Somerset Villa: The Upper Floors

Posted on 12/13/24

Authored & Curated By
M.J.G.

We continue with the tour of the second floor today of the Carr's Somerset Villa.

The Parents
Before we ascend to the second floor, let’s take a moment to reflect on the family behind the photos we’re studying. Julian Shakespeare Carr (1845–1924) and his family. Born on October 12, 1845, Carr married Nancy Graham “Nannie” Parrish Carr (1853–1915). Together, they lived a prosperous life built on Julian’s vision and tireless work in various business ventures.

Carr was a pivotal figure in Durham’s transformation into an economic hub. He organized the city’s first textile mill, the Durham Cotton Manufacturing Company, and founded the Golden Belt Manufactory, which supplied tobacco pouches for much of America. Beyond textiles, he launched the Durham Hosiery Mills, established Durham’s First National Bank, co-founded the Durham Electric Lighting Company in 1887 (the same year he built this house), and built the Durham-Roxboro Railroad.

In addition, Carr made significant investments in community development. He founded the Jule Carr Home Loan Fund, constructed the Carolina and Claiborne Hotels, and was instrumental in relocating Trinity College to Durham—now renowned as Duke University. His vision and leadership not only defined his own legacy but also shaped the city of Durham into a thriving center of industry and education.

The Children
The couple had six children. Five were born prior to moving into this home, and the youngest was born after they settled here.

left to right: Lyda Elizabeth Morehead Carr; 1874-1950, lived to age 76
Lalla Ruth Carr Patton; 1876-1921, lived to age 41
top image: Julian Shakespeare Carr Jr; 1878-1922, lived to age 43
right: Albert Marvin; 1880
far right: Claiborn McDowell Carr Sr; 1884-1956, lived to age 71
bottom center: Austin Heaton Carr Sr; 1894-1942, lived to age 47

The 1900 Census Records & Membership Card
According to the census records, by 1900 the family lived here with four sons. The daughter was married and had moved out, and they had two live-in servants as well as one coachman.

Thanks to JimH for providing this research.

This etching of the home shows dramatic views of the gardens, and in a directory from the time, the home is incorrectly spelled “Summerset Villa” instead of “Somerset Villa.” Such errors in historical documents were not uncommon, reflecting the occasional inconsistencies in naming and record-keeping during that period. It is important to keep these things in mind when doing your own research.

Second Floor Hall
As you ascend the grand staircase, you pass a large stained glass window and family portraits. Upon reaching the top of the landing, this is the view you would see. The hallway is adorned with family portraits.

We get a closer view of the portraits in the hall, hung unusually high from the picture rail. The picture on the far left appears slightly warped. To the right, the large stained glass window is visible. Below the picture on the far left is a contraption—perhaps a speaking tube, a switch, or controls for the lights or gas lighting.

It was stated that the largest of the stained glass windows was placed high above the main staircase and was inspired by the poem, “Curfew Must Not Ring Tonight.” The window depicted a young woman clinging to the clapper of a huge golden bell. On sunny days, the massive window blazed with color, and the agony on the maiden’s face was clearly visible as the poem’s lines came to life: “Out she swung, far out; the city seemed a speck of light below, She ‘twixt heaven and earth suspended, as the bell swung to and fro.” by Rose Hartwick Thorpe.

At the back of the hall was a beautiful large pier mirror, complete with two vases and a stunning urn. Note the electric and gas light. The walls and ceilings are decorated with typical patterns from the late 1800s. Also, note the doorway to the left, likely a passage, which is draped.

Turning around from the pier mirror area, you get a view of the staircase, where you would have ascended from the lower hall. Notice that the passage ahead is draped, just like the one at the opposite end.

This photo appears to be of Eliza Panill Bullock Carr, Julian Carr’s mother. She was born on April 6th, 1815, and died on November 29th, 1906, at the age of 91. Her husband, John Wesley Carr, Julian’s father, was born on April 25th, 1814, and died on May 25th, 1889, at the age of 75.

