatives to Newport, so that the Berkshires were called “the Inland Newport,” and the Hamptons earned the nickname “the Island Newport” or “Little Newport.” Even locally, the Hamptons’ charms were appraised relative to Newport’s: “As a summer resort for New Yorkers,” noted The Southampton Press, “Southampton is not far behind Newport. The elegance of its equipages, luxury

[ 15 ]

HOUSES OF THE HAMPTONS

Top: Goodhue Livingston with Mrs. Oren Root; Bottom: “Mocomanto,” Betts residence on Lake Agawam, Southampton

[ 16 ]

INTRODUCTION

Yacht at anchor, North Haven

in its cottages and display at its entertainments compare favorably with the older city.” Or, as Southamptonite Mrs. Albert Jaeckel, said, “Southampton is a little backwater of God.” In fact, other vacation communities, including Bar Harbor in Maine and the Adirondacks in upstate New York, sometimes had more to offer than Newport. These locales offered true relaxation, whereas Newport was renowned for its social pressures and glittering formality.

Long Island sea air was considered a cure-all, and the perceived health benefits contributed to the development of the Hamptons as a popular resort. Mrs. Goodhue Livingston, one of Southampton’s grandes dames, or “Dreadnaughts,” a group of ladies reigning as mistresses of the social seas said, “Southampton has the strongest air in the world. . . .

It’s the suction, you know. You feel it the minute you leave Westhampton.”

Despite beautiful surroundings and the serene environment that so contributed to mental and physical well being, The

Southampton Press, in 1899, reported some visitors desiring more. “It is said that three or four of the newcomers to Southampton have openly announced that they will die if something is not forthcoming in the way of excitement.

They have sent for all of their gayest friends, but when their friends arrive they soon fall into the quiet easygoing life that is supposed to be peculiar to this section of the country. As one woman says, ‘It’s all very well to talk about air. There doesn’t seem to be anything down here but air and heaven knows we have enough of that to get heartily sick of it’.”

The Hamptons not only served as a social center, but captivated thinkers and artists. The famed “painter’s light” from the reflection of the sun on the Atlantic Ocean and landscape that surrounded the early towns inspired painters such as Thomas Moran and Winslow Homer, whose work captured a romantic vision of pastoral America. Plein-air art colonies in East Hampton, which journalists called “the American Barbizon,” and in Southampton, home to William Merritt Chase’s Shinnecock Summer School of Art, attracted

[ 17 ]

HOUSES OF THE HAMPTONS

“Ready for the hunt,” Bridgehampton

well-known artists and students who helped popularize Long Island’s East End. In 1877, Scribner’s magazine brought attention to East Hampton when it hired writers and artists, many belonging to the Tile Club, to give accounts of Long Island villages. Artists such as Childe Hassam and Albert and Adele Herter became permanent residents of the summer colony in East Hampton.

In 1884, artist Moran, with his wife Mary Nimmo, designed their Queen Anne–Shingle style house/studio on Main Street.

By the mid-1880s, the first summer residences outside East Hampton Village in Montauk were erected. Development proceeded slowly in East Hampton, as builders still had to cart materials from the end of the rail line in Bridgehampton, six miles to the west. With the extension of Long Island Railroad’s train line to East Hampton in 1895, a real estate boom came to the area, similar to Southampton’s 20 years earlier. Nonetheless, East Hampton’s fashionable and innovative houses, by remaining at a more modest scale

compared to those of the metropolis further west, echoed Charles de Kay’s 1898 New York Times essay, reflecting the commonly held hope that “no large hotels and no very costly country places will ever be built there. . . .”

Among the earliest summer residents were old socially prominent families who helped popularize Long Island’s East End communities. From the remains of the colonial aristocracy came the Van Rensellaers, the Livingstons, James Breese, and the family of Ellery James.

Bankers and brokers such as Alfred Hoyt and Charles Sabin as well as S. Fisher Johnson and C.B. MacDonald followed, as did heirs to the prominent du Pont, Herter, Mellon, and Rogers families.

The Hampton Life The elite of America’s architectural profession built in the Hamptons. McKim, Mead & White, John Russell Pope, F.

[ 18 ]

INTRODUCTION

Above: Ladies at the Shinnecock Hills Golf Club; Following pages: Playing golf at the James Parrish house, Shinnecock Hills

Burrall Hoffman, Harrie T. Lindeberg, and Cross & Cross were some of the most prominent names. They built alongside self-taught practitioners such as Edward Purcell Mellon, Isaac H. Green Jr., and John Custis Lawrence. Highly credentialed but little-known architects such as Edward Delano Lindsey— who was only the fourth American to train at the Ecole des Beaux-Arts—also made important contributions. Lindsey created Maycroft, one of his few residential commissions.

Some architects dealt in the popular styles of the era, whereas others—often those who lived in the area—related their commissions to the regional design idioms. Many were independently wealthy and could choose their clients and projects. In an era without building or zoning regulations, these architects had a freer hand to express their own artistic ambitions, as well as those of their clients.

A look at the early vernacular buildings in the area offers clues for the solutions that would later evolve and define the unique qualities of its architecture. The early builders

of the leisure community used the vernacular forms of the earliest houses. These forms were characterized by the use of indigenous materials and built by local tradesmen with techniques that addressed the local climate, traditions, and economy. Such building forms initially had everything to do with survival and nothing to do with style.

For example, the shingled lean-to house, known today as the saltbox, was an iconic New England form created to retain warmth and preserve dryness. The saltbox’s long north roof with its severe pitch combating the prevailing winter winds, allowed just enough height for a door under the eave. The low-pitched south roof provided two stories and adequate fenestration for light and air. According to architect Jaquelin Robertson, “the shingle was the best raincoat ever invented” and the best material available for the harsh seacoast environment. Gambrel houses, also common in 17th-century America, were shaped to shed snow from their two-tiered roof system.

[ 19 ]

HOUSES OF THE HAMPTONS

Gradually, the early forms became stylistic instead of purely functional. They constituted what would become the rural regional architectural style. Later resort architects incorporated the lean-to and the gambrel roof, and borrowed freely from the earlier vernacular idiom forms to design crisply detailed summer cottages with porches for solar screening, light, and cross ventilation. Shingles with patterned courses and articulated trim still served to prevent water penetration, but their applications became decorative. Architects R. H. Robertson, Grosvenor Atterbury, and John Russell Pope, among others, seized on the distinctive aspects of the regional architecture and its historical embellishments, incorporating those elements into their designs to associate their new houses with the culture and spirit of the place. Architects were able to tie their buildings into the landscape through their relationship to the regional idiom. One of the aspects that made many Hamptons’ houses architecturally unique was this identification by architects with local vernacular and rural regional forms.

The resort architecture that appeared in the Hamptons during the Gilded Age was somewhat atypical for its time.

There were no marble palaces; even the sumptuous Villa Mille Fiori could boast only marble-dusted halls. Houses were impressive but not overly ornate, reflecting a desire for simplicity and a lack of pretension.

The mythology of place also played a part in the creation of a contingent of houses related to a romanticized view of the area’s English heritage. Such estates as Wooldon Manor, Woodhouse Playhouse, and Onadune used distinctively English details such as thatched roofs, and half timbering.

Meadowcroft and Bayberry Land were inspired by the English Arts and Crafts movement. And no Gilded Age resort would be complete without the more conventional styles of the era such as Mediterranean Revival and Beaux Arts.

Often, the varied demands and tastes of wealthy clients determined the architecture and landscape design of Hampton houses. Bayberry Land was created for events, for public people leading very public lives, whereas Coxwould was a getaway that offered respite while still providing the amenities required in a substantial country house.

The unique gardens that complemented the architecture of the houses are widely known for their luxuriant abundance.

The Hamptons’ flat, sunny landscape and cool ocean breezes offered superb opportunities to dedicated gardeners. Anna

Gilman Hill, in her book Forty Years of Gardening, wrote, “Gardening in Suffolk County spoils you for gardening in North America.”

Most of the Hamptons’ houses, built for guests and grand entertainments, had large staffs and ran like first-class hotels where every need was met. The guest rooms, sometimes selfcontained suites, came with phones and numbers to dial for the maid, refreshments, or a car; writing desks stocked with postcards depicting the house; and stationery emblazoned with the cottage’s name. Also not unlike great hotels, the houses were run by powerful managers, usually the wives of equally powerful men.

These grandes dames, from whom an invitation for lunch, dinner, or a dance was not to be turned down, presided over the Hamptons’ summer colony. Mrs. Goodhue Livingston of Old Trees, considered Southampton’s first lady—or dictator, as some thought—had the final say on social acceptability. In his column called the “Social Set,” Barclay Beekman wrote of her: “Unlike most first ladies, Mrs. Livingston isn’t a joiner.

She doesn’t even belong to the Colony Club, New York’s most exclusive organization for women. Being a Livingston, she believes her name is glory enough.”

In a large house, leisure was a complicated affair, and a typical day could involve myriad activities. In the Hamptons, the morning often began with toe dipping in the sea at a beach club like the Southampton Bathing Corporation. This exercise concluded by 1:00 p.m., because afterward the beach belonged to nannies and children. Afternoons started with lunch, followed by golf, tennis, croquet, cards, or backgammon at the area’s numerous clubs. The Meadow, Maidstone or Shinnecock Golf Club, the National Golf Links, Westhampton Country, and Southampton Clubs were bastions of leisure. Coaching, horseback riding, and fox hunting at Shinnecock Hills; sailing at the Devon Yacht Club; and motoring, bicycling, and walking were also popular activities.

