New Hampshire Home November-December 2020

Mixing antiques with modern style for elegant décor

The Slab Yard and Design Center at Rumford Stone

Experience one of the region’s largest slab yards, located in Bow, New Hampshire, where you will find more than 150 colors of granite, and quartz from names like Cambria, Silestone, LG Viatera, and BGE Quartz. Discover a wide selection of Laminam large-size porcelain slabs used in traditional and advanced architecture and design, or explore an almost endless selection of remnants. Make an appointment to visit our new Slab Yard and Design Center and start making your dreams a reality.

www.RumfordStone.com

Cold Outside... Warm Inside

has long been world-renowned as the premium manufacturer of Euro-style radiators for hot water and steam heating systems. We are pleased to introduce a Runtal Electric line that includes Wall Panel, Towel Radiator and Baseboard designs.

Suitable for both retro-fit and new construction, Runtal Electric products provide a very efficient and comfortable radiant heat. They are an excellent source of primary or supplemental heat and a problem-solver for areas needing additional heat. They are attractive (available in over 100 colors), durable, quiet and easy to install.

To view Runtal’s complete line of heating products, please visit our showroom in Haverhill, MA; M, T, W, F 9-5, TH 9-8 or by appointment and online at: www.runtalnorthamerica.com .

Prospect Hill Antiques is proudly partnered with Cicely Beston Interior Designs offering full scale interior design services

Specializing in new construction, renovations, custom kitchen, bath and cabinetry designs. Offering window treatments of all types, furniture, upholstery, rugs and lighting. Space planning, color consultation and room refresh and redesign.

Visit our showroom to see our lines of fine home furnishings featuring: Century Furniture

Rowe and Robin Bruce Ambella Home Hooker Furniture

Visual Comfort Lighting

Summer Classics Outdoor furniture

Cicely Beston Interior Designs, LLC 207 Main Street, New London 603-526-2657

cicely@cbestoninteriordesigns.com cbestoninteriordesigns.com

Creating beautiful spaces that accentuate our clients’ lifestyle.

Lighting the Way You Live

Northern New England’s Lighting and Design Specialists

437 SHATTUCK WAY, NEWINGTON, NH | 833-492-7938

MONDAY – FRIDAY 8:30 AM – 5:00 PM | SATURDAY 9:00AM – 5:00 PM | SUNDAY: CLOSED

221 WASHINGTON STREET, CLAREMONT, NH | 833-492-7946

MONDAY – FRIDAY 8:00 AM – 5:00 PM | SATURDAY & SUNDAY: CLOSED

Whether your home is on a lake, in the mountains or in the center of a beautiful New Hampshire town, you want your rooms to reflect your lifestyle and personal taste. Our stores will inspire you, spark ideas and provide solutions. Learn why the construction of quality furniture makes a difference and enjoy design expertise from a staff whose only goal is to make you love your home. Whether you are looking for one perfect piece or furnishing an entire home, we invite you to discover all that Winchendon Furniture has to offer.

on the cover and page 58

Inspired by

58 A house for All Seasons Th is Adirondack home was designed both to welcome family and to incorporate the natural surroundings.

By Carrie Sherman

Photography courtesy of MossCreek

70 Tradition With a Twist on Beacon hill

Sarah Chapin used a combination of antiques, new furnishings, bold colors and modern touches to redesign a five-story brick house in Boston’s historic Beacon Hill.

By Karen A. Jamrog

Photography by John W. Hession

Photography courtesy of Moss Creek

78 New Life for an Old Barn

This is no ordinary barn. With a great deal of creativity and vision, TMS Architects and homeowner Cate Carlisle transformed the h istoric structure into the perfect small home.

By Debbie Kane

Photography by Rob Karosis

24 From the Editor

26 Favorite Finds

For the Season of Giving Gifts

By Rose King

36 home Cooking

Holiday Desserts

By Mary Ann Esposito

42 Inspiration

A Lakefront Haven

By Bill Burke

Photography by Morgan Karanasios

50 Garden Rx

Beguiling Begonias

By Robin Sweetser

88 Master of his Craft

Bladesmith Zach Jonas

By Bill Burke

Photography by John W. Hession

95 home Resources

96 At home in New hampshire

Ghosts of a Cottage Past

By Bill Burke

Illustration by Carolyn Vibbert departments

residential commercial interior design

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Jenn Bakos specializes in documenting and capturing life’s special moments, and she also loves to create beautiful imagery for businesses of all kinds. Her photography o en appears in New Hampshire Magazine

Bill Burke is a contributing editor at New Hampshire Magazine and the managing editor of custom publications at McLean Communications, the parent company of both New Hampshire Home and New Hampshire Magazine. He is also the author of travel advice books on Walt Disney World, which happens to be one of his favorite places.

Mary Ann Esposito is the host of the public television series Ciao Italia, now in its twenty-ninth season, and the author of thirteen cookbooks, including her most recent, Ciao Italia: My Lifelong Food Adventures in Italy. She lives in New Hampshire. Visit her website at ciaoitalia.com.

John W. Hession is NEW HAMPSHIRE HOME’s photo editor as well as a photographer and filmmaker specializing in architecture, design, food and advertising. He is currently working on a series of films for the New Hampshire Dance Collaborative. See his work at advanceddigitalphotography.com.

Karen A. Jamrog is a longtime freelancer who covers a wide variety of topics. She is a frequent contributor to New Hampshire Magazine, where she is also the regular Health Department writer.

Statement of Ownership Management and Circulation

Debbie Kane is a writer and editor based on the New Hampshire Seacoast. She writes about home, design, food, spirits and a variety of other subjects for regional publications and clients across New England. She may be reached at debbiekanewriter.com.

Morgan Karanasios is NEW HAMPSHIRE HOME’s photographer. While she was a student in Dijon, France, she took photographs throughout Europe and continues to develop her passion for photography.

Rob Karosis has been creating award-winning architectural photography for more than thirty years. While specializing in photographing high-end residential and commercial spaces, his expertise extends to advertising and corporate projects, including hotels and resorts, retirement living communities and golf courses.

Rose Z. King is NEW HAMPSHIRE HOME’s editorial assistant. She is a Ph.D. student at the University of Glasgow, specializing in Venetian Renaissance art.

Carrie Sherman works as a freelance writer and editor. She also writes fiction, and her short stories have been published in the Saint Katherine Review and Yankee magazine. She lives in Ki ery Point, Maine, with her husband, Terry, and their dog. She can be reached at carrie.sherman7@gmail.com.

Robin Sweetser writes on gardening for the Sunday Concord Monitor and is a contributor to the Old Farmer’s Almanac, among other publications. A former Seacoast resident, she now lives and gardens in Hillsborough.

Carolyn Vibbert is a Portsmouth illustrator whose work also appears on packaging for food and wine brands such as Barbara’s, Stone Cellars and Williams Sonoma. She is represented by Freda Sco , and you can see more of her work at fredasco creative.com.

Custom Cabinetry that Makes a Statement.

Here at Cedar Crest, customers work directly with local cabinetmakers and designers to produce extraordinary results. Our family-owned business creates custom cabinetry in our state-of-the-art shop in Manchester. We employ only locally sourced, eco-friendly materials and local, highly experienced craftspeople.

Custom cabinetry that’s off the charts. Not off the shelf.

november / december 2020 v

14 | n umber 6 nhh ome m agazine.com

Ernesto Burden

Jodie Hall, Nicole Huot c

Bill Burke, Mary Ann Esposito, Karen A. Jamrog, Debbie Kane, Rob Karosis, Carrie Sherman, Robin Sweetser, Carolyn Vibbert S

Jessica Schooley (603) 413-5143 • (603) 345-2752 jschooley@mcleancommunications.com

Brook Holmberg

R Emily Samatis

B

Heather Rood Digi

Morgen Connor

Erica Thoits, editor New HampsHire Home 150 Dow Street; Manchester, NH 03101 (603) 736-8056 editor@NHHomeMagazine.com S UBS c R i PT i ONS Subscriptions, New HampsHire Home PO Box 433273; Palm Coast, FL 32143 call (877) 494-2036; subscribe online at NHHomeMagazine.com; or email NHHome@emailcustomerservice.com

and designers to produce extraordinary results. Our family-owned business creates custom cabinetry in our state-of-the-art shop in Manchester. We employ only locally sourced, eco-friendly materials and local, highly experienced craftspeople. Call or visit us to set up a free in-store design

Here at Cedar Crest, customers work directly with local cabinetmakers and designers to produce extraordinary results. Our family-owned business creates custom cabinetry in our state-of-the-art shop in Manchester. We employ only locally sourced, eco-friendly materials and local, highly experienced craftspeople. Call or visit us to set up a free in-store design consultation.

Ask about our free in-store design consultation.

MONDAY-FRIDAY: 8:00AM TO 4:00PM | SATURDAY: 9:00AM - 3:00PM | SUNDAY: CLOSED 9050 SOUTH WILLOW ST. MANCHESTER, NH 03103 TEL: (603) 606-6123 CEDARCRESTCABINETRY.COM

bimonthly by McLean Communications, Llc.; 150 Dow Street; Manchester, NH 03101; (603) 624-1442. All rights reserved. Reproduction in whole or in part without the publisher’s written permission is prohibited. The publisher assumes no responsibility for any mistakes in advertisements or editorial. Statements and opinions expressed in this magazine do not necessarily reflect or

What a Home Reveals

The old saying goes, “If only these walls could talk,” but I think they can.

