HISTORIC MARKET ASSESSMENT

presents

95 BROAD S T R E E T

Major Peter Bocquet’s House 95 Broad Street, Charleston, SC 29401

Luxury Simplified Group

Prepared by: Anna Krueger

January 2016

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Table of Contents

I.) Part I: Brief Introduction to the Property, Chain of Title, and Historical Context of the Structure

a.) Brief History/Background of the Building b.) Bocquet Family History c.) Chain of Title

II.) Part II: In-Depth Assessment of the Structural Evolution & Architectural Assessment/Building Techniques and Materials

a.) Overview of Architectural Materials Used b.) Historical and Contemporary Records of Aesthetic or Structural Alterations

Over Time 1. Alterations/Renovations 2. Natural Events that may have Impacted the Structure or its Use

c.) Notable Architectural Details of the Structure d.) Craftsman-Based Research of Individuals who have Worked on Structure

III.) Part III: Conclusion

a.) Potential for Historic Conservation and Preservation

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Part I

a.) Introduction/Summary

Major Peter Bocquet’s House at 95 Broad Street a three and one-half story stuccoed brick

house built circa 1770 by Peter Bocquet Jr (Figure 1).1 The property was acquired by the

younger Bocquet from his father Peter Bocquet Sr. as a gift in July of 1770. 2 Peter Bocquet Jr.

was a merchant and a planter. He partnered with his brother-in-law, John Wagner and exported

deerskins from 1766 to 1772.3 He owned multiple pieces of land all across Charleston, including

the Jones Plantation, 1,230 acres of highland and marsh land along the Stono River.4 Bocquet

served on the General Assembly during the Revolutionary period and as a major in the South

Carolina Militia until he was captured and imprisoned from 1780 to 1782 and consequently

exiled to Philadelphia by the British.5 After the Revolution, he returned to Charleston and

became a member of John Rutledge’s Privy Council and Commissioner of the Treasury.6

The Peter Bocquet House was owned subsequently by numerous owners, including Dr.

Samuel Wilson. Following the War between the States, the property was acquired by John

Frasier & Co., a banking firm, and then later purchased by Edward H. Kellers, a druggist and

physician. The house was also owned by John Ragsdale, a woman, and a successful local interior

decorator in Charleston in the late 20th, early 21st century.7

The Peter Bocquet House is one of Charleston’s finest examples of Georgian

architecture. Some of its prominent original exterior features include the entryways on the north

facade, and the second story iron balconies at the south and north facades.8 The building’s

interior features elaborate wood carving, paneling, and moldings. The fireplace mantels are

original to the building and are said to be done by John Lord, local wood carver, and inspired by

famous craftsman, Thomas Elfe.9 The building was altered in the early to mid-1800s and

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underwent rehabilitation after Hurricane Hugo.10 Luxury Simplified Group restored the building

in 2013 and it became the main headquarters for their real estate company.

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b.) Bocquet Family History

Peter Bocquet Sr. arrived in Charleston and married his wife, Barbara around 1739, in St.

Philip’s Parish.11 Peter Sr. was a baker for his entire career.12 He was naturalized as a “foreign

Protestant” after obtaining certification by a Huguenot minister in 1744.13 On October 6, 1744

his son, Peter Bocquet Jr. was born.14 Peter Bocquet Sr. is thought to have died before 1783,

when his will was probated.15 Dated December 9, 1780, his will left legacies to his four

daughters: Sarah Bocquet, a spinster; Catharine Trescot, wife of Edward Trescot; Mary Swalder,

wife of George Swalder; and Ann Wagner, wife of John Wagner.16 Bocquet Sr. in his will

conveyed the property currently located at 95 Broad Street to Peter Bocquet Jr. by deeds of lease

and release dated July 28 and 29, 1770 and it is believed that Peter Bocquet Jr. built the house on

the land shortly thereafter (Figure 2).17

Peter Bocquet Jr. was a merchant and partnered with his brother-in-law, John Wagner, to

export deerskins.18 He married Elizabeth McLaughlin, daughter of William McLaughlin, who

was a wealthy plantation owner.19 Peter Bocquet Jr. and his wife bought, sold, and owned

multiple pieces of land and plantations. These included Travelers Rest Plantation, made up of

350 acres on the Ashley River and Jones’ Plantation, 1,230 acres of land along the Stono River.20

Peter Bocquet Jr. owned 103 slaves in St. James Goose Creek and St. Andrews parishes,

according to the federal census of 1790.21

Peter Bocquet Jr. was a well-known politician in South Carolina. He was elected to represent

