National Register Nomination Information:
STATEMENT OF HISTORIC CONTEXTS:
Cornish Art Colony
The arrival of Augustus Saint-Gaudens in Cornish in 1885 marked the beginning of the Cornish Colony, one of the earliest art colonies in the U.S. Like their counterparts in Connecticut, New York, Massachusetts, and Dublin, New Hampshire, the Cornish art colonists were attracted by the area's natural beauty, climatic advantages and relative seclusion as well as by the mutual encouragement and intellectual stimulation offered by a variety of resident artists. The artists who were associated with the Cornish Colony settled in both Cornish and Plainfield, New Hampshire.
Saint-Gaudens' visit and later his decision to reside in Cornish were due in large part to the efforts of Charles Cotesworth Beaman, Jr., a successful New York lawyer and patron of the arts. Beaman began buying land in the declining Connecticut River farm communities of Cornish and Plainfield in the 1880s and by his death in 1900, held nearly 2,000 acres. The land which Beaman owned and his generosity were important factors in the establishment of the colony, allowing him to facilitate attracting artists such as Saint-Gaudens by renting or selling property to them. Beaman completed his own summer house, Blowmedown Farm in Cornish in 1884. The following year, he succeeded in convincing Saint-Gaudens to rent a dilapidated house on his property for the summer. Saint-Gaudens continued to rent the house, known as "Blowmeup Farm" or "Aspet" from that summer on, until convincing Beaman to sell him the house in 1891. The house is now part of the Saint-Gaudens National Historic Site (NR 1966).
The initial wave of artists, those who arrived in Cornish and Plainfield, prior to 1895, were primarily painters. Among the earliest to follow Saint-Gaudens were George de Forest Brush and Thomas Dewing. Brush lived in a tepee on Saint-Gaudens' field in 1887 and subsequently rented from Beaman while Dewing rented in 1886 before buying a house from Beaman the following year. Others who followed included painter Henry O. Walker; architect, painter and etcher Charles Platt; painter and etcher Stephen Parrish and his son, illustrator and painter, Maxfield, and painter and art critic Kenyon Cox, all of whom came to the colony, bought land and built residences in the 1890s. Some, including sculptor Daniel Chester French; painter, John White Alexander, and sculptor, Paul Manship came only for a few summers, as did President Woodrow Wilson, who made author Winston Churchill's "Harlakenden House", which burned in 1923, a summer White House. from 1913 to 1915.
Gradually the circle of artists was formed, usually through knowledge of someone who lived there or who had visited there. The colony ranks included an interrelationship of all the arts including painters, sculptors, decorators, illustrators, an architect, landscape designers, novelists, journalists, playwrights, poets, critics, essayists, composers, musicians, theatrical performers and patrons of the arts, from Boston and particularly from New York. In particular Augustus Saint-Gaudens and Thomas Dewing acted as magnets to attract a number of artists to the area. By 1905 there were as many forty families who were resident at least part of the year and a number who remained year-round. The Colonists generally corresponded to three arrival stages: artists and sculptors in the late 1880s and early 1890s; writers in the 1890s; and lawyers, doctors, politicians and the wealthy after about 1905. The variety of summer residents in many ways distinguished Cornish from other art colonies established at the end of the nineteenth century. A total over over eighty artists and distinguished personages have been documented as visiting the colony during its more than forty years of existence. The following is a list of persons who participated in the Cornish Art Colony.