When imagining an editor, a few stereotypes tend to surface, such as a red-pen-wielding grammar obsessive, or perhaps Meryl Streep as the imperious Miranda Priestly in “The Devil Wears Prada.” Before the pandemic turned such gatherings virtual, I attended a career day, where I asked twenty or so children to tell me what they think a magazine editor does. Answers were of varying degrees of accuracy: “helping people write better,” “giving people things to write,” “getting paid to read books” (I wish), “telling people what to do,” “fixing spelling,” “making things look nice” and, my favorite, “being the boss.”

What I eventually tell everyone, and what I told the kids when no more raised hands appeared, is this: I tell true stories. That’s the heart of the job, and why I love it. When people assume my days are filled with proofreading and hounding writers to turn in copy on time, they’re not wrong; they’re just identifying the nuts and bolts, not the mission. And, in case you’re wondering, I have neither a red pen nor a desire to crush the spirit of a personal assistant, should I ever get one.

For the past thirteen years or so, I’ve told the stories of the Granite State in New Hampshire Home’s sister publication New Hampshire Magazine, covering everything about what makes our state special (and, sometimes, the special challenges it faces). In those pages it is our pleasure to celebrate the people and attractions that make it such a wonderful place to live.

At New Hampshire Home, I now have the chance to explore and reveal the stories of a whole new community—the talented architects, builders, interior designers, landscape designers and more— whose talents combine to create the spaces that tell the stories of us

I also welcome the privilege of exploring the countless stories of homeowners around the state.

After all, a house is a structure, yes, but it’s also an extension of our personalities, family traditions, tastes, and especially values. The places where we cook, sleep, relax, entertain, find refuge and raise children reveal something about us, and should you look closely enough, you can learn much about the people who call them home.

For instance, in this issue, a couple wanted to downsize where they could comfortably age, but they didn’t want to relinquish their 1700s-era home and the deep sense of place it represented (page 78). Their inspired solution was to turn the adjacent barn into a unique space firmly rooted in the past but fitting for the next stage of life. In the second feature, stunning décor melds antiques and subtle nods to a city’s history with bold style to create a modern home with clear connections to the area’s heritage (page 70). Here, I think, are two families that value honoring and preserving the past while looking to the future.

Finally, in our cover story, a canoe trip on Lake Sunapee stirred Stephen and Nicole St. Mary’s childhood memories, prompting them to build an elegant home in the rustic Adirondack style, with enough room for their relatives to gather (page 58). Constructing a dream home specifically designed to accommodate up to twenty-four members of their extended family couldn’t be a clearer signal of what the couple values.

All of the houses featured in this issue are more than just places to live—they tell stories of the people who built them. These are perhaps less straightforward narratives, but they are no less intriguing and illuminating. I am pleased to share these three revealing stories with you here—and many more in the months ahead.

CALL FOR ENTRIES

Architectural Design: Traditional

Architectural Design: Modern Bath Design

Green Design

Historic Renovation

Interior Design

Kitchen Design: New Construction

Kitchen Design: Renovation

Outdoor Design

Remodeling/ Renovation Design

Small Home Design

Specialty Design

For a complete list of award descriptions, judging criteria and information on the submission process, visit NHHomeMagazine.com/Design-Awards. Entry materials are due Friday, November 6th, and will be judged by an independent jury of design professionals from out of state.

Winners will be announced during the awards ceremony on Wednesday, January 20, 2021 Mark your calendar now— we look forward to seeing you there!

Sponsors of the 2021 New HampsHire Home Design Awards:

Whether you’ve designed or built a spectacular kitchen, a beautiful bath, a unique outdoor space or a fabulous home, we want to see your most impressive work. For 2021, your best projects can be submitted in twelve design categories. FOR SPONSORSHIP INFO contact Jessica Schooley (603) 345-2752 or jschooley@mcleancommunications.com.

Lounge next to an adorable custom-made pillow, handcrafted by a young New Hampshire artisan. Creative Pillow Place • creativepillowplace.com

Celebrate the holidays deliciously with artisan chocolate snowman, hand-piped with dark chocolate ganache blended with clementines and dipped in white chocolate. L.A. Burdick Chocolates • burdickchocolate.com

Enliven any window with this richly colored and textured stained glass panel with bronze patina by glass artist Julia Brandis. League of NH Craftsmen • nhcrafts.org/webstore

Pour wine effortlessly without removing the cork while protecting the rest from oxidation with the Coravin Model One. Crate & Barrel crateandbarrel.com

This is the place for you. Imagine hundreds of exceptional bath, kitchen and lighting products from trusted brands, in settings that help you envision them in your own home. You’ll find classic styles alongside the newest trends. A friendly, accessible staff offers guidance and detailed coordination to ensure that your project goes smoothly. Find details and hours for more than 40 showrooms at frankwebb.com.

CONCORD 46 Henniker Street

DOVER 218 Knox Marsh Road

EXETER 18 Continental Drive NASHUA 7 Redmond Street

302 Hounsell Avenue LEBANON 55 Etna Road

25 Union Street

115 Lafayette Road

Sit back in an Exeter chair, featuring luxurious down seating and multi-upholstery fabric. Company C • companyc.com

Keep your little one’s feet warm and snug in these charming wool slipper boots. Garnet Hill • garnethill.com Keep moisturized all day long with this light and non-greasy body lotion, naturally scented with essential oils, locally made in Concord. Cosh • coshfactory.com favorite finds for gift giving

Give a one-of-a-kind gift: beautiful glazed pottery hand-thrown on the wheel by New Hampshire craftsmen Richard Wetterer. Shanware Pottery • shanware.com

Enjoy a brew in this New Hampshiremade, hand-painted pilsner glass. Christina’s Creations christinas-creations.com

Warm up with a dram of Skiklubben Aquavit, a traditional Scandinavian spirit flavored with spices and herbs such as cardamom, cloves, and star anise. Tamworth Distilling tamworthdistilling.com

Give the foodie on your list a curated collection of handcrafted condiments and savory jams to pair with cheese, including a balsamic fig mostarda spread. Wozz! Kitchen Creations wozzkitchencreations.com

Add a touch of whimsy with this garden marker made from torch-cut steel by Payne & Elise Junker. League of NH Craftsmen nhcrafts.org/webstore favorite finds for gift giving

Build your own retro-looking speaker and radio in under an hour with the DIY Bluetooth FM Radio Kit. MoMA Design Store • store.moma.org

Admire the beloved Old Man of the Mountain with every cuppa in this handcrafted mug. Great Bay Pottery • greatbaypottery.com

Refreshing and uplifting, this pink grapefruit soap—locally made in Concord—is all natural, and scented using only 100% pure essential oils. Cosh • coshfactory.com

Enjoy a cup of hot cider or mulled wine by this stainless steel fire pit with ivy leaf design, handcrafted by a metal crafter in Meirden. Third Shift Fabrication • thirdshiftfabrication.com

Sandra White’s quilled wildlife designs—paper art exquisitely made of narrow strips of paper rolled, shaped, and placed under her original cut design— make the perfect gift for any nature or art lover. League of NH Craftsmen nhcrafts.org/webstore

Complete household tasks in style with this soft linen apron, accessorized with big pockets and leather straps. Terrain shopterrain.com

The To-Go Ware bamboo utensil set is eco-friendly and perfect for the person always on the go.

Bona Fide Green Goods bonafidegreengoods.com

Give a gift of comfort this season with a warm multicolored Winslow throw, made in New Hampshire. Bedford Collections • bedfordcottage.com favorite finds for gift giving

favorite finds for gift giving

Show your love of New Hampshire on a T-shirt, mug, tote or pillow with a design created by our sister publication, New Hampshire Magazine. nhmagazine.com/shop

Delight the cook on your list with a set of stainless steel mixing bowls dipped in a shiny copper finish. Terrain • shopterrain.com

Create an inviting candlelit atmosphere with a Wentworth candlestick, skillfully crafted in New Hampshire with special lead-free Queens Metal pewter. Hampshire Pewter • hampshirepewter.com

Give the gift of HOME for the holidays. A New Hampshire Home subscription is sure to inspire anyone who loves great home design. Your gift will arrive six times a year and you’ll save over 58% off the newsstand price. Subscribe online at nhhomemagazine.com.

home cooking with Mary Ann Esposito

Home For Thanksgiving

Tarts, crumbles and press-in doughs make baking dessert easy.

Thanksgiving will be different this year as we rethink and reformat how to celebrate it. This holiday has always been about family and friends gathered together from near and far, but this year will see smaller gatherings, for sure, and instead of traveling distances, many of us will remain home.

Cooking has been a therapeutic cure for many during this pandemic, and having Thanksgiving on the horizon can lend some normalcy to our otherwise disrupted lives and the family traditions we hold dear. Maybe it’s making that “must have” green bean casserole or Aunt Trudy’s cranberry relish, or the hypnotic smells of roasting turkey that bring us comfort and closeness.

Truth be told, my favorite part of the holiday is not roasting a turkey or making cranberry sauce. Nope! Give me the desserts to make.

Desserts get the final applause on Thanksgiving, and many of us will likely enjoy some version of that American favorite: pumpkin pie. Making a pie can be a challenge for some who fret over achieving a buttery, flaky pie crust— perhaps seen as the true mark of culinary accomplishment.

Why not mix things up this year?

Other than the classic two-crusted pies, there are tarts and crumbles to consider, especially when a lot of the prep work can be done ahead of time.

The great thing about a crumble is that there isn’t any pastry dough to make or roll out. Instead, a quick topping of flour, butter and sugar is com-

bined and liberally sprinkled over sturdy fall fruits like pears, apples and cranberries just before popping into the oven.

In the case of tarts, press-in doughs are the way to go. I use this technique for all sorts of fruit tarts as well as custard and cream-based tarts.