St. Philip and St. Michael’s parishes on the Second Provincial Congress from 1775 to 1776.22 He

represented St. Andrews Parish and his home parishes in the General Assembly in the late 18th

century.23 He was also a commissioner authorized to stamp and issue paper currency in 1776.24

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He was Commissioner of the Treasury from 1784 to 1787 and a member of Governor John

Rutledge’s Privy Council.25

In the 1780s, Peter became a major in the South Carolina Militia.26 He provided hay and

other supplies to the Patriot forces and contributed lumber for the city’s fortifications during the

sieges of 1779 and 1780 (Figure 3).27 When Charleston fell to the British in 1780, Peter was

captured and imprisoned in the Exchange. His family was banished from South Carolina and his

estate was repossessed in December of 1781.28 They returned after the British evacuated

Charleston in 1782.29

Peter Bocquet Jr. was married at least twice during his lifetime. He married his first wife,

Martha Smith, in 1766.30 She died one year later and Peter married his second wife, Elizabeth

McLaughling, whose father, William McLaughling, was a planter in St. Paul’s Parish.31

Elizabeth and Peter had one son together, George Washington Bocquet, and Peter also had a

daughter named Mary, but it is unknown from which marriage she was born.32 Peter Bocquet Jr.

died on March 15, 1793.33 He died, leaving a mortgage on the Broad Street property

unsatisfied.34

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c.) Chain of Title

The Peter Bocquet House was constructed circa July 1770, presumably by Peter Bocquet Jr.

After acquiring the land as a gift from his father, Peter and his family owned the property up

until his death in March of 1793.35 Peter and his wife Elizabeth mortgaged multiple pieces of

property, including 95 Broad Street, to secure a debt he owed to William Higginson, a London

merchant, with William Greenwood the Younger serving as an attorney and trustee for

Higginson on October 28, 1790.36 When Bocquet died in 1793, he had not repaid Higginson and

his property at 95 Broad Street was still liable for the debt.37 William Greenwood obtained

judgement against the estate and his heirs that same year for the debt owed to Higginson.38 In

1796 Greenwood filed a bill in the Court of Equity against Bocquet’s heirs.39 Elizabeth Bocquet

raised a defense based on her dower rights, but the court ultimately sided with Higginson.40 The

Master in Equity, William Hasell Gibbs, was ordered by the Court to foreclose and sell 95 Broad

at public auction.41 On September 30, 1796 the property was transferred to Dr. Samuel Wilson.42

In 1855, Dr. Wilson’s heirs sold the house to Dr. Peter Cordes Gaillard.43 He owned the

house until around 1865, or just after the American Civil War, when the house was listed as

being owned by the John Fraser & Company, a recognized Charleston based patriotic importing

and exporting company.44 John Fraser & Company was a firm of blockade runners, or steam

ships that were known for their speed to pass undetected through the Union blockade (Figure

4).45 The newly formed Confederacy turned to them to help receive supplies from various

foreign powers, such as England and France.46

Edward H. Kellers, a physician and druggist purchased the house from John Fraser &

Company in 1873.47 It is shown on the Sanborn Fire Insurance Map in May of 1884, as a three

story grocery with a rear two story dwelling (Figure 5).48 On the June 1888 Sanborn Map, the

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building is labeled as a drug store with a kitchen house in the back (Figure 6).49 The Sanborn

Maps from 1902, 1944, and 1951 label the building as a store (Figures 7-9).50 The house

remained in Keller’s family until it was purchased by John Fromberg in 1953.51 According to the

RMC Deed, Book Number C135, Page 356, the house was purchased by Roland H. Momeier in

1954.52 Between 1954 and 1981, the house was acquired by Thomas R. Bennet Jr. He in turn

sold it to John F. Ragsdale on March 2, 1981, recorded in book U124, page 296 at the RMC

office for Charleston County.53 On October 10, 1998, John F. Ragsdale conveyed an undivided

7% interest of the property to Caroline Ragsdale for $52,560.42.54 John died on March 4, 2000

and still owned 93% of the property.55 Caroline Poston, formally Caroline Ragsdale, became

Personal Representative of the Estate of John F. Ragsdale and sold the property to Spruce

International, Inc. for $1,627,500 on June 1, 2000.56 Spruce international, Inc. owned the

property until they sold it to Bridge Charleston Investments A, LLC for $1,661,830 on December

7, 2012.57 Luxury Simplified Group currently occupies the building in 2015 and uses it as the

headquarters for its real estate company.

