HomeMy WebLinkAboutPE-21 FOR OFFICE USE ONLY
BUILDING-STRUCTURE INVENTORY FORM
UNIQUE SITE NO. !6.310, PO 104 7 PE 21
DIVISION FOR HISTORIC'PRESERVATION QUAD
NEW YORK STATE PARKS AND RE•CRE:lTION SERIES
ALBANY, NEW YORK (518)474-0479 NEG. NO.
YOUR NAME: Town of Southold/SPLIA DA_IE: November 1986
YOUR ADDRESS:flown Hall, Main Road TELEPHONE(516)765-1892
Southold, L. Z. , NeY. 11971
ORGANIZATION (if any)Southold Town Community Development Office
IDENTIFICATION
I. BUILDING NAME(Sy Trv;ngil as ' Studio "The Mooring"
Z. COUNTY: SuffoI k TOWN/CITY:,Soutbol d VILLAGE: �esreni�
3. STREET LOCATION: private road off Indian Neck Lance A-30()
4. OWNERSHIP: a. public ❑ b. private FXJ
5. PRESENT OWNER: C .C . Ewald ADDRESS: Indian Neck Lane
G. USI:: Original:_S_tudin Present: Residence
7. ACCESSIBILITY TO PUBLIC. Exterior visible from public road. Yes ❑ No ED
Interior accessible: Explain
DESCRIPTION_
9. BUILDING; a. clapboard ❑ b. stone ❑ c. brick ❑ +d. board and batten ❑
MATERIAL. e. cobblestone ❑ f. shingles ® g. stucco ❑ other:
1). STRUCTURAL a. wood frame with interlocking joints ❑
SYSTEM: b. wood frame with light members EX
(if kn(avn) c. masonry load bearing walls❑
d. metal (explain)
e. other
10. CONDITION: il- excellent LY b. good ❑ c. fair ❑ d. deteriorated ❑
11. INTEGRITY: a. original site ❑ b, moved ® if so,when" 3.9-7$—g few feet,
c. list major alterations and dates (if known):
After the death of Wiles' daughter Gladys,who was
PE-RSM a painter, the studio stood variant and was vandalized.
XVIII-12 In 1979 it was restored by Rbt. Barley architect.
12. PIIOTO: 13• AP: N.Y. Do ' Southold Quad
From north-west
North facade and west elevation H O
n
t A
� % � South F4
j 9 /MPIGgp•
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limp
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ill ill it •a •++4` {T,�!*O
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FE 21
14. THREATS TO BUILDING: a, none known 1 b. zoning ❑ c. roads ❑
d. developers ❑ e. deterioration ❑
f. other:
15. RELATED OUTBUILDINGS AND PROPERTY:
a. barn❑ b. carriage house ❑ c. garage
d. privy ❑ e, shed:) f. greenhouse ❑
g. shop C It, gardens ❑
i. landscape features: cottage
a. other: Rustic fence along Indian Neck Rd. at)
16. SURROUNDINGS OF THE BUILDING (check more than one if necessarv): at entrance
a.open land ❑ b. woodland KI to property
c. scattered buildings ❑
d.densely built-up ❑ e. commercial ❑
f. industrial ❑ g. residential 1�1
h.other: beach and bay
17. INTI.RRELATIONSHIP OF BUILDING AND SURROUNDINGS:
(Indicate if building or structure is in an historic district)
On the south side the house overlooks the beach and
Feconic Bay. Flights of steps lead down the cliff to
the beachfront. On the north side large studio windows
overlook the clearing and the forest behind it.
18. OTHER NOTABLE FEATURES OF BUILDING AND SITE (including interior features if known):
Front entrance appears to be from an early 1800 house4as
it is in the Greek-Revival style with pilasters and leaded
glass , side lights and transom.
See forms .FF 22, P7 23 and PF 36 for other Feconic artists.
SIGNIFICANCE
11). DATE OF INITIAL CONSTRUCTION: airy_9_a3'x
ARCHITECT:
BUILDER:
20. HISTORICAL AND ARCHITECTURAL. IMPORTANCE:
Irving Wiles' house and studio were the first to be built
on Indian Neck Lane overlooking the bay. The two structures
were joined together by a porch. The studio originally
stood a few feet further west. The windows on the north side
are exact replicas of the original ones , and so are the
windows on the south side , except for the round topped
window in the gable. *
Irving Wiles (1861-1948) taught painting during the
summer in this studio.
This house is a cultural landmark and recalls the days early
in this century when Feconic had its colony of artists.
21. SOURCES:#Conversation with Mrs. Kozlowsky 8/31/86 (see PE 21)
**LongIsland Traveler-Watchman. "75 years ago" . 10/12/78
"Artists of Suffolk County, Part I" Heckscher Museum,
fHLME.