Cookie-crumb crusts are also clever and quick to make. Gingersnaps and plain butter cookies are perfect for this, as are thin vanilla or chocolate-wafer

By Mary Ann Esposito | Photography by John W. Hession

type cookies. Ground nuts combined with a little sugar and melted butter can also save the day as a pat-in crust.

The beauty of these choices is that they can be made ahead of time, leaving you to only add the fillings.

Thanksgiving is a holiday that cries out for families and friends to celebrate and reflect on all that we have, even in this year of a Thanksgiving interrupted. NHH

Pumpkin Custard Pie Serve S 8

This is a fun way to serve a smooth, pumpkin custard pie, and it is easy enough for kids to make.

Gingersnap Crust

40–50 gingersnaps (enough to be 2 cups when crushed)

1 stick melted and slightly cooled butter

2 tablespoons brown sugar

Filling

2 large eggs

3/4 cup coarse white sugar

1/2 teaspoon salt

11/2 teaspoons ground cinnamon

3/4 teaspoon ground allspice

1/2 teaspoon ground ginger

¼ teaspoon ground cloves

1 15-ounce can pumpkin-pie filling

1 cup evaporated milk

1/2 cup heavy cream

Grated zest of 2 oranges

1. Preheat the oven to 350ºF. Use a food processor, blender or rolling pin to smash the gingersnaps into fine crumbs and place them in a bowl. Mix in the brown sugar. Add enough of the melted butter to gather the crumbs into a ball that holds together. Press the crumb mixture evenly into a 10-by-2-inch pie pan. Bake for 10 minutes. Remove from the oven and set aside.

2. For the filling, beat together the eggs, white sugar, salt and spices until the mixture is smooth. Add the pumpkin and beat well. Gradually add in the milk and cream. Blend in the orange zest.

3. Pour the mixture into the pie crust and bake for 40 minutes. Lower the oven temperature to 325ºF, and continue baking for 15–20 minutes or until a cake tester inserted in the center comes out clean.

4. Remove from the oven and cool to room temperature. Cut into wedges to serve.

Dried Plum Tart

Serve S 6 –8

This intensely flavored dried plum tart is so easy to make. The crust is made in minutes in a food processor before literally being dumped into a tart shell and patted into place with your hands. What makes this tart a winner is a balsamic-vinegar reduction added to the dried plums.

11/2 cups flour, plus more for flouring

1/2 cup coarse white sugar, plus 2 tablespoons

1 teaspoon baking powder

1/2 cup cold butter, cut into bits

1 large egg, lightly beaten

1 teaspoon vanilla extract

1 18-ounce box pitted dried plums

4 cups balsamic vinegar

1/4 cup brown sugar

1/4 teaspoon salt

Grated zest of 1 large orange

1. Preheat the oven to 400ºF. Mix 1½ cups of flour, ½ cup coarse white sugar and baking powder together. Cut the butter into the mixture. Add the egg and vanilla, and form a dough. If the dough is too dry, add a few drops of cold water. Flour your hands and press 2/3 of the dough in the bottom and sides of a 9-inch tart shell with a removable bottom. Crumble the rest of dough and set aside. Bake the crust unfilled for about 8 minutes. Cool, set aside.

2. Place the plums in a saucepan and cover with 2/3 cup of water. Bring to boil, lower the heat and cook until the plums soften. Drain them well. Transfer the plums to a food processor and pulse until a smooth paste is obtained. Transfer the paste to a bowl.

3 Pour the vinegar into a separate pan. Cook the vinegar uncovered, over medium heat, until it thickens and is reduced to about ½ cup; it will be thick. Cool for 10 minutes.

4. Add the balsamic reduction to the plums. Add the brown sugar, salt and zest. Combine well and transfer the filling to the cooled shell. Smooth the filling so it is even. Sprinkle the remaining dough evenly over the top and sprinkle 2 tablespoons coarse white sugar over the dough.

5. Lower the oven temperature to 375ºF. Bake for about 30 minutes or until the top crust is nicely browned.

6. Cool on a wire rack. Remove the bottom of the tart pan and place the tart on serving dish. Cut tart into wedges to serve.

Lemon Curd Pie Serve S 8

Refreshing lemon curd pie is a great do-ahead dessert and is especially welcome by anyone with a wheat sensitivity because the crust is made from almonds. Prepare the curd several days ahead and refrigerate. Make the almond pie crust ahead as well. Fill and chill the morning of the big feast.

1/2 cup freshly squeezed lemon juice (about 4 lemons)

1 tablespoon grated lemon or lime zest

11/4 cup plus 2 tablespoons sugar

3 tablespoons unsalted butter, cut into bits; plus 4 tablespoons 1/2 teaspoon salt, divided

4 large eggs, lightly beaten with a fork

21/2 cups slivered almonds

Sweetened whipped cream, or a dollop of whipped and sweetened mascarpone cheese, for serving

1. Combine the lemon juice, zest, 1 cup plus 2 tablespoons of sugar, 3 tablespoons of unsalted butter (cut into bits) and ¼ teaspoon of salt in the top of a double boiler. Cook, stirring constantly, over medium heat until the butter melts and the sugar no longer feels gritty in the bottom of the pan.

2. Slowly pour in the eggs, continually stirring with a spoon or whisk. Cook until the mixture thickens and coats the back of a spoon. Transfer the curd to a small bowl. Cover and refrigerate for several hours or for several days.

3. Place the almonds in a food processor and pulse until they are finely ground. Add 4 tablespoons of butter, ¼ cup of sugar and ¼ teaspoon of salt. Pulse until the mixture starts to come together to form a dough. Gather the dough into a ball, wrap, and refrigerate for at least an hour

4. Preheat the oven to 375ºF. When ready to bake the crust, press the dough into a 9-inch pie pan, lining the entire pan with dough. Poke the dough in several places with a fork. Bake for 12–15 minutes or until the dough is golden brown. Cool completely before filling.

5. When cool, spread the lemon curd in the crust and refrigerate for several hours before serving. Serve with sweetened whipped cream or a dollop of whipped and sweetened mascarpone cheese.

Recipe courtesy of Mary Ann Esposito

home Cooking with Mary Ann Esposito

1. Preheat the oven to 400ºF.

2. For the crust, in a large bowl, cream sugar and butter until light. Beat in the flour, salt and milk until mixture is moist and comes together.

3. Press the dough into a 9-inch tart pan with removable bottom, making sure to also press dough up the sides. Bake for eight minutes.

4. Remove the crust from the oven and set it aside while you make the filling.

5. Raise the oven to 425ºF.

Pear Crumble in Sugar Crust

Serve S 8

This divine pear dessert with its crunchy topping goes together in minutes. The same recipe works with other fruits too—apples, figs, cranberries or a combination. Serve the crumble warm with a dollop of ice cream or whipped cream.

Sugar Cookie Crust

1/3 cup sugar

1/2 cup butter, at room temperature

11/4 cups all-purpose flour

1/4 teaspoon salt

2 tablespoons milk

Filling

5 large ripe Anjou or Bosc pears peeled, cored and thinly sliced

2 tablespoons orange zest

1/3 cup sugar

1 tablespoon cornstarch

1/2 teaspoon cinnamon

1/4 teaspoon nutmeg

1/8 teaspoon salt

Crumble Topping

1 cup all-purpose flour

1/2 cup cold butter, grated or cut into small bits

1/2 cup brown sugar

6. For the filling, in a large bowl, mix the pear slices, zest, sugar, cornstarch, cinnamon, nutmeg and salt and spread it into the crust.

7. For the topping, in a separate bowl, use a pastry blender or fork to combine the flour, butter and brown sugar until the mixture is crumbly. Sprinkle the crumble evenly over the top of the pears.

8. Bake for 15 minutes or until the crumble topping is nicely browned.

9. Remove from the oven and cool. Serve warm.

A Lakefront Meredith Home

Is a Timeless Haven

This house on Winnipesaukee was built with both family and the natural beauty of the surrounding area in mind.

When Missy and Brian Lagarto began dreaming about their waterfront home in Meredith in the fall of 2018, one concept kept coming up: family.

“We wanted to make sure we had room for everyone in the family to gather,”

Missy Lagarto says. “We have two sons, both of whom were recently married, so we wanted to make sure the home was generational—big enough for children and grandchildren—and a place where everybody could gather.”

By the following autumn, the Lagartos,

who bought the property near Oak Island a number of years before building this home, achieved just that. The two-story lakefront home, with a fully furnished lower level and two-car garage, sits atop a dramatically landscaped sloping lawn, just yards from Winnipesaukee.

Interior designer Meghan Collins, owner of Bedford-based Creative Spaces, says that as a fun couple who enjoy life, the Lagartos wanted an open floor plan with ample space for gathering with family

“They have a good size family, and they like to entertain,” Collins says. “It had

By Bill Burke | Photography by Morgan Karanasios

to be homey, and they wanted to use every available space, but they didn’t want to oversize the house.”

Step one, then, was to come up with a way to create a new home that felt timeless. Collins approached the design with a plan for clean lines and open spaces, but not an overly modern feel. There would be conveniences, but it wouldn’t feel avant-garde or impersonal. And it would feel lived in.

“The goal of the project was to keep it in a natural setting so it didn’t stand out,” she says. “They’re more interested in flying under the radar instead of having it looking like obvious new construction. The idea was to blend in with the landscape by using earthy colors. There are pops of color throughout, but the feel was to be earthy and organic. We used a lot of organic materials.”

Step into the house, which boasts a transitional flair that straddles several styles, and it instantly opens up. The main floor is essentially one large open space, with a living area, sunroom, dining area and kitchen, which became central to the entire project.

