I recently read Natalie A. Naylor's in-depth biography on Nathaniel Rogers in the Long Island Historical Journal, which sheds light on this prominent individual who left behind a legacy that still stands today in Bridgehampton, Long Island, NY. Many overlook him today in the 21st century, but the home he left behind marks an important aspect of his life, through the architecture, which tells a story of its own.
Naylor begins by providing an intimate view of Mr.Rogers early life and family. John Topping Rogers and Sarah Brown welcomed ‘Nathan’ into this world on August 1st, 1787 in Bridgehampton, NY. His other siblings included three brothers and a sister. The farming life was part of his family occupation and his oldest brother John Rogers had the first choice in inheriting the family farmland. At age 15, he became a shipbuilder and within one year he made “ the most fortunate cut he ever made” by injuring his knee. Naylor makes this an important point because it is from this accident that led him to transpire his career into a completely different one.
Nathaniel returned home to Bridgehampton to recover under the care of Dr. Samuel H. Rose. It is under his care that Dr. Rose provided artistic endeavors for Mr.Rogers to undertake while he was recovering in bed. Through this healing, Mr.Rogers discovered an unknown talent of his own through painting. He started by copying miniatures and painting some portraits of his friends. This later led him to travel to New York City to study with other miniaturists. He eventually opened up his own studio at the age of 24. His work was first exhibited at the American Academy of Fine Arts in 1817, which provided his work the much needed attention it deserved.
The writer discusses the importance of portrait miniatures which most of us are not familiar with today. It is undeserved mostly because it is a misunderstood art form. But the beauty in the process of making these miniature portraits requires a great amount of detail and hard work, which made them highly valuable. Naylor gives great insight in the process of how these miniatures were made, first on Ivory then degreased, bleached, and smoothed, later being attached to a card or paper. When finished, the portraits were placed in an oval locket and traditionally given as a memento. Those who owned a miniature could display or hide it in their pocket. It provided a sentimental value and sometimes a lock of hair was placed it behind to signify its importance. Naylor states the reason for the decline in the popularity of these miniatures, due to the development of photography, marking an end of an era for this specific art form.
Mr.Rogers was very successful in his career as an artist in New York City from 1815 through the 1830s. During this time he was given the chance to capture some prominent people of his day such as Philip Livingston, Mrs. Stephen Van Rensselaer and Chancellor Robert Livingston. Naylor was able to identify more than one hundred portraits made by him and that is only just a small percentage of his work. His popularity as a miniaturist gave him the wealth his father once contemplated him having. Rest assured, Nathaniel proved this by supporting his family along with other close friends as an artist, sending money from New York City. His career as a miniaturist lasted until 1839, when he retired in his early fifties to Bridgehampton, thanks to the amount of wealth he accumulated over the years.
Mr. Rogers purchased a house from Judge Abraham T. Rose, the son of the doctor who originally helped him discover his unknown talent as a miniaturist. He remodeled the house, expanding and turning it into a fashionable Greek Revival style home. The interior of his home was lavishly furnished and displayed many fine amenities such as a pianoforte and an organ. His residence was one not to miss, as it stood on the corner of the very busy main street in Bridgehampton. The time he spent in his retired home is short as he died a few years later on December 6th, 1844 at age fifty-seven.
After the death of Mr.Rogers, the house was passed on through various owners over the years. The writer notes an important turning point for the home in 1894, when Capt. John Hedges, purchased and renovated the house, turning it into a first class hotel, named “The Hampton House”. This gave life to the house and community again as it attracted many people to spend their summers there. The house gained its popularity due to its lavish hospitality and good food along with its stunning exterior presence. The commute for those traveling from New York City to Bridgehampton by train was made accessible. They were provided transportation from the train station by carriage to the Hampton House. It remained open until the late 1940’s and soon thereafter the house slowly deteriorated, due to the lack of maintenance.
By the 21st century, the house was endangered of being taken over by a shopping plaza. Thankfully, The Town of Southampton purchased the property along with another six acres for a high price of over 3 million dollars, due to the architectural significance of the house. It is one of twenty-three structures in Suffolk County that earned a spot in the Historic American Buildings Survey. Naylor provides additional evidence of its importance from the New York State’s Long Island Landmarks, which stated “One of the best Greek Revival structures in the state, with two-story Ionic columns across its front center. The local pride typified by a recent repainting holds out a bright future for the area.” The house once remodeled and expanded by Mr.Rogers, is currently being restored and will open as the Nathaniel Rogers House Museum in the near future. This will bring the deserved recognition to this artist who enhanced Main Street with his remodeled home, leaving us an important part of architectural history, as it is a rare Greek Revival Structure still standing in Bridgehampton today.
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