Adeline Adams (1859-1948), writer
Herbert Adams (1858-1945), sculptor
John White Alexander (1856-1915), painter
Robert L. Barrett (1871-1969), writer and explorer
Ethel Barrymore (1879-1959), actress
Ernest Harold Baynes (1868-1925), naturalist and writer
Charles Cotesworth Beaman (1840-1900), lawyer
John Blair (1875-1948), actor
George de Forest Brush (1855-1941), painter
Witter Bynner (1881-1968), poet
Winston Churchill (1871-1947), writer
Kenyon Cox (1856-1919), painter and art critic
Louise Cox (1865-1945), painter
Herbert David Croly (1869-1930), writer
Maria Oakley Dewing (1845-1927) painter, writer and photographer
Thomas Wilmer Dewing (1851-1938), painter
Francis Duncan (1877-1972), writer and horticulturist
Peter Finley Dunne (1867-1936), writer
John Elliott (1858-1925), painter
Maud Howe Elliott (1854-1948), writer
William I. Evarts (1818-1901), lawyer and statesman
James Earle Fraser (1876-1953), sculptor
Daniel Chester French (1850-1931), sculptor
Henry Brown Fuller (1867-1934), painter
Lucia Fairchild Fuller (1872-1924), miniaturist
Frances Grimes (1869-1963), sculptor
Learned Hand (1872-1961), jurist
Norman Hapgood (1868-1937), publisher and essayist
William Howard Hart (1863-1937), painter and designer
Elsie Ward Hering (1871-1923), sculptor
Henry Hering (1874-1949), sculptor
Robert Herrick (1868-1938), poet
Louise Homer (1871-l947), opera singer
Sidney Homer (1864-1953), composer
Frances Lyons Houston (1851-1906), painter and goldsmith
William Henry Hyde (1858-1943), painter and illustrator
Samuel Isham (1855-1914), painter and art critic
Grace Lawrence (1871-1940), musician
Ernest Lawson (1873-1939), painter
Annie Lazarus (1859-?), patron, writer
Philip Littell (1868-1943), writer and publisher
Percy MacKaye (1875-1956), poet and dramatist
Frederick William MacMonnies (1863-1937), sculptor
Paul Manship (1885-1966), sculptor
Helen Mears (1872-1916), sculptor
Williard Leroy Metcalf (1858-1925), painter
Langdon Mitchell (1862-1925), dramatist
William Vaughan Moody (1869-1910), writer
Rose Standish Nichols (1872-1960), writer and horticulturist
Robert Paine (1870-1946), sculptor and technical innovator
Anne Parrish (1878-1966), sculptor
Lydia Austin Parrish (1872-1953), music historian
Maxfield Parrish (1870-1966), illustrator and painter
Stephen Parrish (1846-1938), painter and etcher
Ernest Clifford Peixotto (1869-1940), painter and writer
Maxwell Evarts Perkins (1884-1947), editor
Charles A. Platt (1861-1933), architect, painter and etcher
Arthur Henry Prellwitz (1865-1940), painter
Edith Prellwitz (1865-1944), painter
Otto Roth (1866-1954), musician
George Rublee (1868-1957), lawyer and diplomat
Juliette Barrett Rublee (1875-1966), dancer and patron
Annette Johnson St. Gaudens (1869-1943), sculptor
Augusta Homer Saint-Gaudens (1848-1926), painter
Augustus Saint-Gaudens (1848-l907), sculptor
Carlota Dolley Saint-Gaudens (1884-1927), painter and miniaturist
Homer Saint-Gaudens (1880-1958), art critic and museum director
Louis St. Gaudens (1854-1913), sculptor
Everett Shinn (1873-l953), painter
Florence Scovel Shinn (1869-1940), illustrator
Ellen Biddle Shipman (1869-1950), landscape architect
Louis Evan Shipman (1869-1933), dramatist
Clara (Potter) Davidge Taylor (1858-1921), interior decorator
Henry F. Taylor (1853-1925), painter and theorist
Henry O. Walker (1843-1929), painter
Laura Walker (1857-1929), designer of textiles and photographer
Julian Alden Weir (1852-1919), painter
Arthur Whiting (1861-1936), musician and composer
President Woodrow Wilson (1856-1924)
Marguerite Thompson Zorach (1887-1968), painter and designer of tapestries
William Zorach (1887-l966), sculptor and painter
Mount Ascutney, rising 3,320 feet across the Connecticut River in Vermont, was a dominant theme and inspiration for many of the artists' works and their residences. With few exceptions, houses were sited to maximize views of the majestic mountain and the Connecticut River valley. Magnificent views of Mount Ascutney are still visible at a number of properties including the Platt, Croly-Newbold, Slade-Bulkeley and Lazarus-Farley Houses. Stephen Parrish was unique among the Colonists for seeking a view northward along the Hartland gap. Gardens were also a common denominator in many of the Colonists' works and properties. The extensive gardens of Colonists such as Thomas Dewing and Stephen Parrish, went hand in hand with the landscape designs of Charles Platt and his proteges Ellen Shipman and Rose Nichols.