“Believe it or not, the kitchen was the stepping-off point for the whole house,” Lagarto says. “I had actually done a Pinterest search to look at color schemes, and I found a single photo that had everything I wanted. I said, ‘I need the kitchen to look like that photo.’”

The posts and beams were crafted from reclaimed materials sourced from Sharps Lumber in Ashland by project builder Jason Keeney of Twin Oaks Construction in Plymouth. The organic feel of the wood worked with the appliances and fixtures to create an industrial take on a farmhouse feel. Pendant lights hang over the dining space, bringing yet another eye-catching element to the area.

“The pendant lights have a little bit of an industrial feel,” Collins says. “Not as a primary element, but there are other industrial elements in the house that tie it together.”

A custom medicine cabinet in the first-floor powder room, built by Keeney, fits that theme perfectly.

“It’s a modern farmhouse sliding mirror with a medicine cabinet made from reclaimed wood behind it,” Collins says of her favorite detail in the home. “You wouldn’t know it moved if I didn’t tell you. It’s really unexpected.”

The cabinets are understated (“we weren’t trying to make a statement with the cabinets,” Collins says), but a flash of elegance in the form of a reclaimed wood mantelpiece over the range continues the “earthy/organic” theme repeated throughout the home.

“We carried that feel of being natural and transitional but not necessarily fully modern,” Collins says of the kitchen. “It has plenty of clean lines and isn’t overly ornate.”

The

floor, which looks out

onto the lake, is home to a guest suite, a guest bedroom, an office, laundry room and a master bedroom that features striking ceiling details designed to retain an open, yet warm feeling.

Collins’ creative use of tongue-andgrove wood intersecting across a number of gables made for an interesting and dramatic approach.

“When you have all those gables and

changes in height, you can lose the intimacy of a bedroom—or any room,” Collins says. “The architecture points just start to take over. We worked to bring the ceiling down without making the room feel smaller. We decided to treat it like a fifth wall and put some nice wood on there.”

The lower level is where the fun begins. A family room with a pool table area, guest bathroom with a shower, and a bar creates the ideal space for the Lagarto’s entertaining needs.

“Missy and Brian had gone on a cruise and saw a similar bar design on the cruise ship,” Collins says. “They knew that’s what they wanted in their home.”

Together, Lagarto and Collins came up with a design to recreate the angled shelving behind the bar and then backlit it with soft lighting, giving the space an edgy farmhouse industrial style by sheathing it in reclaimed wood. The bar itself is also treated with the same

reclaimed wood, which was sourced directly from an old barn in New London.

“Working on the designs with Meghan was so easy and so much fun,” Lagarto says. “I felt like she and I were partners. Obviously, I deferred to her expertise, but we would get on our computers and search for things and share them with each other. It was a lot of fun. And we hit it off personally as well,” she adds. “It felt like we not only had a designer, but a friend. The four of us—my husband, Jason, Meghan and myself—we had developed friendships. It made building and designing that house so much easier.”

The patio and hot tub offer more entertaining space, and a gently sloping lawn leads to a retaining wall and the waterfront beyond—an enviable vista available from the entire house.

“The most dramatic element would be the views,” Collins says. “That drove everything—to try to get a view of the water from every room in the house.

And by the way, there’s a view of the water from every room in the house.”

Lagarto’s favorite detail?

“All the reclaimed wood and the fireplaces,” she says. Crafted from stones sourced from the property and nearby, the mason crafted two fireplaces that embody the spirit of what the couple hoped to create in the home: welcoming spaces perfect for family gatherings.

“I feel that they’re the two grounding factors that made this style of home come to life,” Lagarto says.

Though the home was built on the site of the couple’s previous house, it feels as if it’s been a part of the area for some time. Careful consideration was given to creating a look that harmonizes perfectly with the picturesque lakefront setting. Multiple materials and textures on the exterior give it a unique feel. Collins worked with the Lagartos to blend horizontal siding, stone work, cedar shakes, stain and teak to create a classic impression with a natural feel.

“It’s such a nice mix of materials that if you stared at it long enough, you’d see the individual elements,” Collins says. “But it has such a cohesive feel that it really is something unique. We spent a lot of time working on that—more so than most other projects. It’s an interesting compilation of materials and colors, and we did spend a lot of time making sure it was aesthetically pleasing to their neighbors as well. They wanted it to blend in with the landscape and look timeless.”

There’s that word again.

“This house, twenty to thirty years from now, is going to look just as nice, unique and beautiful as it does now. It will look timeless.” NHH

Resou R ces

Meghan Collins • Creative Spaces LLC (603) 801-2444

Miracle Farms • (603) 253-9292 miraclefarmslandscaping.com

Pinnacle Kitchens • (603) 744-2560 pinnaclekitchens.com

PRG Rugs • (603) 882-5604 • prgrugs.com

Sharps Lumber • (603) 968-7981 sharpslumber.com

Twin Oaks Construction • (603) 536-1051 twinoaksconstruction.com

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•

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Beguiling Begonias

Winter doesn’t have to be bleak. Add vibrant color to your home with the versatile begonia.

aBy Robin Sweetser

dd a touch of the tropics to your winter windowsill by growing some begonias this year. There are many types to choose from, ranging from those known for their exotic foliage to those with stunning flowers and some that offer a bit of both. Good garden centers and greenhouses have these beauties in stock now for the holidays. They make great gifts for the plant lover in your life.

a bevy of begonias

The begonia family is vast and varied with almost two thousand different species and just as many hybrids. Some are great for summer, needing a rest in winter; others start to shine as cold weather approaches; and some present beautiful foliage year-round. One thing all begonias have in common is their need for lightly moist, welldrained soil. “Sitting in soggy soil is

certain death for a begonia,” says Stuart Hammer, Life Member of the American Begonia Society. “My first begonia was an Iron Cross rex begonia I found in a small greenhouse in Connecticut in 1976. On New Year’s Day, 1977, I went to Logee’s Greenhouse in Danielson, Connecticut, and was amazed to find over a hundred different varieties, especially rexes, rhizomatous types and canes. I’ve been hooked ever since.”

Hammer now has an eighteen-foot-bytwenty-seven-foot greenhouse filled with about six hundred begonias and gesneriads, his other passion.

Working with begonias

Many have grown wax begonias outside in your shady flower beds and containers where they happily blossom all summer long. This trait has earned them the Latin name Begonia semper-

With thousands of varieties of begonias, make sure you choose one that does well when grown indoors. Quality garden centers and greenhouses have them in stock for the holidays.

florens, which means “ever blooming.”

The flowers are usually red, white or pink, and the waxy foliage can be a glossy green or bronze. Although these begonias can spend the winter on a bright windowsill, indoor life is stressful for them, and they are best grown as annuals.

Tuberous begonias grow from a bulb-like tuber. They have showy, fully double, camellia-like flowers that can

be up to five inches across, and bloom in a range of colors from red, pink and white to yellow, apricot and orange. Some have an upright habit—growing between two to three feet tall—great for container growing. Others cascade one to two feet, making them perfect for hanging baskets.

Blossoming from early summer into fall, tuberous begonias are sure to brighten up a shady spot. Since they require a period of winter dormancy, they are not good candidates for indoor growing. In fall, their foliage yellows

and dies back, signaling it is time to rest. The tubers can be dug up before a frost, dried in a sunny spot and saved over the winter, ready to replant next spring. Hammer says, “To winter over the tubers, clean them and put them in a paper bag with some dry peat moss, and store in a cool place.”

Fibrous or cane begonias have thick segmented stalks, growing either tall and upright or trailing. Their foliage is stunning, and they offer a multitude of flower colors. This variety can grow from six to twelve inches tall up to five

feet tall, flower all year round, and never go dormant. Fibrous begonias can get leggy as they age but respond well to pruning any time of year. This class of begonias, which includes the popular angel wing types, is one of Hammer’s favorites. Two varieties he recommends are pink-flowering Sophie Cecile and Cracklin’ Rosie, which has dark curly leaves with pink spots.

Although she is surrounded by outstanding plants every day, Quenby Jaus, retail manager at Wentworth Greenhouses & Garden Center in Rollinsford,

Garden r x

recommends silvery leaved Gryphon, a hybrid cane-type. “I brought one indoors last winter,” she says, “it was amazing and super easy to grow.”

Rhizomatous begonias are the largest group. They have thick stems called rhizomes that grow horizontally near the surface of the soil. The roots and leaves sprout from these stems. They are known for their dramatically patterned, highly textured leaves. In winter, they send out stalks

with clusters of small flowers.

“Many begonias blossom in the winter, and their blooms are pretty, but not spectacular like a Rieger or tuberous begonia,” Hammer says. He has some favorites in the rhizomatous class, including River Nile, which has chartreuse leaves with ruffled red edges, and the beefsteak begonia Erythrophylla, a reliable hybrid dating back to 1845, with shiny dark green leaves and red undersides.

Tips for Growing Healthy Happy Begonias

• Begonias grow best in temperatures between 60–70°. They don’t like dry heat, so add humidity around them by growing on a tray of moist pebbles.

• Begonias need bright, indirect light. They prefer an east- or west-facing window. Keep them out of direct sunlight.

• Fertilize your begonias with a balanced liquid fertilizer during the active growing season, spring through summer.

• Begonias should be grown in a well-draining potting mix. Soilless mixes or those formulated for African violets work well.