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Part II

a.) Overview of Architectural Materials Used

The Peter Bocquet House is an eighteenth century town house with many exquisite original

interior features intact. Constructed in circa 1770, it has a stuccoed brick exterior, which today is

painted bright orange.58 The walls are reinforced with iron ties, which was likely added after the

earthquake of 1886 (Figure 10).59 There are two iron balconies on the structure. One on the south

façade at the second story and another on the north façade, outside the middle window of the

second story, thought to be original to the building.60 The building features a slate, gable roof

with copper flashing.61 According to the Historic American Building Survey conducted in 1958,

the roof was constructed of sheet metal that has been painted.62 Later Board of Architectural

Review documents show that the roof was replaced around 1990-1991 with slate after Hurricane

Hugo.63 The roof cornice and eaves are made of wood, in a simple design and project off the

building slightly.64 There is a stucco parapet wall above the line of the eaves on the west

façade.65 On the west side of the roof, there are two chimneys made of brick and each one has

three hooded vents (Figure 11).66

The doorway on the ground level on the east end serves as the main entrance to the building.

It dates back to the Regency Period, 1815-1825, and the door on the western side is duplicate

added at a later date.67 The entry way features a wood architrave molding, flanked by two

pilasters.68 The fluted frieze features a central panel, as seen on both doorways.69 There is a

rectangular glazed transom located over each door that feature federal style details (Figure 12).70

The Historical American Building Survey records that all doors were hung on two ornamental

cast iron butts at that time.71 There are a total of thirty window openings and four gabled dormer

windows on the building. The majority of the windows feature nine over nine panes. The second

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story windows on the east façade previously extended to the floor but have more recently had

their lower sections closed.72 The second story center window on this façade extends to the floor

and opens onto a small wrought-iron balcony.73 Every gable is a triple window and all sashes are

double hung.74 The window trim is made of wood moldings inside each masonry opening.75

Window shutters on the first floor are paneled, while shutters on the second and third floors are

louvered with wrought-iron strap hinges, hold-backs and bolts (Figure 13).76

The floor plans have been altered multiple times throughout the life of the house. All four

floors have a central stair hall with north and south rooms on either side (Figure 14). The third

and second story stairs are original to the building.77 The stairs are open string, with the treads

sitting on top of the stringers and extending past it. There are three small balusters to each tread

and each course has turned newel posts (Figure 15).78 The original flooring is longleaf yellow

pine boards, some being five inches wide and some being six inches wide.79

The first floor opens into a partial hallway leading to a reception area and opening into a

salon on the north side. The south room at the first floor is used as a meeting space (Figure 16).

The fireplace and mantel in this room are original to the building.80 The second floor north room

is one of the most significant rooms in the entire house. The walls, cornice, wainscoting and trim

are made of wood and the ceiling is made of plaster with a plain profile.81 The cornice surrounds

the entire room and breaks at the chimney breast.82 It has a large profile with decorative fretwork

dentils and modillions.83 The wainscot is made up of raised and fielded pine panels topped with a

dado rail.84 The walls above the dado rail are finished with raised and fielded pine panels

extending to the cornice.85 There are two alcoves with Tudor arches on either side of the

chimney.86 The window openings in this room extend to the floor and have paneling below each

window stool.87 The architrave door and window trim mimic each other; both having crosettes at

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the head.88 The window trim also has crosettes just above the dado rail (Figure 17).89 The

chimney breast, located on the west wall protrudes slightly past the adjacent alcoves.90 The

fireplace is decorated with a crossetted architrave just outside the marble facing.91 The central

panel of the frieze is decorated with an urn flanked by wheat-ear garlands and the panels on

either side are ornamented with rinceaux in relief.92 Rinceaux is a French term for foliage.93 It is

a decorative form that depicts an ongoing, wavy stem-like motif from which smaller leafy stems

or groups of leaves branch out at more or less regular intervals.94 The paneled pilasters on either

side of the fireplace are topped with consoles, or scroll-like carvings.95 A large panel with

crossettes and a curved broken pediment decorates the area over the fireplace mantel.96 The sides

are decorated with a plant-like motif and carved scrolls that sit directly above the mantel.97

The second floor south room is finished entirely out of wood except for the bare plaster

ceiling.98 The cornice has a simpler profile throughout the room. Both the wainscot and walls are

paneled and the doors and windows have architrave trims.99 The fireplace in this room features a

cornice with fretwork dentils, a crossetted architrave, and a frieze with strapwork trimming