Economically, the Colonists contributed a large share of town tax money and provided many of the local inhabitants with full or part-time employment, patronized local markets, and created several commercial enterprises such as a grist mill and creamery. This financial influx occurred at a critical time, when agriculture as a prime economic resource was failing.
The members of the Cornish Art Colony also played a significant and often progressive role in promoting cultural interest. The Colonists fostered intellectual and artistic life in the region by supporting the towns' libraries, by encouraging participation in local dramatic productions, and by stimulating interest in beautifying the towns. Lasting improvements include the stage backdrop by Maxfield Parrish which decorates the Plainfield Town Hall (NR 1985) and the Meriden Bird Club and Sanctuary, organized in 1910 by Ernest Harold Baynes, the first institution of its type in the nation. The Mothers' and Daughters' Club in Plainfield was begun in 1897 at the suggestion of Colony women "for the mutual improvement of its members", who included both Colonists and natives. The first such club in New Hampshire and one of the first in the United States, it provided a forum for stimulating lectures and discussions and for arts and crafts and other activities. (NR 1982) It is significant to note that unlike many art colonies, the Cornish Colony did not center its activity on a summer art school or formal art association, and thus was probably more likely to be drawn into local community affairs.
The artists and patrons who congregated to Cornish constructed a number of architecturally remarkable dwellings. Among these are designs for ten properties in Cornish and Plainfield by Colony member and later well known architect, Charles Platt, who blended American influences with those of Italian villas. Other architects who designed buildings for Cornish Colony members included Stanford White and George Babb of the New York firm of McKim, Mead and White; J. W. Beale and Daniel Appleton of Boston and Wilson Eyre of Philadelphia. Other Colonists chose to remodel and retrofit existing, older farmhouses. In addition to the adaptation of the Italian Villa favored by Platt, residences constructed during this period generally bear the influence of the Colonial Revival, Shingle and Craftsman modes.
The period of significance outlined for this context (1885-1930) commences with the arrival of Augustus Saint-Gaudens in Cornish in 1885. The high point of the Colony is generally thought to have ended by 1930. Augustus Saint-Gaudens died in 1907 although a number of artists continued to come to Cornish for some years after. By 1930 the number of artists coming to Cornish had decreased significantly although several continued to work here. Stephen Parrish for example died in Cornish in 1938 while his son Maxfield lived in Plainfield until his death in 1966. The geographical area consists of the communities of Plainfield and Cornish, throughout which, Cornish Colonists lived, worked and relaxed. Most of the Cornish Colony resources are located in a three mile radius in the northwest corner of Cornish and the southwest corner of Plainfield.
Works of Charles A. Platt in Cornish and Plainfield, 1889-1914:
Charles A. Platt was a part time resident of Cornish from 1889 to 1933, years which were to have a major impact on his professional development. It was in Cornish that Platt evolved from an etcher and painter of landscapes into a successful architect and landscape architect. In Cornish, through ten designs for himself and his Cornish friends and neighbors, Platt experimented with the ideas he had formulated during his years in Europe. The blend of Georgian and Italian Renaissance elements and the joining of classical houses to landscapes by means of terraces, pergolas and formal gardens, which Platt first used in Cornish were to be constants throughout his career. The small country houses he designed in New Hampshire are thus extremely important examples of his early work and critical links in his professional development. The number of designs in such close proximity to each other by an architect and landscape designer of Platt's caliber is also extremely rare.