Rex begonias are a subgroup of rhizomatous begonias. They are a popular houseplant or can be grown outside in summer in a shady location. Sometimes called painted leaf begonias, they have striking foliage with swirls of color and unusual patterns. There are many hybrids, but you may be familiar with Iron Cross, the plant that started Hammer’s obsession with begonias. It has pebbly textured, light-green leaves marked with a dark Maltese cross shape in the center. Another popular rex is Escargot, which has unique spiral leaves like a snail’s shell. “Rexes need humidity to avoid leaf edges turning brown,” Hammer says. To add humidity around the plants, he recommends growing

• Allow the top inch of the soil to dry out between waterings. Don’t overwater or let the pots sit in a wet saucer.

• Keep plants away from your dogs and cats. Unfortunately, the ASPCA lists all begonias as toxic to pets.

them on a pebble tray. “Don’t mist them,” he cautions. “Begonias are susceptible to powdery mildew if the leaves are kept wet.” Wentworth Greenhouses offers assorted rex begonias year-round.

Rieger begonias are a hybrid of tuberous and wax begonias. They flower off and on all year round, but blossom especially well in winter. Their leaves are dark glossy green; the bright blossoms in white, yellow, pink, red, salmon or purple are spectacular and can be single or double flowered. “We carry the Rieger begonias year-round,” Jaus says. “They are a popular plant during the holiday season and winter for a pop of color. They are fairly low mainte-

nance and can bloom for a couple of months.” Riegers are day-length and temperature-sensitive, needing short days and cool temperatures to bloom their best. Remove spent flowers as they fade, and trim the foliage to maintain the plant’s shape and size. Feed Riegers monthly with a low-nitrogen fertilizer when they bud or are in bloom. Keep the soil consistently moist; if the flowers wilt, they may not recover.

The American Begonia Society

A word of caution—it is easy to become hooked on begonias and want to collect them all, an impossible but enjoyable quest! Consider joining the American Begonia Society, a group of plant-lovers that has been around since 1932. It publishes a bi-monthly journal with articles and photos. The society does not have a branch in New Hampshire, but its Buxton branch caters to begonia lovers in New Hampshire, Connecticut, Massachusetts and Rhode Island. Because most members live in Massachusetts, branch meetings are held monthly at the Christa McAuliffe Library in Framingham. They offer programs about begonias, and members bring in plants for sale and share expert advice.

Meetings are temporarily on hold due to COVID-19 but will resume when conditions allow. To make up for the lack of in-person meetings, the American Begonia Society is offering virtual education programs via Zoom. If you would like to establish a branch in New Hampshire, it only takes seven like-minded begonia lovers to start. See begonias.org for more information. NHH

Resou R ces

American Begonia Society • begonias.org

Buxton Branch • buxtonbegonia.org

Logee’s Greenhouse • (860) 774-8038 • logees.com

Christa McAuliffe Branch Library • (508( 532-5636

framinghamlibrary.org/mcauliffe-branch

Wentworth Greenhouses • (603) 743-4919

wentworthgreenhouses.com

this adirondack home was thoughtfully d esigned for the whole gang—siblings and cousins—and for the lake and their shared future.

By Carrie Sherman | Photography courtesy of MossCreek

A House for All s e A sons

WWhen stephen and nicole st. mary first canoed on Lake Sunapee twenty-five years ago, they immediately began to dream about spending time there. “We thought maybe we could buy a small lot and pitch a tent,” recalls Stephen. “My wife and I grew up in the Adirondacks of Upstate New York. Lake Sunapee brought back all of those memories.”

A few years ago, a lot became available and the time was right. “Our kids and their cousins were all at just the right ages to enjoy life on the lake,” Stephan says.

After an extensive search, the St. Marys contacted MossCreek, a renowned design firm of luxurious, rustic homes, located in Knoxville, Tennessee. The couple began an inspiring conversation with Allen Halcomb, the firm’s president. That conversation led to travels to North Carolina and other locations as they refined their vision for a new home.

Halcomb started MossCreek in 1983 and learned the craft of log-home design while consulting with a Finnish firm that specialized in log homes. Halcomb traveled extensively, researching rustic design in America, and continues his exploration.

“Our designs incorporate elements from around the country,” he says. “It’s an architecture that pays homage to America’s rustic past.” Although MossCreek employs in-house designers, the design firm works with local contractors. “This kind of

architecture doesn’t happen in concentrated areas,” Halcomb says. “It is spread throughout the USA and all over Canada. We work at a national level.”

Remarkably, MossCreek turns out designs for two or three houses a week. “We streamline the design process and get people what they need,” Halcomb says. After extensive conversations with a client, MossCreek sends a team to the site, where they assess unique considerations—for example, a house to the left or a slope to the right. “A house has to respond to those variables,” Halcomb says.

The Lake Sunapee site was challenging for many reasons, including—as Halcomb says—“It was just a bowl of boulders.” Nonetheless, the team was able to draw up a detailed design by the end of their daylong visit.

The plan was further developed on the ground by Sudbury Design Group’s landscape architect Matt Sullivan. Previously, he worked with the homeowners to develop a master landscape plan for their home in Massachusetts. His knowledge of environmental regulations and permitting along with his skill as a landscape architect were instrumental in creating a flat plane for the Lake Sunapee house to be built on.

“When you drive up the street,” Sullivan says, “the house blends right into the woods. We tried to be very strategic about moving any trees. It looks

Reclaimed wood is used throughout the house. Every rail, inside and out, is adorned with twig balusters in keeping with the authentic Adirondack ethic. All the materials were carefully chosen with an eye toward this classic style.

like the house has always been there, which is what the St. Marys wanted.”

Sullivan’s summary is understated. But, for starters, the plan called for an old house to be removed. Storm-water drainage also needed to be redirected; the team designed a wetland swale for proper drainage to prevent road waste from contaminating the lake.

After multiple site-line studies, Sullivan achieved an angle that had the main views out of the house facing due east. “The sunrises viewed from that angle are amazing,” he says. “It’s a very active lake and to see the ‘glass’ first thing in the morning is free art!”

Then he designed a series of retaining walls and terraces connected by walkways and steps going down to the lake. The walls were structural and veneered to support mosses and ledge plantings. “The St. Marys wanted the landscaping to have a woodland character. So we kept it loose and natural,” Sullivan says. “We also used weeping

evergreens, specimen paperback maples, wild blueberry mixes and lush fern groundcovers.”

The Sudbury Design Group’s construction team did the entire landscape implementation as well. The masonry division carefully placed and fitted New England fieldstone. Sudbury Design Group even built a naturalistic spa, creating a peoplefriendly circle.

“With a natural design like this, we can design a concept on paper that is really a guideline,” Sullivan says. “But it truly takes the collaboration and craftsmanship of the masons—who work with the actual stones, chiseling and snapping—to create the best placements.”

After interviewing a handful of builders, MossCreek chose to work with McGray & Nichols, a venerable, award-winning company in the Lake Sunapee region. “They really wanted to build and make things happen,” Halcomb says. “They apply pressure in a positive way, and were ready to do some training and pick up with it. Also we wanted

a builder that employed exceptional craftspeople.”

Louise Bonfiglio, owner and president of McGray and Nichols, efficiently and enthusiastically summarizes the construction process on the house: The materials are innovative and stylish, introducing a new look to a very traditional New England place. These materials include lots of reclaimed wood, incorporating materials such as poplar bark shingles, black locust railings, and classic, mountain-laurel crooked balusters for inside and out. There is deep swamp cypress for the decking and hand-peeled locust for the logs on the porch.

“The interior is all reclaimed mixed hardwood. The stone used in the house is New Hampshire fieldstone,” Bonfiglio says. “We used Joe Rolfe and his crew from Stone Mountain Masonry throughout the house to have continuity.”

The artistry of Rolfe and his team is especially evident in the fieldstone fireplace in the great room. Fitted in the intricate, old-fashioned style of dry-laid stone, this majestic chimney and surround is “wet

set” against a concrete wall. The soft shades of the stone meld well with the muted tones of the reclaimed oak. The large gray granite hearthstones are reclaimed from when the Longfellow Bridge in Boston was redone.

Chris St. Onge, senior project manager for McGray & Nichols, underscores with well-earned pride that “It’s really cozy inside that house.” He should know, having overseen the installation of the spray-foam insulation— four inches on the outside walls, hence the deep windowsills. The roof took seven or so inches of spray-foam insulation. A full thermal heating and cooling system with an energy-recovery ventilation (ERV) system was also installed. “There’s no sound to the system,” St. Onge says. “To test it, you hold up a piece a of paper to see if it trembles.”

The radiant-heated flooring is circle-sawn red and white oak, hand selected through Appalachian Antique Hardwoods. “We skipped the heavy sanding on the circle-sawn oak to keep that look,” St. Onge says.

The house is framed with steel beams that are then wrapped in veneers of old beams. The walls have a black-painted plywood with a reclaimed hardwood siding.

St. Onge describes it as a “great piece of theater.”

Others describe the process as putting on “the clothes.”

For the interior design, the St. Marys engaged William Peace, of Peace Design with offices in Atlanta and Bozeman, Georgia. Known for both urban and rustic interiors, Peace’s work has created award-winning residences for many families throughout the country.

In the great room, Peace Design placed a very large, elegant antler chandelier that lights up the house. The chandelier is so large that the installation necessitated the use of a crane to hoist it through the unfinished, screened-in porch. The stately fixture was handcrafted by Dartbrook of upstate New York.

“One of the challenges of lodge homes,” Peace says, “is creating intimate spaces where family groups can gather.”

In the great room, the chandelier creates a sort of ceiling and gives a human scale to the room. A cozy loft provides a warm place for adults to gather with a cup of coffee or a glass of wine, and also keep an eye on kids as they roam about.