For the civic-minded, there was volunteer work for Garden Society functions and tours for the Garden Club of Southampton, and teas, event-planning committees, charity work, and meetings for East Hampton’s Ladies Village Improvement Society and other organizations. Art aficionados took drawing or painting lessons; looked in on classes at the Art Village, located just to the west of Southampton; served on committees at Southampton’s Parrish Art Museum or East

[ 22 ]

INTRODUCTION

Viewing tennis at the Meadow Club, Southampton

Hampton’s Guild Hall, or just looked at paintings. If this was not enough, there were always reading groups, lectures on how to simplify life, or the ultimate leisure activity, having one’s portrait painted. After spending a day engaged in these pursuits, a little rest was required to prepare for an evening of dinners, clambakes, dances, and debutante balls held at the clubs or in private homes.

All of this leisure activity was carefully orchestrated by the ladies of the Colony and their social secretaries. Some of the many details to be concerned about were invitations and social correspondence, planning dinners, dances, parties and their respective menus, linens, place settings, flowers and seating arrangements, along with coordinating staff.

The staff often consisted of butlers, footmen, maids, cooks, nannies, groomsmen, stable boys, gardeners, groundskeepers, night watchman, coachmen/chauffeur, etc. Often, when an unusually big party was to be given, attractive members of the male gardening staff at the du Pont’s Chestertown House,

for example, would double as extra footmen. On footmen and entertaining, Mrs. Livingston was quoted by Cleveland Amory in The Last Resorts as saying: In comparing Southampton to Newport, Mrs. Livingston has this to say about Miss Julia Berwind using gold service, ‘I don’t even bring my real silver she says, ‘I just use plate.’ In the same way Mrs. Livingston is indignant that the two resorts should be lumped together merely because Mrs. Henry F. du Pont and a few other grandes dames still have, in the manner of Newport, footmen.

‘Southampton has footmen,’ she says, ‘but we’ve never had footmen in knee britches.’

Joining clubs and organizations and attending social functions was the norm for the Hamptons social set, who were seen at the same gatherings and in the same write-ups in all the social columns of New York and national papers. In society,

[ 23 ]

HOUSES OF THE HAMPTONS

“The Meadow Club,” Southampton

one’s associations with other people were always lifelong. This longevity at times posed problems for hostesses, who were obliged, for example, to plan seating arrangements so as not to place a guest near an ex-spouse or lover. Summer sojourns from the Hamptons often included visits to Long Island’s North Shore for events such as the Duke of Windsor’s polo match in Old Westbury. Newport, only a short yacht trip away from the Hamptons, was always good for a dinner or a ball.

Balls, festivals, and debutante parties in the Hamptons were just as popular as in any of the other resorts, and those events may have been more creative, thanks to the many artists in the area. At Ballyshear in 1928, Mrs. Charles E. Van Vleck Jr., the famous society portrait painter and heiress to the Palmolive Company fortune, gave a ball for 200 guests to celebrate her 10th wedding anniversary. Everyone attended wearing the fashions of 1918. According to a New York Times account on August 4, 1928:

The west terrace of Ballyshear had been transformed into a Parisian night club of 1918. Strings of colored lights along the trees outlined the curving driveway from the road to the house. A blue ‘moon’ shone on a fountain in the center of the formal garden on the south side, and picked out each flower and shrub caught by its rays. Ornamental pomegranate trees and hydrangeas decorated the terrace, which was lighted with floor lights and with lanterns swinging from clusters of bamboo poles. Dancing contests and games popular in the Paris nightclubs were interspersed with numbers by entertainers. An orchestra played throughout the French gala night.

Despite the 1929 stock market crash and the beginning of the Great Depression, social life did not come to an abrupt end in the Hamptons. In July 1931 at the Devon Yacht Club,

[ 24 ]

INTRODUCTION

Mr. and Mrs. A. Wallace Chauncey gave a dinner dance for 200, called the Poverty Ball, at which the guests arrived in costumes depicting hard times. In Southampton, the George Warrington Curtis family, in August 1932, held a barn dance at their estate to benefit the Southampton unemployment fund. The grounds and a barn on their property were fitted out with buggies, carriages, hay stacks, and pumpkins. The guests came properly attired in rustic or “hayseed” costumes.

A Changing World The era of splendor by the sea in the Hamptons did not end suddenly. The decline of the great resorts began with the adoption of personal income tax in 1913, and World War I saw the disintegration of the formal lifestyle. The Roaring Twenties brought in a world that was fast, shiny, and new became the vogue. The stock market crash and the Great Depression forced even the wealthiest to scale back. But the final blow to the Hamptons came with the 1938 hurricane, which reduced to rubble many of the oceanfront houses of America’s elite. Although a significant number of the houses

that withstood the damage were rebuilt, War World II soon occupied the thoughts of the summer colony’s young socialites and staff, who signed up to serve in the armed forces. In 1941, Mrs. Livingston, whose life spanned the rise and demise of the Hamptons’ golden era, let all her footmen go, and after the war, her butler told her that the life she had known on the East End was over.

To escape taxes and the high costs of staffing, maintaining, heating, and cooling houses built solely for summer use, owners subdivided their large properties, leaving the main residences on small acreage or demolishing them. The age of elegance had been replaced by the era of mass production, the values of craft with machine-age efficiency, the quietude of the natural landscape diminished by the forces of greed and development. But despite all the changes, the heritage of the Hamptons has endured as the remaining houses from America’s Riviera of the Gilded Age, with few exceptions, are being restored and preserved for enjoyment by a new generation, not only telling the story of the past but also that of the future.

The Southampton Bathing Association, late 19th century

[ 25 ]

MO N TAUK AS S O C IAT ION c. 1882–84

Residences of Dr. Cornelius Agnew,William Loring Andrews, Arthur Benson, Henry and Robert de Forest, Alfred Hoyt, Alexander E. Orr, and Henry Sanger

MONTAUK ASSOCIATION

Above: Benson (left) and Sanger houses; Previous pages: The Seven Sisters

IN 1879, Arthur Benson, the millionaire developer of Bensonhurst, Brooklyn, bought most of Montauk from the East Hampton Town Trustees for $151,000. Two years later, Benson and his wealthy friends and business associates established the Montauk Association to create a select summer hunting and fishing retreat on the Atlantic bluff just east of Ditch Plain. The Montauk Association members included renowned ophthalmologist Dr. Cornelius Agnew, one of the founders of the Manhattan and Brooklyn Eye and Ear Hospitals; businessman Henry Sanger; banker Alfred Hoyt; attorneys Robert and Henry de Forest; merchant and financier Alexander E. Orr; and author William Loring Andrews, a trustee of the Metropolitan Museum of Art and founding member of the Grolier Club.

The Association hired landscape architect Frederick Law Olmsted. His 1881 site plan for the 100-acre enclave reveals the optimal placement of houses atop knolls at the highest point along the rolling landscape, to take advantage of the ocean views and the prevailing southwest breezes needed for summer cooling. The staggered arrangement of houses provided each with spacious surroundings and expansive views. The residences were interconnected via a sequence

of dirt paths that meandered through the natural terrain and allowed the moorland marshes and native vegetation to remain untouched. Olmsted’s intention at Montauk was to minimize transgressions into the natural landscape, a scheme clearly influenced by the design of his earlier masterpiece, New York’s Central Park.

The young architectural firm of McKim, Mead & White was commissioned to design the houses, to be built on a ridge north of De Forest Road between 1882 and 1884. Seven houses, a centrally located clubhouse (destroyed by a fire in 1933), a laundry, and a large stable formed the original complex. Known locally as “the seven sisters,” the Montauk Association houses represent significant early examples of the Shingle style, which McKim, Mead & White had a hand in popularizing. Not only do the houses show an understanding of the Colonial idiom in their use of shingled and clapboard walls and gabled roofs, they also reveal a distilled relationship to their historic vernacular precursors in Montauk: First House, Second House, and Third House.

Each of the firm’s plans for the original seven houses was unique, but the structures are unified as a grouping through the use of scale, massing, form, materials, and finishes.

[ 28 ]

MONTAUK ASSOCIATION

Agnew house

Ranging between 4,000 and 7,000 square feet, the houses are stylistically transitional, incorporating Queen Anne design elements within the Shingle style. Their exterior cladding consists of painted or unpainted clapboard on the first floors, and cedar shingles from the second floor up into the gables.

The first-floor cladding acts as a plinth, a detail commonly seen in Queen Anne-style houses. The articulation of the shingle coursing, bumping out slightly between floors, serves to denote the change in floor levels. The shingles come in an assortment of patterns and shapes, with specialty cuts such as diamonds and fish scales appearing in the upper gables. Sloping, wide gabled roofs, with cross gables and dormers placed as accents, extend over gracious porches.

Features such as a cupola, turrets, and eyebrow windows, which appear almost haphazardly in the overall mass, add to the informality of the composition.

Simple painted casings surround the windows and doors.

Railings with square balusters sit between plain porch posts, deliberately placed to establish a harmonious rhythm for each facade. Spindles, produced on a lathe, were used to create open screens that framed exterior views. The porches themselves have a gravity-defying quality, as so much roof structure is

supported on so little. Chimneys appear to anchor the buildings to the earth. The rambling nature of the exteriors, the tautly stretched shingles, and the contrast of solid and void in the positive-negative projection of balconies and porches are hallmarks of the Shingle style.