Early electric light switches were typically turn switches, as seen here in the Bergmann & Company New York catalog from 1890.

Chamber 1
It is unknown whose bedrooms are whose in this study. The large bed appears larger than a double size and could possibly have been a custom bed. Most beds were typically ordered in two sizes: Single and Double, or by today’s standards, Twin and Full. The room is beautifully detailed on the walls and ceilings. The bed’s headboard is fascinating and almost looks as if the center panel is a large round mirror beneath the half-tester. A typical bedroom of the time.

The combination gas and electric fixture is very dramatic and must have provided ample light in the room, though likely with lower light levels than what we are accustomed to today. We get a closer view of the ceiling stenciling pattern here, as well as the frieze. There appear to be flowers and birds to the right of the chandelier.

Chamber 2
This room clearly belongs to one of the younger children, with a mix of children’s toys and formal wall treatments.

A closer view of the bed and the passage to the right, likely leading to a bathroom. It is unclear, but above the second stacked pillow, there appears to be either a picture or an illustration printed on a pillow.

Standing in front of the formal drapery and lace is a birdcage. Can you see a bird in there? It appears that a tiny little finch is sitting at the top in the center. If you look closely through the lace curtains you can see small amounts of lights coming through shutters. To the right of the window, you will see a phone. These early communication devices were just starting to show up in homes of the people who could afford them.

Telephones were well known enough by 1889 that a song was written about Kissing Pappa Through the Telephone. Telephone companies began to emerge in the 1870s, with Alexander Graham Bell founding his first telephone company in 1877. This company eventually became what most people know today as AT&T (American Telephone & Telegraph).

A closer look at the toys on the floor reveals them scattered across the wall-to-wall carpeting.

The walls and ceilings appear to be papered, adding to the room’s elegance. The electric chandeliers are quite stunning and dramatic, enhancing the overall atmosphere.

Chamber 3
An interestingly decorated room with a lounge in front of the windows for relaxing during the day. The walls and ceilings have an intriguing pattern, though it is difficult to make out clearly. It appears there is a mantel straight ahead, covered in statues and vases. The firebox is also noteworthy—could that be a cover over the opening? Is it false?

The wall sconce is very dramatic, extending out from the wall and hanging down boldly in front of large frames. It combines gas light with two large electric bulbs. In this room, it appears that the woodwork has been painted in a color, adding to the overall aesthetic.

Another view of this room taken from the other side shows a very wide bed, likely a custom-made piece. Under the half-tester drapery, you can see a painting. Perhaps this painting is framed in silk and appears to be a drawing of someone lying down. The bedroom floor is covered in wall-to-wall carpeting with border.

A closer inspection reveals that the bed appears to be covered in lace. The wall fill pattern is typical of the Aesthetic Movement, contributing to the room’s overall decorative style.

Here is a closer view of the electric chandelier. The top portion features gas jets shaped like candles. You also get a closer look at the frieze pattern and wall fill. The ceiling appears to be painted with floral patterns. In a journal published in Richmond, Virginia, called *Somerset Villa*, a reporter described a bedroom where J. Gilmer Korner, also known by the alias Ruben Rink, had painted the ceiling with clouds, life-size cupids, and “a frieze representing water.” Perhaps this painter was responsible for all of the ceiling decorations and frieze work in the rooms. For years, I’ve been unable to obtain the full article, but hopefully, it will surface soon.

Bathroom 1
By the late 19th century, bathrooms were appearing even in middle-class homes where the conditions were right for them. However, having multiple bathrooms during this time required significant wealth. This bathroom, as seen in the photo, is fascinating. The room features tile halfway up the wall and decorated walls. In addition to the standard sink and tub, which were mass-produced, there are two faucets under the sink and a marble platform with a drain. This may have been a place to wash feet, though I haven’t encountered this feature in my studies before. Any additional information in the comments would be greatly appreciated.