(Figure 18). The fretwork on this fireplace is unlike any other known in Charleston. Fretwork is

traditionally an interlaced decorative design, carved in low relief.100 This particular design is

thought to be a carver’s pattern, not developed into the three dimensional, therefore resembling

traditional fretwork.101 The third floor of the building feature plain plaster walls and ceilings,

architrave trim around all window and door openings, and a simple wood base.102

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b.) Historical and Contemporary Records of Aesthetic or Structural Alterations Over Time

1.) Alterations/Renovations

There have been multiple alterations to The Peter Bocquet House over its lifetime. While

the building has many of its original wood work and exterior features, it went through two major

renovations in the mid-19th century, in the mid-20th century and was rehabilitated after Hurricane

Hugo in 1989. Luxury Simplified Group undertook a major renovation in 2012, immediately

after they purchased the building. The building was constructed circa 1770 and there is very little

information available as to the original floor plans when it was constructed. One of the earliest

records with information about the design of the building reveals that during Charleston’s

Regency Period, circa 1815-1825, the two door surrounds on the north façade, facing Broad

Street, were added.103 The east doorway provided a separate street access to the L-shaped hall

leading to the center staircase and the west door opened directly into the front room onto the first

floor.104 It is assumed that the front room was likely used for business and the L-shaped stair hall

acted as a private, separate entrance.105 According to Robert Stockton, a local architectural

historian, the wrought iron balcony on the north façade, at the second floor is original to the

building.106 The house originally had all nine over nine Georgian windows.107 Then in the

Victorian Era, dating from 1837-1901, all the windows in the house were replaced with four over

four panes.108 John Ragsdale, who owned the building during the late 20th century, restored the

windows back to the original nine over nine panes.109 There were originally three openings on

the south façade that were only accessible through jib doors, or doors that were made flush with

a wall and blended into the finishing of the wall, that opened out onto the rear piazza when the

kitchen was in a separate out building at the back of the house.110 The Tudor arches in the second

floor north room were added about 1850 and were the only major renovation to the second floor

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(Figure 19).111 The first floor south room fireplace mantel and the two mantels on the second

floor are all original to the house.112

Between the late 1800s and early 1900s, the house was owned by Edward H. Kellers,

who used the building as a drug/grocery store.113 The house is labeled as a drug store on the

Sanborn Fire Insurance Maps of 1884, 1888, and 1902.114 The 1902 Sanborn map shows the

building had a two story piazza on east façade.115 The 1888 map does not show this piazza, so it

can be assumed that it was added in the late 1800s, under Keller’s ownership (Figure 20).116

Roland H. Momeier purchased the building in the 1954 from Joseph Fromburg with the intention

to use part of the existing lot as a parking area for a Piggly Wiggly grocery store, to be built at

101 Broad Street.117 Momeier originally wanted to raze the building but was stopped by the

Preservation of Old Dwellings Society (now known as the Preservation Society) and the Historic

Charleston Foundation, both of whom pointed out the historic significance of the building to

Momeier.118 Momeier decided to preserve the house, but tore down the east piazza and the

outbuildings at the back of the house, which were not original to the main structure (Figure

21).119 According to the Historic American Buildings Survey, in an interview with Momeier in

1962, the central stairway between the first and second floors was removed and closed up and a

new stairway was built in a side hall during a renovation at an undetermined date.120 In 1957,

when the piazzas on the east and south end were removed, a three-story wing was added to the

south end of the building.121

The house was again restored from 1990-1991, after Hurricane Hugo hit Charleston in

1989 (Figure 22).122 In June of 1991, John Ragsdale, present owner at the time, received

approval from the Board of Architectural Review of a design she submitted to construct the

wrought iron balcony, still present today, and railing (Figure 23 & 24).123 From the late 1990s

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into the early 2000s, minor repairs were conducted to keep the building looking its best. In April

2003, the present owner, Mike Dingman, had an inspector, Eddie Bello, come out to the house

and assess the condition of the existing stucco.124 After determining the condition of the stucco

was very poor, Dingman had Mitchell Construction Company remove the existing stucco and

replaced it to match the original.125 On-site review of the lime wash color and scoring was

required by the BAR for Mitchell Construction to be approved to complete the work.126 Later in

June 2003, Mitchell Construction Company was hired again to remove the existing slate roof and

copper flashing and replace the material in kind.127 The roof had been replaced once after

Hurricane Hugo in the early 1990s by Raleigh Roofing from Chicago Illinois.128 Max Keffer

from Mitchell Construction found that they were no longer in business, which was the reason

behind the continuous roof leaks during that time.129 Mitchell Construction was approved by