The interior plans of the Montauk houses fall into two basic groups. The first features a living hall adjacent to the major public spaces. In each of these interiors, the living hall encompasses a sitting alcove and stairwell with a decorative window on its landing, thereby becoming a volumetrically interesting space, reminiscent of some of H. H. Richardson’s residential work and seen locally as well in Frederick Stickney’s design for Rosemary Lodge in Water Mill.

The second plan theme features a center hall in the colonial tradition, with stairs set off to one side. Interior spaces are freeflowing and open, in part owing to the use of wood-spindled screens, rather than walls, to separate rooms. Finishes include beadboard wainscoting on walls and ceilings, wood paneling and planking, and turned spindles on the stairwells.

In comparison to McKim, Mead & White projects done in the same time frame, such as the Newport Casino (1879-81), the Cyrus McCormick house (1880-81), and the

[ 29 ]

MONTAUK ASSOCIATION

Hoyt house

Isaac Bell House (1882-83), the Montauk houses seem like experimental concept models for the larger commissions that lay ahead. Designed with restrained exuberance and excruciating attention to detail, they achieved a fresh, simple solution. None of these houses stands out in particular, yet each, perched in the face of the sea, offers a poetic and romantic glimpse of its neighbor. More than 129 years after their construction, they retain their access to a landscape of moorland and vistas, as well as their harmonious relationships to one another.

In 1976, the Montauk Association houses were included on the National Register of Historic Places. The complex is particularly important, not only for Olmsted’s precedentsetting vision for land use and McKim, Mead & White’s early work in the Shingle style, but also for its documentation of a unique era in the history of the resort economy of

East Hampton. The Montauk Association was one of the area’s first enclaves devoted to the architecture of leisure. It represents the evolution from the boardinghouse era to one in which vacationists lived in their own homes.

In 1997, a fire destroyed the Orr residence, named Tick Hall after the insect that populates the region. Owned by television personality Dick Cavett and his wife, actress Carrie Nye, the house was painstakingly reconstructed, from documentary materials and artifacts, to be historically accurate. In 2004, East Hampton Town designated the Montauk Association Historic District, including Tick Hall, with the purpose of maintaining the integrity of the original houses and their setting. The preservation goals and guidelines, which offer protection, were developed to ensure the compound’s wellbeing for the long term.

[ 30 ]

RO SE MARY L OD G E 1884

Residence of Reverend Henry Turbell Rose and Mary Cromwell Rose

Above: Southwest elevation, 2006; Following pages: East elevation, 2006

[ 31 ]

XXXX

[ 32 ]

XXXX

[ 33 ]

ROSEMARY LODGE

Living hall and stair, 2006

A HOUSE that has stature without size, breadth without length, detail without ornament, and charm and sophistication without contrivance is a very rare thing. Even more remarkable is the fact that the personal iconography of the owners is literally embedded in the walls. As such, Rosemary Lodge may be the quintessential East End summer cottage.

With the building of Rosemary Lodge in 1884, the Reverend Henry Turbell Rose began an odyssey that combined personal history with design and craftsmanship. Over a 37-year period,

Rose took a simple Shingle-style cottage in Water Mill and transformed it into a creation all his own, infused with charm, wit, and warmth.

In 1883, Rose approached his uncle Henry for permission to “build a little house” on his family’s Water Mill farmland.

Glancing across Montauk Highway, his uncle replied, “You may have half an acre over there; but it must not be where it will shut off my view of the ocean.” The following spring, Reverend Rose paid his uncle $50 for the property and

[ 34 ]

ROSEMARY LODGE

Stair landing detail, 2006

commissioned architect Frederick W. Stickney of Lowell, Massachusetts, to design a summer cottage for $25. Stickney opened his Lowell office in 1883, the same year Rose moved there to serve as minister of the John Street Congregational Church.

Stickney completed the plans for the shell of the cottage in two weeks. Rose balked at the high bids submitted by local builders, so he decided to contract the job himself, purchasing his own materials and overseeing the hired carpenters and

a mason. In August 1884, a mere month after it began, construction of Rosemary Lodge was completed. Reverend Rose named the house for his wife Mary Rose, who died shortly thereafter in 1886.

On both its exterior and interior, Rosemary Lodge’s design elements are cohesive and thematically consistent. The exterior possesses all the character traits inherent in the Shingle style: facades layered with projecting volumes in the form of dormer windows, porch roofs, and eaves; an oriel bay

[ 35 ]

ROSEMARY LODGE

Dining room detail, 2006

cantilevered and supported on brackets; and an asymmetrical massing, all contained within the larger silhouette. Erosions into this silhouette—for example, in the form of sheltered space under the porch roof—contribute to the play of solid and void so typical of the style.

Except for the south and east first floor facades, which are covered in painted beveled siding, the walls are clad in cedar shingles. The main pedimented gables face east and west, whereas the shingled roof pitches steeply from the ridge north and south. Above the banding in the gables, the shingles curve outward to cast a shadow line on the wall below, which looks like a cantilevered projection yet is actually in the same

plane. For all the complexity of the exterior, the basic plan of Rosemary Lodge is rectangular.

As a child, Henry Rose watched and probably assisted with his father’s woodworking projects. For Rosemary Lodge, he designed and built paneling, cabinetry, settees, doors, mantels, washstands, and more than 50 pieces of furniture and built-ins that appeared in every room in the house. He crafted these one room at a time, with each room containing a different species of wood. Predicting that “the cottage will never be finished in my lifetime,” every winter for 27 years the reverend labored on the interior details of the house in his Lowell attic workshop. His work reflected both knowledge of the Aesthetic movement and

[ 36 ]

ROSEMARY LODGE

Oak Room, 2006

familiarity with the Craftsman style. He hand carved more than 75 inscriptions for the wood paneling and furniture, shipping them to Water Mill to be installed by local carpenters before the start of each summer season.

The layout of the interior rooms on all floors is strangely episodic. Each room leads directly to the next, through either a passageway or opening. The rambling sequence of rooms creates the illusion of an expansive dwelling. The central living hall, which also serves as the house entry, is paneled in ash. Its one-story south end opens on the north to a two-story volume with an L-shaped staircase leading to a mezzanine and, several steps farther up, the second-floor bedrooms.

Tooled balusters and newels topped with urnlike finials anchor the staircase to the base landing.

A sizable fireplace, decorated with green ceramic tiles above the surround, is the dominant element in the living hall. Centered below a balcony supported by curving wood brackets, this fireplace is flanked by inset paneling containing numerous hidden cupboards. The woodwork contains carved floral motifs, ships, butterflies, the family cat Sarah, birds, and inscriptions, such as Shakespeare’s “Hold fast all I give thee,” which is found in the desk cupboard.

Adjacent to the living hall through a lowered doorway is the Oak Room, an octagonal sitting room with a coffered ceiling.

[ 37 ]

ROSEMARY LODGE

White bedroom, 2006

The wainscoting contains carved mottoes from Shakespeare’s As You Like It, including “He may play the fool nowhere but in his own house.” Above a corner fireplace surrounded by greenish-pink Roman tiles, a cornice, supported on narrow turned columns, bears the inscription “Old wood to burn, Old Books to read, Old Friends to love.”

A low opening on the west side of the Oak Room leads to the dining room, originally the kitchen. For Henry Rose’s second wife, Grace, this small and intimate Arts and Crafts style room, conceived to resemble the inside of a ship’s cabin, was the favorite. Lockers under the ceiling with leaded-glass doors ring the room to form a dropped soffit. On the south

wall, stained-glass windows, incorporating the initials R and L for Rosemary Lodge, came from the J. & R. Lamb Studios of New York City. The afternoon sun filters through them, filling the room with a warm glow. Cherry paneling adorning the walls and ceiling contains mottoes in German, such as one that translates to, “It’s very nice to think/the world is full of meat and drink.” Six dining chairs (1900) surrounding a round cherry table, are also carved with inscriptions about food and drink, from poets, Stevenson, Khayyám, Shakespeare, Kipling, and Tennyson. The original corner fireplace was resurfaced in 1896 with blue tiles from Traitel Brothers of New York City.

[ 38 ]

ROSEMARY LODGE

Covered Porch

storage

Sitting Room

cl cl

Entrance Hall

Kitchen

cl

Dining Room

Open Porch

Roof

Bath

Bed Room Maids Room Roof cl

Bed

Upper Hall

Room

cl Bath

Dressing Room

Bed Room

Roof

First and second floor plans

[ 39 ]

cl

BR IGHT WAT E R S 1904

Residence of William Cutler Atwater and Ida Wilson Hay Atwater

1904 rendering of front elevation

[ 144 ]

BRIGHTWATERS

Above: Aerial view, 1930s; Following pages: Entrance facade, 2011

BRIGHTWATERS, the summer estate of William C. Atwater and his family, is a turn-of-the-century vacation compound that stands today as the jewel of Seafield Lane in Westhampton Beach. The 10.37-acre property, formed from an assemblage of parcels with over 1,000 feet of waterfront, accommodated a large house with dependencies, a deepwater dock, and spacious grounds where Mr. Atwater could indulge his horticulture avocation. The story of the Atwaters’ attachment to their house is also entwined with their involvement in and influence on yachting on the East End, which endures to this day.