“When we create interiors, the neutrality of our spaces is very intentional,” Peace says. “We look at the natural surroundings and carry those materials to the inside, developing a more fluid sense of the house. We look at the materials we’re going to use—a heavy velvet or even a fur. They all have some strength and feel appropriate in balance with the architecture.”

“By maintaining a neutral palette, the expansive windows frame the views and they become the ‘artwork’ of the home,” Peace says. This inside/outside concept Peace describes sounds simple, but takes real discernment to pull off.

Peace layers in primitive European and American antiques alongside comfortable, structured, modern upholstery. The mix creates a great atmosphere where people can relax, chat and take in the beautiful lake views.

Nicole St. Mary especially enjoyed shopping locally with the crew from Peace Design for key artisan pieces. “We found wonderful pieces both old and new—together they seemed to settle in to create the look and feel we were after,” she says.

The home has accommodated as many as twenty-four people during family gatherings. Both Stephen and Nicole come from large families, and it’s not uncommon for them to host large groups at the lake for weekends and holidays. The cousins take over the two downstairs bunkrooms— one for boys and one for girls. A shared bath easily accommodates all of them. There’s always a nook on a porch, loft, downstairs bar or game room for folks to gather or read a book. “This house if filled with cozy spots and great views, so there is plenty of room to get together or spread out,” Stephen says.

Additionally, the St. Marys added their own subtle design touches to bring everyone together. The downstairs bar seats people on both sides, and the requisite sinks were moved to

the wall. The result is the feel of an intimate pub. For the big porch dining table, they had a custom table made, narrowing the width to encourage closer, more intimate seating.

The dream of Lake Sunapee that the St. Marys originally envisioned on that now legendary canoe trip has become a reality. “We love the house,” Nicole says. “It brings us all closer together.”

“When we’re here,” Stephen adds, “everyone sets aside their busy lives and we fall into the natural rhythm of the seasons, be it sitting by the lake, skiing or climbing the nearby mountains.” NHH

Resou R c es

McGray & Nichols • (603) 526-2877 • mcgray-nichols.com

MossCreek • (800) 737-2166 • mosscreek.net

Peace Design • (404) 237-8681 • peacedesign.com

Stone Mountain Masonry • (603) 528-4456 • josephlrolfe@msn.com

Sudbury Design Group • (978) 443-3638 • landscapearchitectureboston.com

Tradition with a twist on Beacon Hill

One of the last things you expect to find amid the stately homes that line the streets of Boston’s historic Beacon Hill is an upside-down house. Yet that’s precisely what interior designer Sarah Chapin was tasked with updating.

Chapin—of Chapin Interiors in New London and Bronxville, New York—doesn’t know why the five-story brick house, built in the early 1900s, was designed with an inverted layout: the kitchen and gathering spaces are located toward the top of the residence while the bedrooms are situated closer to ground level. But from the outside, the two-family home looks like a traditional single-family residence.

By Karen A. Jamrog | Photography by John W. Hession

Designer Sarah Chapin took cues from the home’s history while adding eyecatching furnishings and pops of color. In the living room, bold purples repeat throughout, antique chairs were reupholstered and an eagle mirror—an antique reproduction—hangs above the fireplace.

Renovations—completed prior to when Chapin’s clients took ownership of one of the residences within the house—left the place architecturally gorgeous as well as highly functional. “It was brilliantly designed,” Chapin says. “They really did a beautiful job ... [and] it was all very pristine condition.”

This allowed Chapin to focus on interior design enhancements that would reflect the taste and needs of her clients, a couple in their sixties with grown children in the area and grandchildren who come to visit.

The homeowners have worked with Chapin on their home in Lake Sunapee, where they wanted a neutral, earthy feel. This time, the wife—who worked closely with Chapin throughout the project—“wanted a lot of color,” Chapin says. “She really wanted to maintain the personality and character of a Beacon Hill townhome. Yet the homeowner wanted it to feel fresher, and didn’t want it to feel so period and museumlike.” The result is an elegant but welcoming home that takes cues from the home’s history while adding eye-catching furnishings and tasteful splashes of color.

Visitors are immediately greeted with a pop of color when they step into the entry and see a chair upholstered in crimson faux suede. There

is new stone flooring in the entry, plus decorative European tiles around the fireplace, and new lighting. A bench and seat cushion made specially for the space allow for ample storage above and below

On the second floor is a study used primarily by the husband. Previously, the room had mahogany walls that were “lovely but dark,” Chapin says. A fresh coat of paint and furnishings lightened up the space. Antique artwork that hangs above the room’s sofa and depicts a

3-D “half hull” of a Boston ship, Chapin says, in a subtle nod to the home’s location. Similarly, the tile around the fireplace provides “a Boston Harbor kind of theme.”

The furniture in the room is a mix of old and new: the reupholstered chair and the end table are antiques, while the deep-cushioned sea-green sofa is new. The bench ottoman is also new, and a slim desk by Julien Chichester—inspired by a late-1950s Danish design—adds modern appeal. Above the desk, a Paul Ferrante cylindrical pen-

dant light with metallic swirls draws the eye.

Choosing design elements for the study as well as for the rest of the house involved adding complementary layers, Chapin says. “There’s always a starting point. Sometimes it’s the architecture, sometimes it’s fabrics, sometimes it’s paint colors. In this case, we ended up starting with the carpets,” which are all new and made with vegetable dyes. The colors have a depth to them, and the carpets don’t look new because of the way they’re woven, Chapin says. “That’s what set the tone for the place—the carpets.” In the study, for example, “the teal comes up from the carpet pretty directly” and is reflected in the coloring of the sofa.

One floor up are the bedrooms. The nursery features whimsical bunny-print draperies by Hunt Slonem. Touches of warm raspberry-pink repeat throughout the space, which includes a day bed in addition to a crib. A floor lamp— with a uniquely designed base—stands next to an inviting chair, ready for story time, while a hexagonal ceiling fixture by Coleen and Company adds a layer of pattern. “We wanted the light to feel fresh and current, but also classic,” Chapin says.

A second bedroom, which shares a bath with the nursery, features azure-and-gold floral print draperies that blend perfectly with the homeowners’ own chair, upholstered in lightly textured blue fabric. A diamond-patterned rug in a neutral hue opens the room and allows the other colors in the bedroom to take center stage.

Unlike other rooms in the house, which are painted in a neutral color, the master bedroom has fabric with a blue-gray pattern covering the wall behind the bed, and a grass cloth wallpaper provides a textured look on the other walls. “It’s a mini stripe,” Chapin says, with alternating strips of grass and paper. “There’s a lot of texture to it.” The lampshades on the bedside lights were custom made, and two small Swedish antique benches anchor the end of the bed. Sliding doors to the left of the bed open to the closet. This style is a good choice for a room that isn’t overly large, Chapin says, thanks to the minimal infringement on floor space. Window treatments in a natural fiber softly filter outside light.

One flight up from the bedrooms, the stairs come to a landing that features an antique Empire console table with richly colored, stripey wood and a mirrored back underneath, framed

above by antique sconces. “Many houses on Beacon Hill had this kind of a console table or period table,” Chapin says. Regardless, though, “there’s always a good place for an antique,” she says. “It looks different from something that just came out of a showroom or any other retail store. I feel pretty strongly about incorporating pieces with some character and patina into all residences. If it’s a modern residence, I think, ‘What can be better than an old wood table or a sideboard that’s one hundred, two hundred years old?’ It just adds such personality and character to a space.”

The landing connects to the living room, with its striking floral rug in aubergine, a color that is repeated in varying shades throughout the room. In designing this space, “we definitely went in a more bold direction,” Chapin says. The sofa is upholstered in a tweed-like, twotoned fabric by Pierre Frey, with a blue velvetcovered chair nearby. Across from the sofa, two matching chairs are Swedish antiques, each reupholstered in two colors—one on the interior and another on the exterior—that seamlessly

mesh with the color palette in the room. A small antique chest is at one end of the sofa, and an iron coffee table made by McLain Wiesand centers the space.

A round solid-looking eagle mirror—another antique-shop find—hangs above the fireplace and provides a traditional counterpoint to the more contemporary furnishings in the room. The sconces above the fireplace are by Urban Electric. “They seemed perfect to me” because they have an antique look, Chapin says, “but they’re not antiques.” Clear glass on the bottom third and frosted glass on the top two-thirds of each sconce add visual interest.

The Roman shades in the room seemed a perfect choice for an area that doesn’t require privacy, given its fourth-floor location. “I like to try different scale fabrics or stripes,” Chapin says. With the big, bold flowers on the floor, “We wanted the window treatments to be equal to the rug,” she says. “I like there to be a play of textures and scale and pattern and stripes and that kind of thing.”

On the fourth floor, the rooms are above the

To create more practical space, a banquette is now located between the dining table and a peninsula in the kitchen.

tree canopy with “gorgeous light,” Chapin says. In general, however, she avoided burdening the home with heavy draperies. “We did minimal window treatments just because we wanted it to feel light. Some of the rooms aren’t terribly large or they were down low, so there was a little less light.” Wooden blinds in some of the windows provide privacy where needed.

Stepping through an archway at one end of the living room leads to a sitting area, where the living room sconces and window treatments make a second appearance. “When you are in the space, you are separated [from the living room] by an arch. But they’re so related, so the colors are slightly different—there is a little bit more purple in the living room. But [in the window] shade fabric there’s aubergine, there’s a raspberry pink, and kind of a more neutral bluey-gray color in that stripe, so it kind of ties both rooms together.”

The rug here is fairly traditional in style but with a contemporary twist. “It’s not a very rigid or Oriental or Asian pattern,” Chapin says. “The irregularity in the pattern—it’s not a hard outline—adds a lot of intrigue to it. ... The color is nowhere near typical Oriental coloration, which adds to the fun and interest.”