Linda Bennett of the BAR to replace the roof using Welsh Black Slate, the same material used

on other structures owned by wealthy Charleston settlers.130

In 2012, the building was sold to Luxury Simplified Group who applied to the Board of

Zoning Appeals to use the building as a real estate and design office.131 John Paul Hugely, owner

of Building Arts, had a hand forged iron sign created by one of his graduates from the American

College of the Building Arts for Luxury Simplified. The design was approved by the BAR in late

2012 and approved by Zoning in early 2013.132 The bracket detail of the sign was copied from

the Sword Gate House and the craftsmen were the same men who made the existing gas lantern

brackets attached to the building.133 The signs that hang from the brackets are made of solid

cypress, painted Charleston Green, with hand carved letters that are painted gold (Figure 25).134

Luxury Simplified restored the interior of the building in 2013. At the entry door on the left side

of the north façade, Luxury Simplified incorporated a second glass entry door which leads into

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the first floor (Figure 26). The original wall separating the salon and the stair hall was opened up,

creating a single space to greet visitors and clients (Figure 27). The south room was also opened

up, creating a front desk area and more office spaces in the back of the building. The wall paper

in the entryway was updated and the paneled walls in the salon were painted a subtle blue

(Figure 28). The conference room and back office area were painted using Benjamin Moore,

Knoxville Grey.135 At the second floor stair landing, Luxury Simplified incorporated a glass

enclosed space, separated from the rest of the floor with a large hardwood door from

Argentina.136 The door features a decorative, federal style, arched transom with yellow accent

glass panes (Figure 29 & 30). The north room, which features most of the building’s notable

woodwork, was painted using Knoxville Grey. Luxury Simplified saved all of the historical

carvings and ornamentation in this room. Built in drawers were incorporated into the alcoves and

also painted Knoxville Grey to match the walls and trim. The south room was painted a dark

blue-grey shade and all carvings in this room were saved. The kitchen in the back was remodeled

and updated with all new backsplash tile and painted cabinetry (Figure 31 & 32). The third floor

south room was given new striped wall paper to harmonize with the door and fireplace surround

that was painted Knoxville Grey (Figure 33 & 34). The original 1770 wood beams were cleaned

and left exposed at the half story floor. These showcase “carpenter’s marks”, or roman numerals

carved into the beams during the timber framing process (Figure 35).137 These marks indicated to

the framers where each wooden beam needed to be set in place (Figure 36).138 The renovation

was completed in the Spring of 2013.

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2.) Natural Events that may have Impacted the Structure or its Use

The Peter Bocquet House is over two hundred years old and has seen its fair share of

natural disasters in Charleston, including the Earthquake of 1886 and Hurricane Hugo. After the

Earthquake of 1886, multiple buildings were assessed for damages and cost for repairs.

According to the Record of Earth Quake Damages conducted for 95 Broad Street, the building

did not suffer as badly as other structures. Edward H. Kellers owned the building at the time and

the conditions of the north, south, east and west walls were all recorded in “good condition”.139

The report did state that the brick chimneys had to be rebuilt and the building was anchored.140

The dollar amount to repair the damages caused by the earthquake was assessed at $250, which

today would be equal to about $7,500.141

Hurricane Hugo was one of the worst storms ever to hit Charleston on September 22

1989.142 The house had to be torn down to the studs and restored due to the damages.143 The

owner at the time, John Ragsdale, spent over two and a half years restoring the building.144

Ragsdale invited John Bivins Jr., a carver and an author of numerous articles about American

antiques, to supervise the restoration of the paneling and over mantels.145 The chimneys were

also destroyed during the hurricane and because of this, the paneling that had been soaked by

rain water and needed to be removed for the repair.146 Ragsdale hired serval workers from

Atlanta to come and stay in the house, since there were no hotel rooms available, and they slept

on her floor in sleeping bags during their visit to make the required repairs.147 In order for the

wood not to shrink or warp, it had to be left to dry out slowly with minimal amounts of heat.148

After the wood had dried, about twenty layers of paint that had been applied during the

building’s lifetime had to be removed.149 The workers wore protective clothing and respirators

and removed the lead-based paint with precaution.150 They used with heat guns and scrapers

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instead of using solvents because they were worried solvents would harm the New England

white pine wood.151 They also used dental tools to remove the paint from every crevice in the

intricate carvings: one mantel took two months to clean.152 Samples of paint were sent to Frank

