Atterbury’s early houses, scattered throughout Long Island, reflect the architect’s exquisite attention to detail as well as his use of progressive construction methods.Īs early as 1897, at age 28, he was already experimenting with sprayed cement over lath in his design of the Moorish Houses at Bayberry Point for H.O. Atterbury enrolled at the School of Mines at Columbia University, worked for New York-based McKim, Mead & White from 1892 to 1893, and then attended the L’Ecole des Beaux Arts in Paris in the atelier of the architect Paul Blondel from 1894 to 1895.īetween family business and social connections in New York and Southampton, he readily established a country house practice upon his return from Europe that would quickly receive national attention.

Atterbury’s aesthetic were his studies for three successive summers-from 1891 to 1893-with William Merritt Chase at the Shinnecock Summer School of Art.Īfter graduating from Yale in 1891, Mr. Summers spent on his family’s 80-acre Shinnecock Hills estate, Sugar Loaf Acres, an unpretentious shingle-style home by the water, led to an appreciation of local vernacular architecture. His corporate lawyer father, Charles, owned a summer house in Shinnecock Hills. Atterbury (1869-1956) was, to some degree, a local product. Unlike many prominent architects of his era who worked in the Hamptons, Mr. Atterbury’s status as a multi-dimensional architect of lasting and wide-ranging achievements. Stern notes in a rather rebarbative tone that nothing could be further from the truth as the authors elucidate Mr.

Atterbury in this revisionist argument promulgated by the modernists.īut in the foreword to the book, Mr. Cross and Cross, Delano and Aldrich, Warren and Wetmore, among others, have sadly been lumped together alongside Mr.

Philip Johnson, for example, was quick to dismiss the radical Frank Lloyd Wright as “the greatest architect of the nineteenth century” and instead noted that he thought Mr.

Grosvenor atterbury sagamore