The mirror above the fireplace is a reproduction by Niermann Weeks, a company that is “great at finishes,” Chapin says, and skilled at lending an antique look to a brand-new mirror like this one. The upholstered pieces in the room are also new, as is the oval coffee table, made of metal with a painted finish. Two small end tables—both antiques but in different rounded styles and finishes—complement each other without being matchy. The two coffee tables and the Keith Fritz dining table are from the M-Geough showroom at the Boston Design Center. A striking pendant light with a geometric pattern hangs above the room.

Across from the sofa, a chair with faux suede, raspberry upholstery picks up on color in the rug and has a painted, decorative look rather than stained finish. When needed, the chair can be turned around to provide additional seating at the Keith Fritz dining table, situated just beyond the chair, toward the back of the house.

Tucked between the dining table and a peninsula in the kitchen is a banquette. It provides an aesthetically pleasing as well as practical solu-

tion, given the area’s limited space, by reducing the number of needed chairs.

Chapin updated the kitchen with ovalshaped, pendant lights made with white glass and a finish that echoes the dark kitchen counters. “These [lights] were iron, and I thought they were really great looking,” she says.

Seeing what the home looks like now—and knowing the results are what her clients wanted—pleases Chapin. “I get a kick out of doing this,” she says, “especially when it all comes together.”

With all the planning, visualizing and selecting, interior decorating is like putting together a wedding, she says, when you have to wait a year or more to see the end result. “It’s always so fun.” NHH

Resou R c es

Chapin Interiors • (914) 361-1157 • chapininteriors.com

Coleen and Company • coleenandcompany.com

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downsizing with creativity and an eye to preserving the past.

By Debbie Kane

CCate Carlisle is fas C inated by the history of her circa 1709 farmhouse in Stratham.

She’s researched the families who’ve lived there (some descendants still live in the area) and even invited a few former residents to visit.

So, when she and her husband, Jim, decided to downsize, she hesitated to sell the property. Fortunately, a solution was close by: the midnineteenth-century barn adjacent to the house.

“The barn was a beautiful space,” Cate Carlisle says. “We decided we didn’t need to move someplace else. We could create a new living space in the barn.”

The Carlisles wanted an in-law apartment that was large enough to entertain their blended family, which includes ten grandchildren. Working with TMS Architects in Portsmouth to develop the architectural plans and help with engineering details, the Carlisles created a comfortable, quirky home that’s a fun place for family and friends to gather.

Carlisle envisioned converting one-third of the barn into living space. “I sold the renovation to my husband by telling him I was only moving one wall,” she says. “Little did we know!” She drew a layout of the imagined space, which

combined the barn’s original sections—called bents—into one open living space. Then she taped the layout of the space to the barn floor to see if it made sense. TMS executed the final designs and brought in a structural engineer to ensure the project’s physical integrity. “We helped with the design, and the Carlisles took the plans to the local planning board,” says architect Shannon Alther, a principal of TMS. “The Carlisles knew how they wanted to use the barn. They did a really good job. It’s a cool space.”

Creative problem-solving

The renovation was a family affair. Mike Dolan, Cate’s brother, and Tim Willis, Cate’s son and a builder, handled construction. Marcus Gould, a family friend and contractor, also helped with final phases of the project.

Many of the charming details in the new space—the wide, pine floorboards, industrial lighting, rough-hewn beams and more—are a result of preserving and repurposing much of what already existed in the barn. “The goal was

to reuse as much as possible and not throw anything away,” Carlisle says. As a result, Carlisle and Willis brainstormed daily on solutions to unexpected problems, whether it was building furniture, rethinking storage space or designing lighting. “Every week, I learned how to use a new power tool,” she says. “I enjoy looking at something and thinking, ‘How can I use it?’ in a new way.”

The first task was cleaning out the barn, removing old equipment as well as antiques and

unique finds that the Carlisles had collected over the years. Then the couple removed a wall between the barn and main house—opening up the first floor, and creating living and dining areas, a kitchen and a guest bedroom. Wood from removed walls was scrubbed clean, measured and categorized so it could be re-incorporated in the project.

Entry to the home is through a door cut into the original barn door. The central hall of the barn is a three-season gathering area, with antique couches and chairs grouped into separate, intimate sitting areas, and a large dining table at

the opposite end near the barn’s back entrance. It’s a space meant for celebrations; the Carlisles have had numerous parties there. A second-floor loft acts as storage; the open space underneath was most recently re-imagined as a voodoo bar for a family wedding, including a zigzag wooden bar Willis built using found wood in the barn. French doors lead from the central barn into the couple’s apartment. The space was designed for single-floor living and aging in place. An open-concept living area includes a dining area, kitchen and living room; a loft with extra storage is accessed by ladder. Skip-planed, pine

floorboards—procured from a Maryland barn— are integrated seamlessly in the space, supplemented with newer, pine flooring. The kitchen floor and base in front of a renovated Glenwood cookstove is black-ribbon slate, procured from a Pennsylvania mine.

Radiant heating throughout keeps the space warm year-round, as does heat from the morethan-one-hundred-year-old cookstove centered between the living and dining areas. The family uses the stove to cook everything from steaks to roasted marshmallows. “I love thinking about the meals that were cooked on that stove,”

Carlisle says. The space also stays cozy thanks to spray-foam insulation in the walls and floor. There’s a Nest smart-system hot-water heater that can be turned off remotely and a large fan in the loft, similar to an attic fan, that can be turned on during the summer to circulate and remove hot air.

The kitchen is opposite the cookstove, separated by a Carrara marble-topped island. Carlisle salvaged a large piece of embossed tin, painted to match the walls, and incorporated it into the back and sides of the island. “It’s like artwork,” she says. “It has nice textures and color, and came from a boarding house that was being remodeled in a nearby town.” Appliances include a six-burner Wolf stove and a tall, narrow refrigerator/freezer by Liebherr that fits the compact space perfectly

Furnishings throughout the house are repurposed, were custom-built or are antiques the family collected through the years. Many tell a story. The dining room table is an old door

found in the barn and mounted on the base of a seventy-five-year-old sewing machine that Carlisle disassembled. She found a letter in the drawer of the sewing machine, from a military officer to his wife and daughter during World War II. “I did some research, found the daughter in the letter and invited her to visit,” she says. “We gave her the letter. It was a sweet moment.”

Whimsical details

Down a small hallway off the kitchen is a small master bedroom and bath. Carlisle built the rustic wooden bed, adding a tiny headboard that was once the backside of a table. Built-in drawers add storage underneath. The bathroom is tucked behind a sliding door, which is made from an original, interior barn door (the name Charles Jewell, an early owner of the barn, is inscribed on it).

Throughout the home, whimsical details abound. The bathroom sink is mounted on an old library table. An old door separates the toilet area from the main bathroom space. One side of the door is painted with chalkboard paint for young grandchildren to write messages. An old mailbox mounted on the door’s other side is a fun place to leave notes. Wooden shoe last forms that are mounted on the wall make fanciful towel holders and a handle on a nearby closet. Wil-

lis designed the closet door so it opens all the way into the hallway, shutting the space off and creating a private changing area. Another closet houses a single unit that both washes and dries clothes, and doesn’t require venting. “That was my million-dollar idea,” Willis jokes. “I learned about those single units when I was doing a barn renovation for another client.”

Carlisle applied her imagination to lighting design. Several dropped lights are repurposed from antique farm equipment, cast-iron wheels or scales. To cover track lighting mounted on overhead beams, she cut holes in tin and glass lanterns as well as old hats and hat boxes so the lights shine up through each while obscuring the fixtures.

After the barn renovation was completed, Carlisle decided to renovate a small carriage house on the property. But she remains inspired by the families who’ve lived there. “The love that’s been here has affected so many people and has such longevity,” she says. “It gives you some perspective of how long the barn has been here and all the lives it has touched.” And that is what makes the barn feel like home. NHH

Resou R ce

Above:

Creating Beauty With Heat, Steel and Force

Zack Jonas elevates tools to unique works of art.

When Zack Jonas was ten years old, he took his mother’s paring knife and hid it under a sofa in the basement.

There was a fascination that drew him to the knife. He never cut anything with it or used it—he simply took it out and admired it from time to time. It held a powerful allure that led him to seek out instruction, increase his skill and eventually embark on a unique, creatively fulfilling vocation.

Now, Jonas has achieved the rank of Master Bladesmith—a rare designation bestowed by the American Bladesmith Society. There are only 121 such craftsmen at that rank in the world.

“I view the ranking of Master Bladesmith as a starting point,” Jonas says from his workshop in Wilmot. “I figure I’m young, and there’s plenty of time to learn—and that’s the goal.”

It’s the path of lifelong learning that led the New Hampshire resident to work toward perfecting his craft. Jonas spends his days at the forge and anvil, hydraulic press and power hammer, using heat, steel and force to create stunning works. His Damascus steel blades shimmer with an almost incandescent beauty. From chef’s knives with maple, sycamore and oak handles, to steak knives, to opulent, decorative pieces, Jonas’ high-carbon steel blades are stylized, yet useful.

It’s not an easy craft, but the results are remarkable and utterly unique.

“It can be tedious, dangerous and painful,” Jonas says. “But I love it anyway.”

HampsHire Home [NHH]: How did you find your way to bladesmithing?