Catalog 1970.
From prepared by Rosemary Skye Moritt, research
assistant.
PE 21
Irving Wilps Studio
1986 photo of
Irving Wiles'
studio from the
south showing
steps to beach.
Photo No. :
PE-RSI XVIII-13
i
� t F. �';���•{fir ��
PF; 21
Irving Wiles studio
1986 close-up
of entrance today.
RSM 11-21
r lON
I FAS
1J
r�
O1
1971 photo of
Irving Wiles' studio
r showing north studio
window and Greek
Revival entrance.
�k SPLIA collection.
PE 21
Irving Wilrs studio and house
-1971 Photo of
Irving Wiles ' house
which stood adjacent
to studio. The house
was torn down circa
1979
Collections SPLIA
R
y
1971 photo of
rustic fence at
roadside by entrance
to Wiles' studio and
-house.
Collections SPLIA
PE 2 Z
1 WATERFORD, CONNECTICL-iT l�70
Q /
r �
`tQl4Z ;4
L .�
��u.�l +..ati► et c i, QLQ
Nelson White 1pttpr. 1970
CD
PF 21
h _ -
an
Y .
AAA,L
que-
Nelson C. White letter, 1970
PE 21
WATERFCjjgo, CC'NNECTICUT
c
Nelson C. White 1P.tter. 1970
i
Pe 21
.nmunit� about him. His grandsons, Kenneth and Gerald Case, live in
She wa, Peconic now.
t herself.
horning. THE ARTISTS WHO CAME TO PECONIC
it home One summer in the eighteen-nineties a famous artist and
alio are. teacher, Lemuel Wiles, came to Peconic with a class of art
. Arthur students. They occupied the big Overton house at the corner
i of Peconic Lane and the North Road, not far from our house.
gats the
.� 's the One of the students set up her easel by our front gate and I
:v'll eat sidled out to watch. I was thrilled to think she was going to
paint a scene familiar to me and I thought I'd like to be in it.
ase little "Paint me," I begged. She replied, "All right. I will." My heart
I Alvah. leapt, and I knelt down beside her. She dipped her brush in
Heinie," the paint on her palette, leaned over and made a few daubs
•u going on my eager upturned face. I jumped up and ran to my refuge—
stolidly, the big willow tree in the back yard to sob out my disappoint-
ttled it! ment.
her and Apparently the quiet beauty of farm, woodland and shore
y small appealed to artists for many came to live in Peconic,—the son
a New of Lemuel, Irving R. Wiles, noted portrait painter, Edward A.
(smith's Bell, distinguished for the diaphanous quality of his draperies
I were and his imaginative pastorals, Orlando Ruland, and Henry W.
vent off Prellwitz and his artist wife, Edith Mitchell.
s which Mr. Irving R. Wiles rented the Overton house for the next
ted. He summer, and Mamma sent me over to be neighborly to their
tention little girl. Gladys was roller-skating up and down the short
ace and brick walk that led from the road to the side door. This was a
-en the city pastime novel to a country child and I hung on the gate
on the of the white picket fence, fascinated. I didn't say a word and
she didn't say a word. After a while she sat down on the porch
I Gold- steps, tool: off her skates and went in the house. We later be-
nystery came life-long friends.
seemed Gladys was a little shy at the first one of my birthday
j parties she attended. We played "Little Sally Waters, Sitting
e Civil In The Sun, Wishing and Sighing For A Nice Young Man."
Gladys was in the center of the ring of little girls. She was
Ander- ""it"� When we came to the words, "`Point to the East, point
Horror
103
A Rose of the Nineties .
Newell—. � 2
Pe 21
F
t
S.
to the West, point to the very one that you love best," Gladys
k didn't move. My mother, overseeing, stopped the singing and
asked why she didn't play the game. Gladys said quietly; "But,
Mrs. Case, I do not know which is east and which is west."
vThe Wiles later built the first summer home to be put up
Von Indian Neck. Before that they boarded for a time at Annie
Prince's opposite Jefferson's grocery store. Gladys and I had
an interesting and long-standing controversy. In the Prince
barn were two stalls side by side, the Jersey cow in one and
the horse in the other. We used to stand in front of the animals'
mangers and discuss which had the sweeter breath. She was
for the cow and I was for the horse.