Platt was born in Manhattan in 1861. He attended the National Academy of Design and the Art Students League in New York, concentrating on painting and etching. From 1882 until 1887 he studied painting in Paris, both independently and at the Academie Julian, where he met his future fellow Cornish artists Willard Leroy Metcalf, Kenyon Cox and George deForest Brush. During his time in Europe he was also exposed to the architectural philosophy of the Ecole des Beaux Arts and was strongly influenced by the Renaissance buildings of Italy, which he visited for the first time in 1886.
When he returned to New York in 1887, Platt concentrated on etching and landscape painting. He first came to Cornish in the summer of 1889 at the invitation of Henry O. Walker, a painter and fellow New Yorker whom Platt had known since they were both students in Paris in 1882.
Platt may have well had a hand in the design of Walker's House in 1889 but the house and garden Platt designed for himself in Cornish in 1890, next to Henry Walker's house, provided him with the first real opportunity to experiment with his architectural ideas. Platt continued to add onto and change the house over the years, adding a garden in 1892, a wing in 1904 and other changes until the house reached its present appearance in 1912.
Platt's first real commission, "High Court" for Miss Annie Lazarus in 1890 is significant as the start of Platt's long and successful architectural career and his shift from landscape painting. As he was to do in many other designs, Platt drew upon the gardens and villas he had seen in Italy.
During most of the 1890s Platt continued to pursue his career as a landscape painter. In his design for a house in Plainfield for Grace and Elizabeth Lawrence in 1896 Platt tempered the Italian villa influence in favor of a house better able to withstand New Hampshire winters and more influenced by a New England farmhouse. In 1897 Platt designed a Cornish residence for one of his most important supporters, Herbert Croly, editor of Architectural Record. Characteristic of his houses of the late 1890s, here Platt utilized rough horizontal boarding, a hip roof, L-shaped plan and projecting loggia. Similar to the Croly House, Platt designed a home for Mary Smoot in Plainfield in 1899.
The largest of Platt's Cornish commissions was the house he designed for novelist Winston Churchill in several stages beginning in 1901. Unfortunately only the service wing survived a fire in 1923. In 1903 and 1914 Platt also was employed by Churchill for additions and alterations to a house he owned in Plainfield. Between 1901 and 1903 Platt was also involved in a design for a house in Plainfield for sculptor Herbert Adams. Platt's final major commission, associated with the Cornish Colony was the house he designed for Emily Slade in Cornish in 1904.
In addition to his impact on Cornish country houses, Platt also set the style of Cornish gardens. In general the gardens of his design and otherwise, were symmetrical and formal and placed next to the house. They were usually sited so as not to conflict with views, especially those of Mount Ascutney.
With the exception of "Harlackenden" built for Winston Churchill and destroyed by fire, all of Platt's Cornish and Plainfield commissions are extant and display a high level of integrity.
ASSOClATED PROPERTY TYPES:
Cornish Colony-era buildings and structures in Plainfield and Cornish including residences, barns, carriage houses, studios, ancillary structures and gardens. social institutions and public buildings.
1. Residential Buildings 1885-1930
The buildings associated with this property type are located in both Cornish and Plainfield, and are primarily one and a half and two story wood frame structures, sheathed in wooden weatherboards. Many of the residential buildings, particularly those designed by architect Charles Platt, display an adaptation of the Italian villa to the requirements of a smaller, more inexpensive American summer house. The more elaborate of these structures would include the Lazarus-Farley House ("High Court") and the Slade-Bulkeley House, with their U-shaped plan and extensive pergolas. An increasing integration of "Colonial" elements is seen in some of Platt's other designs including the Lawrence-Taylor House. Many of Platt's residential buildings also display elements such as exposed rafters, alluding to a Craftsman style influence. Several properties including the Whiting-Palmer House exemplify the growing trend toward the Shingle Style. Other Colonists chose to remodel and retrofit existing, older farmhouses. As seen locally in the Beaman-Macleay and Nichols Houses, alterations and additions to these structures often tended toward the Colonial Revival style. The Houston-Rublee House, with its exuberant Tudor Revival detailing, is indicative of the extreme latitude that could characterize late nineteenth century eclecticism.