Zack JoNas [ZJ]: I have loved knives since I was kid, and around the early aughts—just as Google was hitting its stride—I found a custom knife-making website. That’s when it dawned on me that people were making them, and I wanted to try it. I opened my mouth enough times, found a connection, then found a class at the Massachusetts College of Art in Boston. I started in 2006. I was unenrolled at the time,

By Bill Burke | Photography by John W. hession

attending on a continuing education basis a couple of evenings a week. I took the same class back-to-back eight times. It got me access to a fully equipped metal studio with no overhead cost. It had a whole shop, all the consumables, the steel and, of course, the expertise of Master Bladesmith J.D. Smith as the instructor.

NHH: How did you learn the craft?

ZJ: I actually never experienced anything at MassArt outside of the metal

studio. It was this basement industrial space, but that’s where I learned all the fundamentals of my craft under J.D.’s guidance. At that time, he had students who had gone on to become professional knife makers, which for him was unusual. Most of his students were there to try something interesting, not necessarily to make knives but [to learn] how to make a knife, if you understand the distinction. [The class] was not super detail oriented, but a few of us dug in and got a lot more out of it because we wanted to.

NHH: Tell us about your workshop—the place where these blades are created.

ZJ: My workshop is in Wilmot. It’s pretty spacious at about 2,500 square feet, and I’ve got all kinds of gear in there: several anvils, multiple forges, a power hammer, a hydraulic press, machine

tools. There are at least three things in there that weigh more than a ton. New England is a great place for [finding the right tools] because there are a lot of smiths working here. The anvil I use most of the time is from the barn of our real estate agent’s brother. [Tools like this] are around. Some of it is modern, but a lot is old as well. One of my anvils is a three-hundred-pound turn-of-thecentury English anvil. I also have a World War II–era band saw. I have a couple of machines from the ’60s.

NHH: What’s the most rewarding moment in the process for you?

ZJ: There are two. My work falls into two buckets: one is production, even though all my blades are handmade, and the other is higher-end collector oriented. Production is faster and simpler, and [those knives are] very clearly

made to be used every day. Higherend collector stuff has the same performance standards, but I may spend more time in finishing. For the production side, people come up to me at shows and tell me, “I bought a chef’s knife from you two years ago, and I smile every time I cut something.” With collectors, it’s more direct feedback. I may make a fancy dagger that someone will never use, hopefully, but it will be more fulfilling on a creative level.

NHH: Is there one blade you’ve created that you feel best defines what you’ve been working toward?

ZJ: It was actually one set of five pieces. In 2019, in June, I earned the rank of Master Bladesmith through the American Bladesmith Society. The second of two tests was to present a set of five knives that expressed the very finest of

Designs to Simplify Your Life!

my artistic ability. I started the first knife in 2017, and I finished the last one right before June 2019. It took me 2½ years to do it. It wasn’t to the exclusion of anything else, but I worked on them quite a lot. They range from a small, little knife— based on a knife from Finland called a puuko—and up to a fancy European-style dagger that was the centerpiece of the set. The dagger is the one knife in the set that was required to be something specific—it had to be that style of dagger with certain features to it.

NHH: There are intricate, waving designs in some of your work. What are those?

ZJ: That’s Damascus steel. The simplest explanation is that it’s two different alloys of steel fused together at high temperatures, and then folded or bent or twisted or carved to reveal the layers in different patterns. You can do random designs, but most of it is very carefully choreographed. The pattern is the direct result of each step you take in the forging process. Some steps can be very bold and visible from a great distance, while some are extremely fine and intricate and almost holographic in how they reflect light. The best way to conceive of that is compare a bar

master of his craft

code to a cross walk. You can see one from one hundred yards away, and the other, you have to get pretty close to make out the detail.

NHH: Can you talk about the balance of art and function in your work?

ZJ: I don’t necessarily have a strong opinion that form follows function. If you’re making a knife to perform a certain task, the ergonomics have to work out. But I don’t draw a distinction [that one outranks the other]. It ought to be beautiful and functional. People come to me and say, “Hey, I have this idea, this oddball idea ...” Sometimes I love that because they may come up with something I’ve never thought of. A couple of years ago, I was asked to combine a classic American Bowie knife with an Arabian or Yemeni dagger called a Jambiya. It’s something I never would’ve thought of in a thousand years. I loved it—it was a great project. More frequently, though, someone will come to me about this oddball thing, and I’ll have to say, “I’m sorry, that’s not the work that I do.”

NHH: How does something like a chef’s knife come into existence?

ZJ: With Damascus steel, a chef’s knife starts as a bundle of 1/16 -inch strips or bars of metal. I tack them together with

a welder at a high temperature and then fold them. Those strips become a single bar of steel, and from there, the process is identical to anything non-Damascus. I cut off the material I need, I heat and hammer the bar until it’s exactly the shape I want. A forging session, which is about 10 percent of the work, for one knife would be about twenty to sixty minutes. There are big outliers on that, though. Right now, I’m working on a sword that’s extremely complicated. It’s multiple bars of Damascus steel folded together. I spent three to four days on the forge just shaping that.

NHH: What are some of the risks associated with your work?

ZJ: My nephew asked me when he was five if I ever burn or cut myself. I said, “Yes, every day.” He looked at me agog, because to a five-year-old, that’s crazy. What I explained is that a baker gets flour on himself. I get cut and burned— it’s just part of the job. Most of the time, you hope, it’s relatively minimal. But the fact of the matter is, a lot of tools and processes I use in my craft can quickly or slowly kill you. I’m very serious about the precautions I take and the way I approach my work and various equipment.

NHH: Have you seen the reality TV show “Forged in Fire”?

ZJ: Yes, I was on it. I did very badly— I went out hard in the first round. It was through no fault but my own. I was given a piece of material I had never used before, and there was a flaw in it that I failed to identify. But it was a good experience, and I really enjoyed it. Truncated timetable aside, it’s pretty representative of what we do.

NHH: What is it about bladesmithing that makes it so rewarding to you?

ZJ: There’s something I’ve never been able to articulate about loving knives. I don’t know what it is, but I’ve always found them compelling. A friend of mine who is a Bladesmith put it this way: “You don’t make knives because you like making knives, you make knives because you like having made knives.” I get to make these awesome objects that look epic. It drives you onward. Then there is, of course, the never-ending skill progression. There’s always something you can do better, something new, something you can add to your repertoire. NHH

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Ghosts of a Cottage Past

In my memory, the old cottage was massive.

The last time I saw it was forty years ago, but I can still picture it: a two-level, single-family seasonal home built in 1950, white with red trim and a long screened-in porch that ran all the way down one side where my brother and sisters and I would play when it rained and we couldn't go out on the rocky, gravelly lawn that sloped down to a sandy beach and the shoreline of North River Lake.

Even now, when I think of it, I rationalize that it had to have been a pretty big place, since my grandparents, who owned the waterfront property in Barrington, had ten kids. The top floor reflected that. It was wide open and unfinished, with beds sticking out into the room from back to front. My parents would send us to bed, and we’d go upstairs to this cavernous room and look out onto the water, watching the red and green lights of the boats drift slowly by in the dark.

That side of my family was from Charlestown, Massachusetts, so when the weekends arrived, it was time to go up-country. “We lived in a third-floor rental with a tar roof at the time,” my mother tells me. “So we’d put you and your brother in the car and drive up to the cottage in the middle of the night to cool off from the heat of the city.”

Despite the lack of heat, air conditioning and anything approaching modern conveniences—we’d have to listen for our family’s particular ring on the shared phone line—being at the cottage was idyllic. The soundtrack was Elton John and Seals and Crofts coming from an old radio. There were footprints on the ceiling of that long porch, which set loose an eight-year-old kid’s imagination. I had visions of my uncles walking upside-down through the place. It never really occurred to me that they had likely just walked across the boards on the ground as the porch was being built.

the front, because when he pushed us away from the shoreline, I could watch the bottom of the lake drop away into the depths and it felt like we were flying.

I remember sitting upstairs in that big barracks of a room, convinced I’d found my career as an artist because I added chest hair to Barry Gibb in a very 1970s coloring book.

When I was about ten, our family moved away for a couple of years. From the time we pulled into that small, far-away western Nebraska town, which was so foreign to us that it may as well have been Mars, we wanted to go home. So when it was time, home was the cottage. The first summer that found us back in New Hampshire, we lived at the cottage. Every evening, we’d watch the boats; every morning, we’d be up with the sun, down by the water.

Circumstances and situations change, and in 1980, the cottage was sold.

A few years ago, my wife and I were driving along Route 125 when we passed by Calef’s. For some reason, the car wanted to drive back to the 1970s, so I took a hard left and started toward the cottage. We wound along the twisting roadway past the Chapel of the Nativity, over the hill and around a curve that brought us to River Road. I pulled in to what should’ve been a familiar sight: a big, white house with red trim, just across a gravel road from a smaller guest cottage.

Instead, I sat for a moment, looking. It wasn't there. I kept trying to make this nice home, which was sitting on the same spot, be that cottage. Whoever lived in it made improvements, changed the design and made it a year-round, much more useful home. And it certainly wasn’t nearly as big as I remembered.

I kept an eye on the cottage over the years from a distance, just in case it went up for sale and a windfall fell. Spoiler alert: it hasn’t, and it didn’t.

My father proposed to my mother there in August 1965. It was under the trees in a grassy area off to one side, because “he was afraid we’d drop the ring in the water,” my mother says. It’s where my father taught us how to fish. We’d get up at first light and climb into our aluminum rowboat. I’d rush to

But it’s not so much that I’ll never be able to reclaim the cottage. It’s that you can’t buy your way back to what was. Those years are gone, and even if the planets aligned, it doesn't make sense to unrenovate a house.

It’s said that if you give up waterfront property, you’ll never get it back, and since 1980 that’s been true. NHH

By Bill Burke | Illustration by Carolyn Vibbert