William Atwater (1861–1940), an 1884 Amherst College graduate and successful coal merchant, was chairman of the board of the William C. Atwater Companies in New York and Fall River, Massachusetts, as well as American Coal Company, among others. The Atwaters vacationed in the Westhampton Beach area during the 1880s and 1890s “boardinghouse era,” when city dwellers rented rooms either in private homes or hotels.

By 1890 Atwater was sailing competitively at both the Quantuck Yacht Club and Westhampton Yacht Squadron (originally part of the Westhampton Country Club), later serving as commodore at both clubs. Atwater won several silver trophies during the golden era of sailing between 1901 and World War I, with his 25-foot-long BB Class, Billy Boy, which he helped design with prolific boatbuilder Gilbert Monroe Smith.

Even though racing was a man’s sport, everyone sailed.

In an era without automobiles and paved roads, the shortest and fastest way to go from one place to another was often by sailboat. The ferry ride to the ocean beach by sailboat cost 15 cents. William Atwater wanted children to be able to sail so he invented the SS (small sloop) boat for them. Working with Benjamin Hallock, a cousin and apprentice to Smith, the two came up with a 16.5-foot-long wooden boat that was stable and easy to sail. Many of these boats still survive and occasionally show up in special regattas.

[ 145 ]

XXXX

[ 146 ]

XXXX

[ 147 ]

BRIGHTWATERS

Entrance hall, 2011

Through his West Bay Company, Atwater played a significant role in the development of Westhampton Beach: He bought the land for the Westhampton Country Club’s golf course, loaned the club $60,000 to build it, and then leased the land back to the club over a 10-year period. He also donated money for the construction of St. Mark’s Episcopal Church in Westhampton Beach.

In 1903 Atwater commissioned architect Henry Bacon, an alumnus of the McKim, Mead & White office, to design his summerhouse on Quantuck Bay. Bacon, who would later become known for his design of the Lincoln Memorial, created a classically proportioned, two-and–a-half-story, 16,000-square-foot, neo-Georgian mansion clad in shingles.

The striking approach to the house is highlighted by 64 century-old catalpa trees that run along the street and form an allée down the driveway on axis with the entrance. The

trees, one of Atwater’s “southern imports,” have heart-shaped leaves and flower in the summer; they transform into gnarled stanchions standing guard in the winter. The driveway becomes circular at the entrance to the house, creating a ceremonial drop-off point.

The front door opens to a center hall foyer, off of which all the public rooms and their ancillary spaces unfold. The living and dining rooms open to one another and to a wisteriacovered portico overlooking Quantuck Bay, where the yacht races were held. The generously scaled interiors of Brightwaters were conceived to be gracious and accommodating for leisure activities and entertaining.

A hand-carved, U-shaped stair leads to the second floor that originally housed eight bedrooms, six with waterfront views and two with water views. The third floor, an attic garret with barrel-vaulted dormers, held servants’ quarters.

[ 148 ]

BRIGHTWATERS

Stair hall from second floor landing, 2011

The property also includes a four-section Lord & Burnham greenhouse (1906), with a potting house at one end. It was here that Mr. Atwater experimented with nonnative plants.

The gardens, consisting of flower beds, a vegetable garden, and a trellised rose arbor, were maintained by eight full-time gardeners and watered by an elaborate underground irrigation system. Considered by many to be the finest gardens in the area, the Atwaters opened them for the public’s viewing pleasure every Sunday.

Also adjacent to the house is the four-car, hipped-roof carriage house (now a pool house), clad in stucco and covered with grapevines inside and out. The building also contained a bedroom and bath for the chauffeur. It is remarkable for its stuccoed soffits, which form a curved extension of the exterior walls that cleverly prevents water infiltration by eliminating the joint between the vertical wall and overhang.

Of interest as well is the boathouse, referred to by a reporter as a “marine clubhouse.” It sits near the shore like a little shingle temple complete with columns and a triangular pediment. This small structure with diamond-pane casement windows and a stone fireplace was used briefly as the clubhouse for the Westhampton Yacht Squadron and for many summers as a social hub for sailing parties after the races.

The Atwater family owned the property until 1942, when Atwater’s four adult children, in an exchange deal using Brightwaters as partial payment, bought an 11-story office building at 8 and 10 East 49th Street, in Manhattan, from Frederic Brown, the operator. By 1945 Brightwaters had passed into the hands of Isidore Lipschutz and Charles Gutwirth, internationally known diamond dealers from Antwerp, who had immigrated to New York in 1938 around the time of Kristallnacht. In 1945 they sold the house to corporate

[ 149 ]

BRIGHTWATERS

Top: Dining room; Bottom: Pool house overlooking Quantuck Bay

[ 150 ]

BRIGHTWATERS

attorney Henry L. O’Brien, who renamed the house Kincora, which in Gaelic means “head of the bay.” The property remained in the O’Brien family for 45 years until purchased by Leonard and Kathryn Conway, the current owners.

By the mid-1990s the Conways had given the house a head-to-toe makeover: The foyer was opened to afford a water view, and the carved staircase was replicated to extend to the third floor. The barrel-vaulted dormers were replaced with gabled versions; part of the veranda facing the entrance

was enclosed for a sunroom; and two master-suite balconies with mahogany decks were added above two porticoes facing the bay. The remaining upgrades include a new kitchen, a wine cellar, and a finished basement. While the degree of renovation sounds extraordinary, the changes have served only to correct some original design issues while enhancing a stately house that already had great bones.

[ 151 ]

T H E B O U WER IE 1930

Residence of Wesley Creveling Bowers and Gladys Seward Bowers

Living room

[ 296 ]

THE BOUWERIE

Above: Meadow Lane elevation; Following pages: Southeastern, oceanside elevation

TUCKED DEEP into the dunes along Meadow Lane in Southampton, with only a glimpse of protruding chimneys and a Spanish tile roof visible to passersby, is the Wesley C. Bowers estate. Engulfed by surrounding dunes, the house appears to have been buried for years with shifting sands only recently exposing the aged villa.

Dr. Wesley Creveling Bowers, who was a leading physician in otolaryngology at New York’s St. Luke’s Hospital, and his wife, Gladys Seward Bowers, were active members of the summer colony. Mrs. Bowers’ charitable interests included Southampton Hospital, the Southampton Fresh Air Home, and the Southampton Chapter of the Garden Club of America.

In 1930, after summering in Southampton for many years, the Bowers commissioned New York architect Leroy P. Ward to design a house in the dunes. The imaginative Ward had already designed four substantial houses on Long Island, all in different styles. For the Bowers, he created a three-anda-half-story Mediterranean-style villa overlooking both the

Atlantic Ocean and Shinnecock Bay. According to local lore, the inspiration for the house came from a villa the couple saw on their honeymoon in the south of France. “The Bouwerie,” a play on the family name, also alluded to the idea of a quaint cottage.

From the time it was built, The Bouwerie was conceived to seem antedated, its exterior massing resembling a collection of additions that accrued over time. Low-pitched gable and hipped roofs descend and spill onto smaller hipped roofs alongside a projecting bay and entry. Shutters and carved wooden balconies exposed to the elements, antique tiles, time-worn timbers, mottled stucco, and ancient hardware contribute to the aged appearance. A small, square garden pavilion with stucco columns and a hipped roof of red Spanish tiles sits just to the south. The house is pure American Riviera, antiquated yet engaging, with a European pedigree applied to a picturesque, vernacular Revival style immensely popular in the 1920s and 1930s.

[ 297 ]

P O RT F O L I O O F H O U S E S

1878, TREMEDDEN, Bridgehampton.

Residence of Richard Esterbrook Jr. Carlos C. Buck, architect. Demolished.

1884, East Hampton. Residence of Thomas Moran.

Thomas Moran, designer. Owned by Guild Hall Museum.

1886/1915, LENOIR/LINDEN, Southampton. Residence of Grange Sard and Rufus Lenoir Patterson. Architect unknown; Grosvenor Atterbury, Private residence.

1887, WYNDCOTE, Southampton. Residence of Robert Henderson Robertson. Robert Henderson Robertson, architect.

Private residence.

[ 314 ]

P O RT F O L I O O F H O U S E S

1889, ANDELMANS, Sag Harbor. Residence of Joseph Fahys.

Montrose W. Morris, architect. Status unknown.

1891, East Hampton. Residence of Charles Henry Adams.

William B. Tuthill, architect. Private residence.

1891, East Hampton. Residence of Henry A. James.

Architect unknown; Joseph Greenleaf Thorp, additions.

Demolished.

1891, East Hampton. Residence of William E. Wheelock.

Isaac H. Green Jr., architect. Private residence.

1892, CLENCH-WARTON, Sag Harbor.

Residence of Henry F. Cook and Lena M. Fahys Cook.

Montrose W. Morris, architect.

Status unknown.

1892, Noyac. Residence of William Cauldwell. Architect unknown. National Register of Historic Places. Private residence.

[ 315 ]

INDEX

Adair, Frank, 133 Adam style, 84, 114, 157, 290–91 Adams, Charles Henry, 315 Adirondacks, 17 Aesthetic Movement, 36, 59 Agawam Park, 75 Agnew, Cornelius, 28 Albro & Lindeberg, 318, 319 Alcott, Clarence F., 319 Aldrich, Herman, 52 Aldrich, James Herman, 47, 51–52.