Many of these properties are significant under Criteria C, the category of Architecture, for exemplifying current architectural styles of the time, including Classical Revival, Colonial Revival, and the Shingle Styles. The Platt House is also important for its association with, i.e. the design and residence of, architect Charles A. Platt. Other structures, including the Croly-Newbold, Whiting-Littell, Parrish-Gordon and Walker-White Houses are significant under Criteria A and possibly B, for their general associations with the Cornish Arts Colony and in some cases, for a link to a specific significant member of the Colony.
The structures associated with this property type were chosen because of their associations with the Cornish Arts Colony; most notably, the life of a significant artist and/or the creation of a great work of art/architecture but also for associations with patrons and others who were attracted to the Colony. All retain a high level of architectural integrity. In addition to single dwellings, residential structures under this category include secondary structures such as barns, carriage houses, garages, dependencies and artists' studios when they are associated with a primary residence.
Examples of this property type should retain sufficient architectural integrity to convey their use during the late 19th and early 20th centuries. Number of stories, materials used, and architectural styles may vary.
2. Social Institutions
For the purposes of this nomination, this property type is most clearly illustrated in the Mothers' and Daughters' Clubhouse, one of the earliest women's clubhouses in the United States which remains in original condition. The small clapboarded structure, reminiscent of a bungalow, was built in 1901. It is a frame building displaying many motifs utilized by Charles Platt including ornamental rafter feet and a pergola-like porch and there is speculation that Platt may have been involved in the design.
This property type is significant for its association with the Cornish Arts Colony. The Club was founded in 1897 by women of the Colony community including Laura Walker, Eleanor Platt and Frances Houston, in combination with members of the local community. The Clubhouse was constructed in direct response to an arts and crafts program for local women and is also an important landmark in the resurgence of American handicrafts.
Already individually listed on the National Register, the Mothers' and Daughters' Clubhouse is eligible under National Register Criteria A due to the contribution it makes to the Cornish Arts Colony and under Criteria C for exemplifying craftsmanship in a style prevalent in its time period. The structure has been determined to be significant in the areas of Architecture, Art, Commerce, Education, Industry and Social/humanitarian.
This structure has retained a high degree of architectural integrity and symbolizes perhaps more than any other public building the unique relationship which existed between the members of the Cornish Colony and the local townspeople of Cornish and Plainfield.
Should any additional examples of this property type be discovered by future research, they should retain sufficient architectural integrity to convey their use during the property's period of significance. Number of stories, materials used, and architectural styles may vary
3. Public Buildings
The buildings associated with this property type would consist of public buildings affected by Colony members. Standing resources of this type with associations to the Cornish Art Colony include the Plainfield Town Hall and the Blow-Me-Down Grange in Plainfield. Constructed in 1846, the single story building was supplemented by a rear stage addition in 1916, funded largely by William Howard Hart, a Plainfield resident and landscape artist of the Cornish Colony. An additional example of a public building which benefitted from the Colony members' generosity is the Blow-Me-Down Grange in Plainfield which displays a mural painted by miniature painter Lucia Fairchild Fuller, who came to Cornish with her artist husband in 1897.
In relation to the Cornish Arts Colony, the Plainfield Town Hall, already individually listed on the National Register of Historic Places, is significant because it contains a stage backdrop and wings designed by famous painter Maxfield Parrish. In a lengthy career spanning from 1894 to 1962, Parrish prepared only three designs for theatrical scenery including that of the Plainfield Town Hall. The design for the Plainfield scenery, prepared in 1916, while typical of many of Parrish's works in terms of subject matter (Mount Ascutney) and hues (iridescent blues and purples) survives as an early exercise of his in pure landscape and a unique example of his work of a theatrical nature. Structures under this category may be eligible under National Register Criteria A due to the contributions they make to the understanding of the Cornish Colony, and in some cases may be eligible under National Register Criteria C for exemplifying craftsmanship in styles prevalent in the time period noted.