T
Apple'
to Pic
on In,
tweet
fund.
a kite'
name(
had li
r_
E
for di:
f f the A.
track
slappi
throw
provi+
one-d
the ri
food
as the
of fo
scall(
get t
A Rose of the Nineties . R.C. Newell. main-
1962
104
IRVING RAMSEY WILES artist friends who built summer studios nearby in- Peconic Bay remained relatively small. Since scallop
Utica, New York 1861-1948 Peconic, New York cluded Henry and Edith Prellwitz and Edward August beds moved regularly, they could not be farmed like
Irving Ramsey Wiles received his earliest instruction Bell. oyster beds, and the dredging of scallops by sail
in art from his father, Lemuel Wiles. He also studied The paintings Wiles completed during his summer demanded both great skill and a receptivity to po-
under James Carroll Beckwith and William Merritt months at Peconic range from large, ambitious corn- ture's signs to take advantage of the right wind —
Chose before traveling to Paris in 1882 to complete positions to small, intimate studies. For instance, one the speed of the boat determined the depth of the
his training.About 1895, perhaps inspired by the suc- of his large-scale paintings of this period, A Long dredge. In this painting,Wiles has presented the most
cess of the summer school of art Chase had estab- Island Road, emphasizes the flat terrain and open opportune moment to gather scallops, on a windy
lished in 1891 at Shinnecock dills, Long Island, Wiles space on the Island's East End.Other works like Scal- day, when the water is rough. According to a fisher-
began teaching summer classes just across the bay, lop Boats, Peconic are small in scale and conception man of the period: "You had to work in bad weather,
at Peconic, on the Island's North Fork. One of his and represent a more intimate view of nature,as well that was when scallops could be caught the best,the
pupils, Kate Freeman Clark, described the area as as Wiles's own special interest in sailing. By the time rougher the water, the more scallops move around
"the most rovishingiy beautiful picturesque place" she Wiles began his series of scallop boat paintings, . . . ."103 In contrast to this scene of scallop boats in
had even seen.1" Evidently Wiles was equally about two hundred sailboats traversed the bay during action,Wiles painted another work,Scallop Dredgers
charmed by the setting, and three years later he pur- the height of the season, harvesting these shellfish. Becalmed, depicting the boats at anchor, in a hazy
chased land and built a studio and summer home— Unlike the oyster industry on the Great South Bay, mist on serene waters when conditions were not right
The Moorings — overlooking Peconic Boy.1w Other which hod been modernized, the scallop industry on for harvest.
"Ldng Island Landscape Painting". R.G. Pisano. 1985
t�
124 �-'
+51c a
� �}, goy.. :�•� �.�.�:`_ry �'�' __.. � ih � ...
PE 21
67
Iving Wiles studio, Peconic. 65
"The Studio at Peconic".
Artists of Suffolk • • 1
MuseumHeckscher Catalogue.
Pe 21
Antiques Magazine , June 1987
e
G. a•
Queries
EDITED BY ALLISON ECKARDT LEDES
GEORGE COCHRAN LAMBDIN
1$30-189b ONE of THE rarest books of Restoration England, Fe-
male Poems On several Occasions, written by the oth-
erwise anonymous Ephelia and published in London
in 1679 and again in 1682, will be reprinted in a fac-
simile edition. The frontispiece (illustrated below)
shows an engraved portrait of the author with a coat
of arms thought to be that of the Tilly (or Tillegh)
family of Normandy, France, and later England. Al-
though the identity of Ephelia has been posited since
the mid-nineteenth century, most identifications are
thought to be erroneous. Persons who know the
whereabouts of copies of the book, have information
about the author's identity or other examples of her
writings, or know the identity of the artist of her
portrait should contact
MAUREEN E. MuLVIF1ILL
45 Plaza Street West
y Brooklyn, New York 11217
FEMALE
FOEMS
y. On feveral
OCCASIONS.
� _ Gallery of p
Written by Epbtlin.
June Roses f
Oil on Canvas, 20 x 14 inches
Signed lower right "Geo, C. Umbdin" LO N D o N.
Exhibited: Brandywine River Museum 1186 Pr'samd by Willis o Dmri , for Yma fi1�•
c.."Aft,.4ple DM.167,;. lie
Ex
PAI
THE WORK of the American painter Irving R. Wiles P6
(1861-1948) is the subject of a forthcoming exhi- Sti
bition. Information about the artist and his works in ,
all mediums should be directed to
GARY A. REYNOLDS
Newark Museum
P.O. Box 540
Newark, New Jersey 07101
FWAMN 1 IN1 1
THE AMERICAN still-life and trompe-l'oeil painter Wil-
liam Harnett (1848-1892) is the subject of research
).1i()X 222091 CARMEL CALIFORNIA 93922 4f38-h25-4221, by Gertrude Grace Sill. She is interested in learning
BY APPOIN I MI N r the locations of his works.
,,�� � GER`�RUDE GRACE SILL
14,,IRIIG2/7!Q +Jui1� 1✓G" P!%dY/!I �!l191 1/ J
rr77 rf YJ Fine Arts Department
Fairfield University