S. Welsh, a historic paint color consultant in Pennsylvania who specializes in 18th-century

houses.153 Welsh confirmed that the original paint color of the room was a blue-green grey

shade, popular at the time both in England and the Colonies.154 Even though it was popular, this

was actually the first documented evidence of this shade to be found in Charleston.155 Ragsdale,

however, did not go back with this original color on the walls after the hurricane.156 After the

cleaning was complete, the carvings were exposed and very bold after all the layers were

removed, exemplifying the details.157 A few of the details had been lost overtime and were

recarved by Bivins himself.158

Several pinpoint holes were drilled into the back to the frame of the fireplace mantel and

filled with epoxy glue to try and strengthen the wood and protect it from further wear.159 After

the workers used this method on the first floor mantel, they found that it was impossible to take

down the carved mantel to make the necessary repairs to the chimney without breaking it, thus

the chimney had to be repaired from the inside.160 For the other mantels, the workers then used

hide glue, which is an animal product that was used during the Renaissance Period.161 A single

flight of stairs at the first floor had to be removed and restored to connect with the second and

third floor pieces of the Georgian period staircase.162 According to a damage survey of the

aftermath of Hugo, conducted by a team of historic preservationists, the gutters and the roof of

the building showed significant damage.163 This was the last major restoration conducted before

that of Luxury Simplified in 2013.

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c.) Notable Architectural Details of the Structure

Notable architectural details of the Peter Bocquet House include the original wrought iron

balcony on the north façade, the iron balcony on the south façade, the original entry way, and the

interior woodwork, particularly the ornamentation at the original fireplaces. The wrought iron

balcony on the north façade is the original balcony built by Peter Bocquet Jr. Peter used the first

floor as a business space and the other floors as a living space, thus creating the private balcony

on the second floor.

The original responsibilities of the blacksmith were to fabricate nails, horseshoes, door

latches and many more advanced items for early colonial settlements.164 As time passed and

technology advanced, many of these products were eventually manufactured and the blacksmith

trade expanded involving more room for decorative ironwork.165 One of the largest

concentrations of ornamental ironwork is in Charleston. The earliest designs were copied from

British pattern books and later Charleston developed its own style of iron architecture.166 Metal

balconies became very popular in the late 18th century, particularly in cities rather than rural

areas.167 They were typically rectangular and shallow and would usually be located just above

the entry level of a building.168 From the 1770s onward, these were typically installed during the

original construction of the building, as is the case for the north façade balcony of the Peter

Bocquet House.169 The design of this balcony is simple and light, featuring delicate scroll work

at the top and bottom or the posts, reminiscent of late 18th century Gothic forms.170 The center of

the posts feature small, circular flower like motifs also typical of late 18th century iron work

(Figure 37).171 The balcony and staircase on the south façade were added at a later time, after the

original construction of the building, however it is no less architecturally sound. The scheme of

repeating light, flowing arches that continue onto the design of the stair railings fit into the

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concept of ironwork decoration during the original time period of the house. The supporting

brackets display sturdy forms, whose profiles are scrolled and have foliate elements.172

The front entry at the north façade, on the left, is original to the building.173 Entry door

casings from the late 18th century were modified by the typical fanlight.174 During this time,

fanlights were typically simple and rectangular and were made of wood.175 The door itself was

typically six paneled and painted black or sometimes dark green.176 The door trim contains fluted

pilasters topped with a frieze that is fluted as well and features a central, blank panel.177 The

pilasters are feature a leaf motif topped with a square molding as part of the crown.178 The glass

at the fanlight is glazed and features a very simple, light wood tracery work, typical of the period

(Figure 38).179

The woodwork of the original fireplace mantels, as noted before, are one the most unique

architectural aspects to the Peter Bocquet House. Chimney pieces could be made of marble,

wood, or stone and decorated with medallions and classical motifs.180 Typical fireplace

surrounds became more austerely classical in the late 18th century, however the mantel carvings

at the Bocquet House feature flowing, intricate Rococo lines, marked contrast to the regularity of

Neo-classical ornament.181 The scroll work paired with flowing flower and plant like motifs are

elaborate and beautiful. These fireplaces are discussed further below.

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d.) Craftsman Based Research

As mentioned before, one of the most acknowledged pieces of architectural history in

The Peter Bocquet House is the woodwork, predominantly in the front room on the second floor.