Contrary to popular belief, the term “bathroom” was used during the late 19th century, as well as “W.C.” or “Water Closet.” These terms were used interchangeably in catalogs, descriptions of these rooms, and architectural plans.

The marble sink features both hot and cold faucets, as well as two pitchers. The one on the right follows the Aesthetic Movement in design. Decorated sink bowls were quite the trend during this era and could be ordered in a variety of patterns, adding a touch of personal style to bathroom fixtures.

An excerpt from the J.L. Mott Sanitary Plumbing catalog shows a sink similar to the one we see in today’s photo. The catalog highlights the design and features of sinks from that era, which were often customized with decorative elements, reflecting the popular trends of the time.

Here is an example of mass-produced decorated bowls, available in a variety of colors and patterns. These sinks were part of the trend during the late 19th century, offering homeowners a way to personalize their bathrooms with stylish and intricate designs.

The swinging towel bars are a feature you can still see in modern homes today. The monogrammed fringe towels with Greek key patterns are typical of the period’s fashion, reflecting the intricate and personalized designs popular during that time.

The clawfoot bathtub, with a wooden frame along the top, is painted and stenciled with designs that were commonly featured in many books of the era. The clawfoot pattern is highlighted in metallics, while a scroll pattern is either stenciled or papered onto the tub, adding a decorative touch typical of the period’s aesthetic.

Here is an example of a similar bathtub that could have been purchased at the time. This style, with its clawfoot design and decorative features, was popular in the late 19th century, reflecting both functionality and the ornate aesthetic of the period.

This catalog from the 1880s offered customers the option to have their bathtubs delivered already painted and decorated with premade designs. This service allowed homeowners to customize their bathrooms with intricate, decorative patterns, reflecting the ornate style that was popular during that period.

Bathroom 2
Here is a second bathroom in the home, featuring the same bathtub and sink as the other room. The bathtub in this space is decorated with a different pattern and color scheme. To the extreme lower right, we can possibly see the toilet, and under the sink, there is a marble platform, similar to what we saw in the other room, further suggesting its use for foot washing or another purpose.

Upon further inspection of the wall treatment, it almost appears that the pattern is raised and painted in a reflective material, adding texture and depth to the design.

Both bathrooms in this home appear to be designed in a similar fashion to what was illustrated in the catalogs of the day, much like this one from the 1880s. The design choices, including decorative bathtubs, sinks, and other fixtures, align with popular trends. Note how beautiful the toilet is.

Now to the end of the story…

Property For Sale
After Carr’s death, the family decided to put the house up for sale. The property was divided into 55 lots, and approval was granted to extend Perry Street through the middle of the property, cutting right through the center of the home. Several discussions took place, and many parcels were purchased. The Herald Sun in 1925 reported that C. McD. Carr (one of Carr’s sons) bought 14 adjoining lots, purchasing the largest number of lots as well as the residence, which was to be moved. You can read the full article here.

The auction was said to have brought in a total of $187,624.

Demolition Begins
Sadly, the idea of moving the home never crystalized. The News and Observer stated in an article on 06-18-1926 that General Carr’s home is now being razed, as well as another article by The Albemarle Press from the same month, which incorrectly spelled “Summerset Villa” and mentioned that it was being torn down to make way for an increased number of residences. The building, erected 40 years ago and covering an entire block, was considered one of the most beautiful and hospitable homes in the state for many years. Some people have claimed that parts of the home were reused in other residences around the city, with specific addresses named. However, visually, those homes either don’t exist today or this claim is not factual.

Sanborn Map Before…
A view of the property during the 1910s shows the expansion of the property lines, the rebuilding of greenhouses in new locations, and other changes. East Main, on the right side, also appears to have been widened to include a greenbelt.

… After
View of the property after demolition, with the new street cutting through the location where the house once stood. New buildings were being erected on the land. Reams Ave at the bottom of the map was renamed S Elizabeth.

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The Somerset Villa: Outside & First Floor

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