The number of resources encompassed in this property type is extremely small. Examples of this property type should retain sufficient architectural integrity to convey their use during the late 19th and early 20th centuries and the specific contribution of a Colony member or relation to the Colony. Number of stories, materials used, and architectural styles will vary.
At one time Cornish and Plainfield possessed a number of notable formal landscapes, designed by leading landscape architects including Charles Platt and his proteges Ellen Shipman and Rose Nichols. Platt largely set the style of Cornish gardens which were predominantly symmetrical and formal and adjacent to the house so as not no conflict with views of Mount Ascutney and other scenic vistas. The passage of time and economic considerations have caused the deterioration, reduction in scale and destruction of a number of these gardens, although several still exist, generally in a more simplified form. The work of Charles A. Platt, an exponent of the neo-Renaissance landscape style is best evident at the Slade-Bulkeley House, which retains its terracing, pergolas, siting, arrangement and garden furniture. This has not been the case at other significant Platt-designed properties which once hosted impressive gardens including the Croly-Newbold House. At Platt's own house, the plantings have been drastically scaled back although the basic architecture of the landscape remains. While the Parrish-Gordon House is adorned by well maintained modern gardens and plantings, the original integrity of the gardens has been largely lost although the deteriorated remains of many of the former garden features are still visible.
The gardens which survive with integrity intact are highly significant for the way in which the artists strove to integrate and elevate the natural beauty of their surroundings in their art and their homes. The love of the countryside and gardening were passions in Cornish and thus the colony became a training ground for landscape designers. In the case of the Charles Platt designs, these gardens and the attention he paid to site houses and maximize views are evidence of his roots in landscape painting.
The number of resources encompassed in this property type is small. Gardens included in this property type should be documented as being the design of a significant landscape designer, including but not limited to, Charles Platt, Ellen Shipman or Rose Nichols. They should retain sufficient integrity in terms of their plantings and architectural elements to convey the original design and intent.
SUMMARY OF IDENTIFICATION AND EVALUATION METHODS:
This multiple resource property listing grew out of a partial inventory of historic properties in the Town of Cornish begun in 1988 by Lisa Mausolf of the Upper Valley-Lake Sunapee Council in Lebanon, New Hampshire, funded by a survey and planning grant from the U.S. Department of the Interior/National Park Service through the N.H. Division of Historical Resources. Approximately 125-150 properties were surveyed in Cornish and are housed in the NH Division of Historical Resources in Concord, New Hampshire.
Since that time, information on the significance of various properties has been greatly enhanced by archival research on artists associated with the Colony completed by a number of individuals including Virginia Colby and the active interest of the Saint-Gaudens National Historic Site and its director, John Dryfhout. The information brought together in A Circle of Friends: Art Colonies of Cornish and Dublin as part of a cooperative exhibition project in 1985 was especially valuable in defining the historic context. The typology of significant property types has been based on association with the Cornish Colony and were selected for their close association with the theme and their illustration of structural types and functions relating to important aspects of the Colony members, their lives and influences. The standards of integrity were based on the National Register standards for assessing integrity.
This multiple property nomination was prepared by Lisa Mausolf of the Upper Valley-Lake Sunapee Council, beginning in 1989. Additional preparation of this nomination was provided by Christine Fonda of the New Hampshire Division of Historical Resources. Because of time and budget constraints, the intention is to pursue this nomination in an incremental fashion, adding to the nomination as resources allow. This multiple property nomination should also include several properties previously individually- listed on the National Register that have associations with the Cornish Arts Colony: The Saint-Gaudens National Historic Site (listed 10/15/66) and the Louis St. Gaudens House and Studio Site (11/15/72) in Cornish, as well as the Mothers and Daughters Clubhouse (3/11/82) and Plainfield Town Hall (6/6/85) in Plainfield.