Scholar and conservationist, John Bivins Jr. visited the Peter Bouquet House in 1986 while in the

mist of writing an academic article titled “Charleston Rococo Interiors, 1765-1775: The

Sommers Carver” for the Journal of Early Southern Decorative Arts, published by the Museum

of Early Southern Decorative Arts (MESDA).182 Bivins was a carver, lecturer, maker of

gunstocks, author, museum employee, and consultant of early Southern decorative arts

throughout his lifetime.183 During his time as director of publications for the MESDA, he wrote

many books and hosted a number of lectures on antiques and woodwork.184 The Sommers Carver

discusses the economic boom in South Carolina in the mid-1700s when the arrival of many

foreign artisans resulted in some of Charleston’s finest interior architecture.185

Humphrey Sommers came to Charleston from the British Isles in about 1740 (Figure

39).186 A mere ten years later, he had advanced his career status from bricklayer to gentlemen

and expanded his trade into a fully developed contracting business.187 According to records of St.

Michael’s Church, Sommers was one of the head subcontractors during the initial construction of

the church in 1752.188 Sommer’s built his own house in 1765, and it is still standing today at 128

Tradd Street.189 The Sommer’s House is known for its fine interior carvings, particularly the

extensive rococo style woodwork at the parlor chimney piece.190 This room, recognized as a

prime example for a fine Charleston interior, was replicated at the MESDA by John Bivins Jr.

and prompted his investigation for The Sommers Carver article.191

Bivins discusses multiple examples of fine rococo carvings throughout Charleston,

including those in the Peter Bocquet House, and how the technique and style of the anonymous

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carver, whom which he identifies as the “Sommers carver” is displayed at each location. Bivins

describes the technique of this carver as a conservative application of Rococo design, that would

suggest the carver trained during the transitional period between the Baroque and Rococo.192 The

Baroque aspects of the carver’s work show an emphasis on symmetry and a slightly heavy, round

and flat feature of leaf design.193 The late Rococo characteristics are described as “softer”

ornamentation, rather than the “spiny crispiness and greater energy of the movement

characteristic” that can be seen in the high Rococo style in London.194 Bivins concludes that the

Sommers carver had to have owned an extensive tool kit to create diversity and shape in the

carver’s cuts.195 The carver would have most likely have had a well-equipped shop due to the

many significant quantities of work produced in a short time period.196 The number of works

produced indicates that this carver may have hired journeymen or apprentices to execute the

rough designs, but due to the uniformity of the finished cuts, it is thought that he personally

carved the final moldings and details.197

The parlor of the Peter Bocquet House on the second floor contains a fine chimney piece

that Bivins describes as “the most advanced specimen of the Sommers carver’s work.”(Figure

40).198 On the upper part of the large scrolls, the carver has created floral elements with

connected leaves that also show fruit-like motifs in concurrence with the floral elements, and

revealed the back side of a flower, which was rare in American carving for the time (Figure

41).199 Predominant Neoclassical details on this chimneypiece unveiled a transitional shift in

Charleston, displaying a “newer taste” of woodwork.200 The swags of husks and round bosses on

the center of the mantel echo the same change in taste to the antique style, but the overall

configuration of the chimneypiece is thoroughly Rococo (Figure 42).201 The chimneypiece in the

south room on the second floor is a simplified version of the one in the parlor.202 The ornate

22

repeating fretwork design on the frieze of this mantel is unlike any other known piece of

fretwork in Charleston according to Bivins (Figure 43).203 After examining the detail, Bivins

concludes that the design was probably not intended as blind fretwork, but a pattern of relief

carving.204 The flat application of the layout is still nonetheless successful.205

At the end of the article, Bivins reveals that the unknown Sommers carver was most

likely Thomas Woodin and John Lord.206 Both had extensive trade experience in a high fashion

London environment and arrived in Charleston at the peak of a building boom near the end of the

Colonial Period.207 Bivins attributes the woodwork at the Peter Bocquet House to John Lord,

who was known for his many sorts of architectural carvings.208 The works of the Sommers carver

still seen today in Charleston, particularly at the Peter Bocquet House, embody a major

declaration of American Rococo design and achievement.209

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Part III

a.) Potential for Historic Conservation and Preservation

Preservation, according to the Secretary of the Interior Standards for the Treatment of

Historic Properties, is “the act or process of applying measures necessary to sustain the existing

form, integrity, and materials of an historic property.”210 The principles of preservation not only

need to be carried out during a renovation or rehab of an historic building, but also when just

maintaining significant historical features of that building that contribute to its integrity. When

the process of historic preservation is done correctly, the historic character of the building as well

as the historical context of the place where the building is located is retained and present in its

current environment.211 Building pathology, or the study of decay mechanisms in buildings, is an

important practice to understand when preserving a historic structure.212 A building pathologist

integrates his or her knowledge of building sciences and historic construction technologies to

create a strategical plan involving identification, diagnosis, and remediation approaches that can

fix a building system’s deficiencies while being sensitive to historic preservation standards.213

It is especially important to identify the architectural details and elements of the building in

order to maintain and preserve what makes the building special. Once this is done, then one can

move into the process of how to either repair or know how to best maintain the significant

features. As identified before, some of the most distinct features of the Peter Bocquet House are

the original wrought iron balcony on the north façade, the iron balcony on the south façade, the

stuccoed exterior facades, and the interior woodwork, particularly at the second floor fireplaces.