See also Maycroft Aldrich, Mary Edson, 47, 51–52.

See also Maycroft Alfred Hoyt House, 30 Amagansett, Long Island, 10, 205 American Barbizon School, 17 American Conifer Society, 110 American furniture/decorative arts, 252–54 American Riviera, 13, 25, 297 Amherst College, 88 Amory, Cleveland, 23, 115 Andelmans House, 315 Andrews, William Loring, 28 Andros Hills House, 318 “Aphrodite,” 265, 269 Appleton, Katherine Semple Jordan, 222–23, 226. See also Nid De Papillon Appleton, Robert, 222–23, 226. See also Nid De Papillon Architectural Digest, 55 Architectural League of New York, 214, 307 Architectural Record, 187, 215 Architecture and Building, 55 Argyllshire, Scotland, 197 art/antique collections, 73, 77, 84, 106, 211, 216, 232, 244, 252–54, 258, 263–64, 267–69, 290

Art Club, 66 Art Deco style, 159, 271, 273–76, 278, 308, 310 Art Nouveau style, 273–75 The Art Village, 11, 22, 60, 65–70, 72 Arthur Benson House, 28 artists/art colonies, 10, 17–18, 22–23, 70, 72, 99, 103, 110, 140, 307. See also Art Village; Shinnecock Summer School of Art; specific names Arts & Decoration, 114 Arts and Crafts Movement style, 22, 38, 40, 141–43, 178, 232–33, 242 Astor, John Jacob, 182 Astor, William, 182 Atlantic Ocean, 13, 17, 28, 30 Atterbury, Charles L., 73 Atterbury, Grosvenor, 22, 40, 67, 70, 97–98, 106, 314, 316–20 Atwater, Ida Wilson Hay, 144–45, 149.

See also Brightwaters Atwater, William Cutler, 144–45, 148–49.

See also Brightwaters automobiles, 86, 145 Ayres, Marshall, 58–59 Bacon, Henry, 148 Bacon, Louis, 269 Baker, Mrs. Frederick, 319 Baldwin, Billy, 313 Ballyshear, 24, 196–203 Balsan, Mrs. Jacques, 317 Bar Harbor, Maine, 17 Barber, Ethel. See Johnson, Ethel Barber MacLean Barber, Harriet Townsend, 74–77, 81. See also Claverack

[ 328 ]

Barber, Thomas H., 74–75, 81. See also Claverack Barclay, Reginald, 318 Barnes, Henry B., 316 Barney & Chapman, 113 Baroque style, 199 Barrymore, John, 232 Bartlett, Edward Everett, 204–05 Bartlett, Jessie Mitchell, 204 Bartlett Residence, 204–07 Bayberry Land, 22, 238–49 Beach Road Historic District, 304 Beale, Edith Bouvier (mother), 127–28. See also Gray Gardens Beale, Edith (daughter), 127–28 Beale, Phelan, 127 Beauport House, 252 Beautiful Gardens in America (Shelton), 81 Beaux Arts style, 22, 60, 153, 164, 189, 199, 313 Beebe Windmill, 190, 193 Beekman, Barclay, 22 Belmont, Mrs. August, 66 Benjamin, Dorothy. See Caruso, Dorothy Benjamin Benjamin, Henry Rogers, 316 Benjamin, Mary. See Rogers, Mary Benjamin Benjamin, Park, 109 Benson, Arthur, 28 Berkshires, Massachusetts, 15 Bernbach, Therese, 40 Berwind, Edward, 189 Berwind, John E., 188–90, 193. See also Minden Berwind, Julia, 23 Berwind, Katherine Murray Wood, 188–90, 193. See also Minden Betts family, 16, 187

INDEX

The Birdhouse. See The Dunes Black Point, 208–21 Block Island Sound, 13 Bloomberg, Michael, 203 boardinghouse era, 14, 145 Boardman, Albert Barnes, 162, 164–65, 168, 172. See also Villa Mille Fiori Boardman, Georgina Gertrude Bonner, 162, 165, 168. See also Villa Mille Fiori Bockmann, Bruce and Maria, 278 Bottomley, William Lawrence, 205–07 The Bouwerie, 296–305 Bowers, Gladys Seward, 296–97, 304 Bowers, Wesley Creveling, 296–97, 304 Boyd, John Taylor, 187, 215 Bradlee, Ben, 128 Brady, Anthony, 248 Breese, Frances. See Miller, Frances Breese Breese, Frances Tileston Potter, 82–83, 289.

See also The Orchard Breese, James Lawrence, 18, 82–86, 88, 289.

See also The Orchard Breese, Robert, 86 Brick House, 251, 253 Brickbuilder, The, 225 brickwork facades, 9, 199, 203, 232, 254, 289 Bridgehampton, 10, 13, 18, 189–90, 314 Brigham, Walter Cole, 52 Brightwaters, 144–51 Brittany style, 281 Brockman, David and Elizabeth, 234 Brooklyn Eagle, 15 Brouwer, Theophilus A., Jr., 318 Brouwer’s Castle, 318 Brown, Archibald, 273, 278, 281. See also Peabody, Wilson & Brown Brown, Eleanor, 273, 278 Brown, Frederic, 149 Bryant, William Cullen, 13 Buck, Carlos C., 314 Budd, Katharine, 67, 70, 316 Bullard, Roger, 320 Burch, Tory, 291

By The Way House, 316 Camp Wikoff, 40 Camuto, Vincent and Louise, 64 Captains Neck Lane, 289 Carbonites, 83 Carnegie, Mrs. Andrew, 66 Carrère & Hastings, 316 Caruso, Dorothy Benjamin, 109

Caruso, Enrico, 109, 175 Casa Basso Restaurant, 318 Cauldwell, William, 315 Cavett, Dick, 30 Central Park, New York City, 28 Century Association, 73 Certosa House, 159. See also Red Maples Chase, Alice Gerson Chase, 71 Chase, Robert S., 211 Chase, Salmon, 66 Chase, William Merritt, 10–11, 17, 66–67, 69–73. See also William Merritt Chase Homestead Chauncey, Mr. and Mrs. A. Wallace, 25 Chester, England, 52 Chestertown House, 23, 250–56, 287 Chestertown, Maryland, 252 Christy, Howard Chandler, 70, 72, 290 Cielito Lindo, 114 Claflin, Arthur B., 316 clapboard facades, 28–29 classical style, 84–85, 149, 157, 172, 205, 207, 268–69, 278. See also Italian style Claverack, 74–81 Clench–Warton House, 315 Cleveland, Grover, 42–43, 175 Clinton Academy, 229 Cockcroft, Edward T., 318 Codman, Ogden, 185 Coffin, Marian Cruger, 240, 242, 252–53 Coleman, Mrs. Irene, 63 Collier, Mrs. Peter Fenelon, 319 Collins, Maurice, 233 Colonial Revival style, 83–84, 126, 253, 262, 304 colonial style, 28–29, 56, 67, 83–84, 242, 262, 268 Colonial Williamsburg, 262 concrete facades, 189–90, 281 Condon, Thomas Gerald, 318 conifer arboretum, 110 Conklin, Emma Adelaide Brigham, 139, 141, 143. See also Meadowcroft Conklin, Theodore Eaton, 139–41, 143. See also Meadowcroft Conscience Point, 13, 262 Conway, Leonard and Kathryn, 151 Cook, Henry F. and Lena M. Fahys, 315 Coopers Neck Lane, 164 Cormaria Retreat House, 318 Cornelius Agnew House, 28–29 Corwith Windmill, 59

[ 329 ]

Cotswolds, England, 175, 223 Country Life in America, 85 Cow Neck, 258, 269 Coxwould, 22, 174–78, 225 Craftsman style, 37, 40 Craftsman, The, 109 The Creeks, 98, 102–11 Cross & Cross, 19, 240–42, 251–54 Cross, Eliot, 242. See also Cross & Cross Cross, John Walter, 242, 253–54. See also Cross & Cross Cryptomeria. See Ballyshear Curtis, George Warrington, 25 Cyrus McCormick House, 29 Davis, Dwight, 248 Davis, Pauline Morton Sabin, 238, 248. See also Sabin, Pauline Morton de Bost, Leon Depeyre, 14 de Forest Parsons, Antoinette, 67 De Forest Road, 28 de Forest, Robert and Henry, 28 de Kay, Charles, 18 de Kooning, Willem, 10, 110 de Milhau, Zella de, 67 de Nemours, Eleuthère Irénée du Pont, 251 De Puy, George S., 190 Dean, Ruth, 233 Deanery Garden, 232 Decoration of House, The, 185 Demuth, Charles, 72 Devon, Long Island, 318 Devon Yacht Club, 22, 24–25 Dixon, George A., 316 The Dolphins, 41–46 Donahue, James Paul, 112, 115. See also Wooldon Manor Donahue, Jesse Woolworth, 81, 112, 114–15.