Cornish Arts Colony MPS Sullivan County, New Hampshire
Saint-Gaudens National Historic Site, Cornish. Listed 10/15/66
Louis St. Gaudens House and Studio Site, Cornish. Listed 11/15/72
Plainfield Town Hall, Plainfield. Listed 6/6/85
Mothers' and Daughters' Club House, Plainfield. Listed 3/11/82
Charles A. Platt House and Studio
MAJOR BIBLIOGRAPHICAL REFERENCES
Books and Reports:
Bowles, Ella S. Hands That Built New Hampshire. (Brattleboro: Stephen Daye Press, 1940). Writers Program, WPA.
Child, William H. History of the Town of Cornish, New Hampshire, Vol, 1-2. (Spartanburg, S.C.: The Reprint Company, Publishers, 1975).
Menke, William F. Cornish's New Hampshire Natural Resource Inventory. Winter 1976.
Morgan, Keith N. Charles A. Platt: The Artist as Architect. New York: MIT Press, 1985.
Rawson, Barbara Eastman. History of Cornish, New Hampshire. vol. 3. Littleton, NH: Courier Printing Co., Inc., 1963.
A Small Circle of Friends: Art Colonies of Cornish and Dublin. (Durham, NH: University Art Galleries, 1985).
Upper Valley-Lake Sunapee Council. (Lebanon, NH: 1988). Cornish Historic Resources Survey. 1988.
Wade, Hugh Mason. A Brief History of Cornish. NH 1763-1974. (Hanover, NH: University Press of New England, 1976).
_____. "A Cornish House and Garden" (Slade), Architectural Record, v. 22, Sept. 1907.
Colby, Virginia Reed. "Stephen and Maxfield Parrish in New Hampshire", Antiques, June 1979.
Croly, Herbert. "The Architectural Work of Charles A. Platt", Architectural Record 15 (March 1904): 181-244.
Ermenc, Christine. "Economic Give and Take: Farmers and Aesthetes in Cornish and Plainfield, New Hampshire, 1885-1910", Historical New Hampshire, vol. 39, nos. 3 & 4, Fall/Winter 1984.
Farley, James L. "The Cornish Colony", Dartmouth College Library Bulletin, vol. XIV, no. 1, November 1973.
Henderson, Helen. "High Court" House and Garden v. 8, July 1905.
_____. "The House of Mr. Howard Hart, at Cornish, N.H." Architectural Record Vol. XXII, October 1907.
_____. "The House of Mr. Maxfield Parrish" Architectural Record Vol XXII, October 1907.
Martin, Jennifer. "Portraits of Flowers: The Out-of-door Still Life Paintings of Maria Oakey Dewing", American Art Review, Dec. 1977.
Morgan, Keith N. "Charles A. Platt's houses and gardens in Cornish, New Hampshire", Antiques, July 1982.
Wise, Herbert. "A Day at Northcote, New Hampshire" House and Garden, June 1902.
National Register Nominations:
Mothers' & Daughters' Club House, Plainfield.
Plainfield Town Hall, Plainfield.
Saint-Gaudens National Historic Site, Cornish.
Louis St. Gaudens House & Studio Site, Cornish.
Walker, Laura M. "Memories". Unpublished manuscript dated 1938, courtesy of Mrs. Ledyard Smith (granddaughter).
Town and City Atlas of the State of New Hampshire. (Boston: D.H. Hurd & Co., 1892.)
FORM PREPARED BY: Lisa Mausolf, Preservation Specialist, Upper Valley-Lake Sunapee Council, 314 First NH Bank Building, Lebanon, NH 03766. Tel: 603-448-1680. Date: November 1989.
DATE ENTERED: NOMINATION IS PENDING.
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