See also Wooldon Manor Dragon, Ted, 110 Dragon’s Head, 254. See also Chestertown House Drake farmhouse, 83–84 Drew, John, 232, 317 du Pont, Henry Algernon, 251 du Pont, Henry Francis, 23, 250–54. See also Chestertown House du Pont, Mary Pauline, 23, 251. See also Chestertown House du Pont, Ruth Wales, 23, 250–54. See also Chestertown House Dufy, Raoul, 278

INDEX

Duncan, Isadora, 109, 233 The Dunes, 14–15, 96–101 Dutch colonial style, 43, 76–77, 84, 126 Dyer, Edward Tiffany, 317 East End, Long Island: architectural history of, 9–11; art colonies in, 17–18; clients in, 9, 18–19; decline of, 25; houses demolished in, 25, 97, 99; modern cottages of, 307; resort architecture of, 9, 34, 51, 72, 103, 153, 203 East Hampton, 10–11; art colony of, 17–18; beauty of, 57; English heritage of, 13, 135, 175, 223; history of, 13, 18; houses demolished in, 97, 99, 234, 315, 317; resort architecture of, 30, 55, 97, 103, 133, 135, 175, 205, 223, 229, 314–20; social/ leisure life in, 22–23, 109, 127, 226, 229; theatres in, 232–34; vernacular buildings of, 56; zoning ordinances of, 135 East Hampton Free Library, 229 East Hampton Garden Club, 127, 229 East Hampton Riding Club, 226 East Hampton Star, 133, 233 East Hampton Town Trustees, 28 Eastern Plain farmland, 97, 205 Ecole des Beaux-Arts, 19, 189, 209 Edson, Mary Gertrude. See Aldrich, Mary Edson Eidlitz, C. W., 316 Eisenhower, Anne, 81 Eldredge, George A., 126, 133 Elizabethan style, 135, 223, 232 The Elms, 189 Ely, Albert H., 317, 320 Elyria House, 317 Embury, Aymar, II, 229 English style: antiques, 264, 269; architecture, 22, 52, 113, 135, 175, 177–78, 197, 223, 225, 232, 242, 252, 271, 281; furniture, 114–15, 291; interiors, 114–15, 190, 225 Episcopal Diocese of Long Island, 52–53 Erdmann, Georgina Theresa Wright, 174, 178. See also Coxwould Erdmann, John Frederick, 174–75, 177, 178.

See also Coxwould Esterbrook, Antoinette R., 189 Esterbrook, Richard, Jr., 314 Eyre, Wilson, 140–41, 143 Fahys, Joseph, 315 Farley, Elsie Sloan, 114, 290

The Fens, 229, 232, 234. See also Woodhouse Playhouse Fifty Years of the Maidstone Club (Herter, Albert), 106, 175 Fitzgerald, F. Scott, 99 Flanders, Annette Hoyt, 197, 201, 203, 291 Flottl, Wolfgang, 81 Ford, Harriet. See Herrick, Harriet Ford Ford, James, 57 Fort Hill House, 320 Forty Years of Gardening (Hill), 22, 127 Four Fountains, 270–79 Freeman, Frank, 60 French château style, 205, 254 French style, 278, 281, 291, 297, 304 frescoes/murals, 165, 211, 269 Fresh Air Home, 114, 297 “Frog Boy, The” (Scudder), 86 Frost, Arthur B., 70 Fry, Marshall, 70 Furstenberg, Wiltraud von. See Salm, Wiltraud von Furstenberg Further Lane, 97, 205–06 Galesi, Francesco, 254 gambrel houses, 19, 22 Garden Club of America, 127, 297 gardens: English style, 178, 197, 225; European influence on, 202–03; formal, 229, 233–37; at Gray Gardens, 124–25, 127–28, 130–31; Italian style, 85, 96, 98–99, 159, 165, 168, 171–72, 211, 214, 217–19; man-made dunes/beach grass, 281; naturalistic, 51, 252–53; Olmsted, 81, 83–86; open to the public, 149; ornamental, 112–13; plans for, 95, 160, 172, 202, 221; preservation of, 88; sunken, 115, 157, 190, 206–07, 226, 232–33, 291; unified with architecture, 22, 106, 153, 177, 211, 240, 242 Gardenside House, 317 Gardiner’s Bay, 13 Gardiners Island, 11 Gardiner’s Windmill, 55 Gay, E. M., 225 Gehry, Frank, 9 Georgian Revival style, 148, 184, 197, 199, 201, 203, 242, 247, 289 Georgica Pond, 97, 103–06, 126 Gibson, Anthea, 178 Gibson, Charles Dana, 83 Gilded Age, 15, 22, 25

[ 330 ]

Gin Lane, 64, 113, 209, 258 Girls’ Friendly Society, 52–53 golf course design, 197 Gothic style, 186, 225, 254 Grant, Ulysses S., 103 Gray Gardens, 124–31 Gray Gardens (movie), 128 Great Bay, 13 Great Depression, 24–25, 99, 307 Great Plains Road, 164 Greek Revival style, 83–84, 268–69 Green, Isaac H., Jr., 19, 55–56, 229, 315 Greer, Tim, 45 Grey Gables, 63. See also Villa Maria Greycroft House, 229, 234 Guild Hall, 23, 109, 229, 232 Guild Hall Museum, 314 Gutwirth, Charles, 149 Hadley, Albert, 278 half-timber style, 22, 113, 134–35, 232, 284, 286 Hallock, Benjamin, 145 Halsey Neck Lane, 75, 153, 271, 307 Hampton Court Palace, 190 Hampton Designer Showcase, 64 Hamptons: clients in, 22; decline of, 25; golden age of, 25, 313; grande dames of, 22–23, 81, 193; health benefits of, 15, 17; history of, 13–14, 25; houses demolished in, 25, 159, 172; as resort, 9–10, 13–14; resort architecture of, 22, 59, 83, 115, 143, 178, 182, 189, 205, 225; social/leisure life in, 18–25, 40, 67, 190, 193 Hamptons Players, 271 Harper’s New Monthly, 67 Hassam, Childe, 10, 18 Havens, Frank Colton, 318 Hawthorne, Charles W., 70 Heady Creek, 289 Heather Dune House, 320 Heathermere House, 316 Henry Francis du Pont Winterthur Museum, 254. See also Winterthur Henry Sanger House, 28 Herrick, Everett, 11, 54–57. See also Pudding Hill Herrick, Harriet Ford, 54–57. See also Pudding Hill Herter, Albert and Adele McGinnis, 18, 102– 03, 106, 109–10. See also The Creeks Herter Brothers, 103

INDEX

Herter, Christian (grandfather), 103 Herter, Christian (grandson), 110 Herter, Mary, 103, 106 Hick’s Nurseries, 113 Hidcote Manor, 178 Hill & Stout, 164 Hill, Anna Gilman, 22, 126–27. See also Gray Gardens Hill, Robert Carmer, 126–27. See also Gray Gardens Hill Street, 83, 88 Hiss & Weekes, 153, 289, 319 historic preservation, 25, 30, 40, 53, 64, 70, 81, 88, 128, 203, 248, 304 Hoffman, F. Burrall, Jr., 19, 197, 199, 232–33, 317 Holzer, “Baby Jane” and Leonard, 254 Homer, Winslow, 10, 17 Hoppin, Gerard Beekman, 159 Hoppin, Rosina Sherman, 159 Horne, Elizabeth M., 319 House and Garden, 140 Howell’s Mill, 14 Howland, Georgiana and Abby, 316 Hoyt, Alfred M., 18, 28, 153 Hoyt, Alfred William, 152–53, 157. See also Red Maples Hoyt, Jesse, 153 Hoyt, Mrs. William S., 66–67, 72 Hoyt, Rosina Elisabeth (mother), 152–53, 157, 159. See also Red Maples Hoyt, Rosina Sherman (daughter), 153, 157, 159. See also Hoppin, Rosina Sherman Hudson River Valley, 76–77, 182 Hunting Lane, 229 hurricane of 1938, 25, 99 Hutton, Mr. and Mrs. Edward, 159 Ingersoll, Ernest, 67 Ingram, Helen. See Merrill, Charles E. and Helen Ingram International Brotherhood of Electrical Workers, 248 International Style, 307–08, 313 Irish Catholics, 172 Isaac Bell House, 30 Italian Renaissance style, 84, 153, 168, 211 Italian style: architecture, 60, 106, 159, 164– 65, 209, 211; furniture, 278; interiors, 84, 157, 168, 211, 269, 273. See also gardens: Italian style

J. & R. Lamb Studios, 38 Jacksonville, Florida, 190 Jacobean style, 190, 192 Jaeckel, Mrs. Albert, 17 James, Ellery, 18 James, Henry A., 315 James Parrish house, 19–21 James, William Ellery Sedgwick, 320 Jefferson, Thomas, 9, 84 Jenney, William Sherman, 320 John Drew Theatre, 232 Johnson, Ethel Barber MacLean, 81 Johnson, James and Gretchen, 226 Johnson, S. Fisher, 18, 132–33.

See also Onadune Johnson, Sarah Seymour, 132–33.

See also Onadune Johnston, Lawrence, 178 Jordan, Katherine Semple. See Appleton, Katherine Semple Jordan Keewaydin House, 81. See also Claverack Kennedy, Jacqueline, 128 Kent, England, 13, 175 Kent, Rockwell, 70 Keyes, Edward L., 59–60 Kincora House, 151. See also Brightwaters Kiser, John William, 287, 288–89, 291. See also Sunset Court–Westerly Kiser, Mary Peirce, 288–91. See also Sunset Court–Westerly Klein, Calvin, 254 Knapp, Joseph Palmer, 320 Kulukundis family, 304 Ladd, Cornelia Lee, 280–81, 287. See also Ocean Castle Ladd, William F., 280–81, 284, 287. See also Ocean Castle Ladies Village Improvement Society, 22, 109, 114 Lake Agawam, 15–16, 42–46, 113, 180, 182, 185–87 landscape architects, 28, 153, 164, 178, 197, 206–07, 211, 233, 252, 291. See also specific names Last Resorts, The (Amory), 23, 115 Lawrence, John Custis, 19, 133, 229 Lawrence, Long Island, 281 Le Corbusier, 308 lean-to houses, 19, 22, 55–56 Leas, Donald, Jr., 287, 291

[ 331 ]

Lee, Charles H., 317 Leicht, Adolph F., 318 Lenoir/Linden House, 314 Lenox, Massachusetts, 177 Lester, Leonard, 109 Lethaby, W. R., 242 Levering, Richmond, 318 Lewis & Valentine Company, 214 Life and Art of William Merritt Chase, The (Root), 73 Lily Pond Lane, 126, 178 Lindeberg, Harrie T., 19, 177–78, 225, 319.

See also Albro & Lindeberg Lindsey, Edward Delano, 19, 51 Lipschutz, Isidore, 149 Little Burlees House, 318 Little Close House, 320 Little Orchard House, 86 Little Peconic Bay, 13, 269 Livingston, Goodhue, 16, 42, 179, 182, 184, 187. See also Old Trees Livingston, Louisa Robb. See Livingston, Mrs. Goodhue Livingston, Maturin and Eugene A., 182 Livingston, Mrs. Edward, 77 Livingston, Mrs. Goodhue, 17, 22–23, 25, 42, 45, 179, 184, 187. See also Old Trees Livingston, Robert, 182 log facades, 65, 67 Lombard, Josiah, 58–59 Long Island, New York: geography of, 13; health benefits of, 17; history of, 9–10, 13; sea captains of, 52; social/leisure life in, 24.

See also specific towns/villages Long Island Sound, 10 Longfellow, Henry Wadsworth, 81 Lord & Burnham, 149 Lord, James Brown, 317 Lord, Ruth, 254 Louis XVI style, 186 Lowell, Guy, 318 Lowell, Massachusetts, 35–36, 40 Lutyens, Edwin, 232, 242 MacDonald, C. B., 18 Macdonald, Charles Blair and Frances Porter, 196–97. See also Ballyshear MacMorris, LeRoy Daniel, 269 Madison, Dolly, 77 Magowan, Robert and Doris Merrill, 88 Maidstone Club, 11, 22, 56–57, 97, 109, 127, 225–26

INDEX

Maidstone, Kent, England, 13 Mallet-Stevens, Robert, 308 Mar-a-Largo, 114 Massachusetts, 13, 15, 35, 70, 126, 145, 177, 247, 252, 263 Maycroft, 19, 47–53 Maycroft Holiday House, 52–53 Mayfair, 252, 316 Maysles, Albert and David, 128 McCord, D. W., 317 McGinnis, Adele. See Herter, Albert and Adele McGinnis McKim, Charles Follen, 44, 83, 177 McKim, Mead & White, 18, 28–30, 42–44, 67, 72–73, 83, 148 McKinley, William, 40 McMillen, Eleanor Brown, 268 McMillen, Inc., 273 Mead, William, 83 Meadow Club, 22–24 Meadow Lane, 253, 297 Meadowcroft, 22, 139–43 Meadowmere House, 319 Mecox Bay, 14, 59, 63 Mediterranean Revival style, 22, 153, 189, 297 Mellon, Edward Purcell, 19, 320 Mellon, Ethel Humphrey, 320 Merrell, James, 53 Merrill Center for Economics, 88 Merrill, Charles E. and Helen Ingram, 86, 88 Merrill, Doris. See Magowan, Robert and Doris Merrill Metropolitan Museum of Art, 28, 263, 267 Mill Creek, 14 Mill Pond, 14, 205 Miller, Frances Breese, 84, 86 Minden, 188–95 Minden, Germany, 189 Mocomanto House, 16 modern style, 10, 40, 211, 307–08, 313 Montauk Association Historic District, 30 Montauk Association Houses, 11, 26–30, 44 Montauk Highway, 34, 40, 59 Montauk Indians, 13 Montauk, Long Island, 10, 13, 18, 28, 40, 320 Montauk Point, 13 Montgomery Place, 77 Montrose. See Ballyshear Moran, Mary Nimmo, 18 Moran, Thomas, 10–11, 17–18, 314 Morris, Montrose W., 315

Morse, Ada Martha Gravel, 58. See also Villa Maria Morse, Edward Phinley, 58, 60, 63. See also Villa Maria Mortimer, Henry Tilford, 81 Morton, J. Sterling, 248 Morton, Joy, 248 Morton, Paul and Charlotte, 248 Mount Vernon, 83 murals. See frescoes/murals Murdagh, Ann. See Coleman, Mrs. Irene Murphy, Gerald, 98–99 Murphy, Sara Wiborg, 97–99 music room (The Orchard), 84, 86, 90–91 natatorium (Port of Missing Men), 264–66, 268–69 National Golf Links, 22, 197, 254 National Register of Historic Places, 30, 40, 53, 73, 88, 315 Nature Trail and Bird Sanctuary, 229 New York Art School, 70 New York City, 13–15, 28, 182 New York Times, The, 14, 18, 24, 126 New York World, 66 New Yorker, 175 Newman, Frank Eaton, 223, 225 Newport, Rhode Island, 15, 17, 23–24, 29, 83, 97, 189 Newsday, 84, 110, 254 Newton, Dr. and Mrs., 106 Nichols, Rose Standish, 197, 201 Nid De Papillon, 222–27 Noel, Walter and Monica, 45 Norman farmhouse style, 205 Normandy style, 281 North Fork, Long Island, 10, 13 North Haven, Long Island, 13, 17, 318 North Shore, Long Island, 24, 290 Noyac, Long Island, 315 Nyack Boys School, 88 Nye, Carrie, 30 O’Brien, Henry L., 151 O’Brien, Morgan J., 172 Ocean Avenue, 55 Ocean Castle, 280–87 Ocean Road, 189–90 O’Keeffe, Georgia, 72 Old Ship Meeting House, 263 Old Town Road, 211 Old Trees, 22, 42, 179–87

[ 332 ]

Olmsted Brothers, 81, 85, 211 Olmsted, Frederick Law, 28, 30 Onadune, 22, 132–38 The Orchard, 11–12, 67, 82–95, 289 Oriental style, 76, 84, 106–08, 110, 244, 247, 268 Orr, Alexander E., 28, 30 Osborn House, 11, 55 Osborn, Thomas, 55 Ossorio, Alfonso, 110 Overlea House, 316 Ox Pasture, 153, 252 Ox Pasture Road, 287, 289 Palladian style, 84, 211 Palladio, Andrea, 9 Palladio Award, 53 Palm Beach Daily News, 226 Palm Beach, Florida, 10, 114, 226, 234, 291 Palmer, Courtland, 63 Parrish Art Museum, 22 Parrish, James, 19–21 Parrish, Samuel, 66, 72–73 Pascucci, Michael, 248 Patterson, Rufus Lenoir, 314 Paulson, John “J. P.,” 187 Peabody, Wilson & Brown, 271, 281, 307 Peconic Bay, 73, 159, 197, 199, 240, 242, 244, 247, 258, 264, 269 Peconic Land Trust, 269 Peixotto, Ernest, 273 Perelman, Ron, 110 Pershing, F. Warren, 313 Phillips, Fleming Stanhop, 126 Phillips, James Ralph, 126 Phillips, Martha Wells Bagg. See Phillips, Mrs. F. Stanhope Phillips, Mrs. F. Stanhope, 124 photography salon. See Carbonites Picturesque America (Bryant), 13 Playhouse Project, 234 Polhemus & Coffin, 320 Pollock, Jackson, 10, 110 Pope, John Russell, 9, 18, 22, 70, 262, 268, 320 Port of Missing Men, 11, 257–69 Porter, Mrs. Henry Kirke, 66–67, 72 Post, Marjorie Merriweather, 114, 159. See also Hutton, Mr. and Mrs. Edward Près Choisis, 103. See also The Creeks Presbyterian Church, 193 Price, Bruce, 317

INDEX

Prohibition, 109 Pudding Hill, 11, 54–57 Quakenbush, Schuyler, 316 Quantuck Bay, 140, 148 Quantuck Yacht Club, 145 Queen Anne style, 18, 29, 40, 51, 59 Quinn, Sally, 128 Quiogue, 140 Quogue, 13, 140 Radin, Roy, 287 Radziwill, Lee, 128 Raeburn, Sir Henry, 244, 246 railroad, 10, 13–14, 18 Red Gables, 58–60. See also Villa Maria Red Maples, 152–61, 289 Rensselaerwyck House, 76 restoration. See historic preservation Revolutionary War, 55 Reynolds, Sir Joshua, 114 Rice, C. C., 317 Richardson, H. H., 29 Riggio, Leonard, 193 Robb, Cornelia Van Rensselaer Thayer, 41–42. See also The Dolphins Robb, James Hampden, 41–43, 184. See also The Dolphins Robb, Louisa. See Livingston, Mrs. Goodhue Robertson, Jaquelin, 19 Robertson, Robert Henderson, 22, 75–76, 314. See also Wyndcote Rockefeller, John D., Jr., 133 Rococo style, 278 Rogers, Henry Huddleston, Jr., 208–09, 215, 257–58, 264, 267–69. See also Black Point; Port of Missing Men Rogers, Henry Huddleston, Sr., 209, 258 Rogers, Mary Benjamin, 208–09, 215, 257, 267–69. See also Black Point; Port of Missing Men Rogers Memorial Library, 75, 81 Romney, George, 244, 246 Root, Elihu, 252, 316 Root, Katherine Metcalfe, 73 Root, Mrs. Oren, 16 Rose, Grace, 38, 40 Rose, Henry Turbell, 31, 34–38, 40. See also Rosemary Lodge Rose Hill Road, 40 Rose, Mary Cromwell, 31, 35. See also Rosemary Lodge

Rosemary Lodge, 29, 31–40 Rudolph, Tietig & Walter Lee, 318 Russell, Horace, 317 Sabin, Charles, 18 Sabin, Charles Hamilton, 238, 240–42, 247– 48. See also Bayberry Land Sabin, Pauline Morton, 238, 240, 242, 247– 48. See also Bayberry Land; Davis, Pauline Morton Sabin Sackville-West, Vita, 178 Sag Harbor, 10, 13, 51–52, 55, 190, 315, 318 Sag Harbor Cove, 50–51 Saint-Gaudens, Augustus, 72–73, 83 Salm, Peter, 269 Salm, Wiltraud von Furstenberg, 269 Samuels, John, III, 254 Sanford, Edward Field, 265, 269 Sanger, Henry, 28 Sard, Grange, 314 Sayville, Long Island, 55, 229 Scallop Pond, 258, 262, 267–69 Schermerhorn, William C., 182 Schimmel, Wilhelm, 254 Schulman, Lowell, 178 Scott Cottage, 258, 262, 267 Scott, Jackomiah, 258, 262 Scott, M. H. Baillie, 242 Scottish style, 197 Scribner’s, 18 Scudder, Janet, 86 Seafield Lane, 145 Seven Sisters, 11, 26–30. See also Montauk Association Houses Sewells, Mr. and Mrs. Robert, 106 Shaheen, John Michael, 187 Shallows (The), 306–13 Sheeler, Charles, 72 Shelton, Louise, 81 Sheraton furniture, 290 Shingle style, 11, 18, 28–30, 34–36, 40, 42, 44–45, 51, 55, 59, 135 shingled facades, 19, 22, 67, 76, 84, 97, 126, 134, 148–49, 184, 189, 254 Shinnecock Bay, 73, 284, 297, 304, 307 Shinnecock Hills, 19–22, 66–67, 72, 197, 242, 318, 320 Shinnecock Hills Golf Club, 19, 22, 254, 307 Shinnecock Indians, 13, 67, 81 Shinnecock Summer School of Art, 17, 66–67, 69–70, 72–73 Siena Spirituality Center, 63

[ 333 ]

Simonds, William R., 317 Sissinghurst, England, 178 Sisters of the Order of St. Dominic, 63–64 Skidmore, George, 59 Sleeper, Henry Davis, 252 Smith, Gilbert Monroe, 145 Smith, J. Hopkins, 248 Smith, John Thomas, 159 Smith, Mrs. Ballard, 66 Snelling, Grenville Temple, 189–90 Snow, Frederick A., 317 Snowden, James H., 159 Soldiers and Sailors Monument, 75 Solterra House, 319 Sotheby Parke Bernet, 278 South Fork, Long Island, 10, 13, 234, 269 Southampton, 10–11, 86, 193; art center of, 271, 273; art colonies in, 17, 66–67, 69–70; barrier beach of, 304; gardens in, 81; historic houses of, 64; history of, 13, 18, 262; houses demolished in, 215, 248, 254, 319; modern cottages of, 307; as resort, 13–15, 17, 304; social/leisure life in, 22–25, 69–70, 114, 247, 254, 307, 312; summer cottages of, 42, 75, 153, 164, 197, 209, 240, 251, 258, 269, 271, 281, 289, 297, 314, 316–17, 319–20 Southampton Bathing Corporation, 22, 25 Southampton College Administration Building, 316 Southampton Garden Club, 22, 297 Southampton Hospital, 297 Southampton Hospital Nursing School, 258 Southampton Landmarks and Historic Districts Board, 70 Southampton Press, The, 15, 17, 247 Spanish Colonial Revival style, 304 Spanish style, 297 St. Mark’s Episcopal Church, 148 State Register of Historic Places, 40 Stella, Joseph, 70 Stick style, 189 Stickney, Frederick W., 29, 35 stock market, 24–25, 248 Stokowski, Leopold, 234 stucco facades, 9, 60, 97, 106, 113, 134–35, 141, 149, 153, 177, 190, 205, 225, 242, 271, 297, 308 Studio Cottage, 11 Suffolk County Health Commission, 128 Sunset Court–Westerly, 288–95 Swan House, 99

INDEX

T. E. Conklin Brass and Copper Company, 140 Tanty: Encounters with the Past (Miller), 84 Taylor Creek, 307–08 Ten Acre House, 320 Tender Is the Night (Fitzgerald), 99 Terry, William, 55 Thaw, Josiah Copley, 319 Thayer, Cornelia Van Rensselaer, 184 theatres, 232–34, 271 Theodoracopulos, Harry and Gail, 313 Thomas, Andrew Jackson, 320 Thomas, Theodore Gaillard, 14–15, 113, 115 Thorpe, Joseph Greenleaf, 126, 229, 315 Throop, Lucy, 184–85 Tick Hall, 30 Tiffany, Louis Comfort, 140, 143 Tile Club, 18, 73 Time magazine, 248, 287 Town Pond, 55 Traitel Brothers, 38 Treanor & Fatio, 115 Tremedden House, 189, 193, 314 Trevor, Henry G., 319 Trupin, Barry, 254, 287 Tudor style, 113, 115, 120–21, 233, 304 Tuller School, 53 Tuthill, William B., 315 Twain, Mark, 209 Tyng, Ethel Hunt, 270–71, 273, 306–07, 313.

See also Four Fountains Tyng, Lucian Hamilton, 270–71, 273, 306– 07, 313. See also Four Fountains Tyng Playhouse. See Four Fountains United States Naval Academy Museum, 269 Van Rensselaer, Alex, 182 Van Rensselaer, Steven, 76 Van Vleck, Mrs. Charles E., Jr., 24 Vanderbilt, Consuelo. See Balsan, Mrs. Jacques Vanderbilt, Mrs. W. K., 66 Vanderbilt, William H., 103 vernacular architecture, 19, 22, 28, 56, 67, 175, 177 Victorian style, 60, 114 Villa de Medici, 164 Villa Maria, 11, 58–64, 320 Villa Maria High School, 63 Villa Mille Fiori, 22, 153, 162–73 Virginia hunt country, 290

Vitale, Ferruccio, 153 von Gal, Edwina, 178 Voysey, C. F. A., 232, 242 Wainscott House, 106 Wales, Ruth. See du Pont, Ruth Wales Wales, Salem H., 252 Walker & Gillette, 209, 211, 214 Wallace, Dianne, 178 Ward, Leroy P., 297 Warren & Clark, 319 Warren, Whitney, 83 Washington, George, 83 Water Mill, 10, 29, 34, 37, 59, 205 Watermill, 11, 13–14 Webb, J. Watson and Electra Havemeyer, 251 Webb, Richard, 234 Webb, William Seward, 251 Wellman, Francis L., 317 West Banks House, 318 West Bay Company, 148 West End Road, 126 West Hampton, 10, 17 West Lawn House, 317 Westbury, Long Island, 113 Westerly, 287, 288–95 Westhampton, 318 Westhampton Beach, 13, 140, 145 Westhampton Country Club, 22, 145, 148 Westhampton Yacht Squadron, 145, 149 Westwell, England, 178 Wetherill, Fernanda Wanamaker, 287, 291 whaling, 10, 13–14, 51 Wharton, Edith, 185 Wheelock, William E., 315 The White House, 77, 103 White, Stanford, 9, 11, 67, 73, 83–85, 88 Whitefield, 88 Whitman, Walt, 13 Wiborg, Adeline Moulton Sherman, 96–97.

See also The Dunes Wiborg, Frank Bestow, 96–98. See also The Dunes Wiborg, Mary Hoyt, 97–98 Wiborg, Olga Marie, 97–98 Wiborg, Sara. See Murphy, Sara Wiborg William Merritt Chase Homestead, 11, 67, 71–73 Williams, Wheeler, 278 Williston House, 317 Windbreak House, 319 Winterthur, 251, 254

[ 334 ]

Woodhouse, Lorenzo Easton, 228–29, 234.

See also Woodhouse Playhouse Woodhouse, Lorenzo G. and Emma, 229 Woodhouse, Marjorie, 232–34 Woodhouse, Mary Leland Kennedy, 228–29, 232–34, 236. See also Woodhouse Playhouse Woodhouse Playhouse, 22, 228–37 Woodin, William H., 319 Woods Lane, 55 Wooldon Manor, 22, 64, 81, 88, 112–23 Woolworth, F. W., 114 World War I, 25, 40, 258 World War II, 25 writers, 13, 17–18, 38, 99. See also specific names Wyckoff, Cora Dillon, 112, 114. See also Wooldon Manor Wyckoff, Peter Brown, 112–14. See also Wooldon Manor Wyndcote, 314 yachting, 17, 22, 145, 148–49, 159, 258 Yellin, Samuel, 244–45