There are many helpful resources when it comes to learning the best approach to preserve

elements or an overall historic structure. The National Park Service as well as the General

Services Administration have numerous preservation briefs to help owners understand the proper

way to maintain their historic buildings.

24

Wrought iron is a dark grey metal with a high carbon content, unlike cast iron and steel.214 It

was first used to make weapons and tools and later developed into a domestic use for

architectural building features.215 Wrought iron is malleable meaning it can be easy shaped and

welded to create unlimited designs for gates, balconies, stairways, etc.216 The original balcony on

the north façade and the balcony on the south façade of the Peter Bocquet House are both made

of wrought iron and need to be properly maintained to retain the buildings historical character.

Typical issues that come about with wrought iron are chemical corrosion, such as rust, and

physical deterioration, such as impact damage.217 With heavy corrosion, the rust and most or

sometimes all of the paint must be removed to prepare the surfaces for new defensive coatings.218

This can either be done by wire brushing, grit blasting, or flame cleaning and other chemical

methods.219 The most effective and common way to preserve architectural iron is to retain and

add the protective coating of paint on the metal.220 Regular inspections and record-keepings are

two successful techniques when it come to the preservation of architectural iron.221

Stucco is an exterior plaster applied in two or three coats over wood lathe or directly onto

masonry.222 Up until the 19th century, stucco was primarily lime-based, then portland cement

became popular and changed the composition of stucco into a firmer material.223 Before the

1800s, stucco was made of chiefly hydrated lime, water, sand, and straw or animal hair that was

used as a binder.224 One of the most well-known treatments is to whitewash stucco annually

because the lime in the whitewash provided protection and stability and hardens the stucco.225

The whitewash also fills hairline cracks before they can expand into bigger cracks, allowing

moisture to seep in.226 Water washing and the use of appropriate solvents can be used to simply

clean the surface of stucco and remove dirt and mold.227

25

Woodworking or carving became more popular as time, technology, and the economy grew

and prospered. The time period when the Peter Bocquet House was originally constructed, was

noted for more finely cut handcrafted wood decorations.228 Wood was considered readily

available and could be easily shaped and carved.229 Softwoods were typically used for trim

because it was less likely to be exposed to normal deterioration, versus hardwoods.230 Many

different ornamental treatments can be seen around the fireplaces of historic buildings, including

the ornamental carvings and paneling.231 Dictated by money and evolving styles, these

decorative carvings become increasingly ornamental and would typically spread up the entire

chimney breast.232 Wood can be readily conserved in place and usually does not have to be

removed or taken down.233 If the integrity of the carving is exposed or at risk for further damage

after the removal of decay, modern materials, such as epoxies and consolidations may need to be

used when they can be concealed by paint or hidden.234 Consolidates are low-viscosity liquids

that infiltrate small crevices and cracks in the wood surface and cure or harden to stabilize the

decayed wood.235 Epoxies are filler materials, usually made out of resins or other plastic

materials, that are used to fill gaps or hole were original wood has been lost.236 Many epoxies

can be carved, planed, or sanded to match the original profile of the ornamentation.237 Because of

consolidates and epoxies penetrative nature, these two treatments are irreversible but are used

when there is a sufficient historic significance of the woodwork being repaired.238

The Peter Bocquet House is a fine example of late 18th architecture in Charleston, South

Carolina. It can be seen on nationally recognized photographs featuring the streetscape of Broad

Street and St. Michael’s Church. Built during Charleston’s economic boom by a local patriarch

and surviving some of the South’s worst natural disasters, this historic building demonstrates the

strength and craftsmanship of historic Charleston (Figure 44). The level of preservation

26

conducted on this building will be useful for future generations in understanding what makes

Charleston the city it is today (Figure 45).

1Stoney, Samuel Gaillard. This Is Charleston; a Survey of the Architectural Heritage of a Unique American City Undertaken by the Charleston Civic Services Committee. Charleston, SC: Published by the Carolina Art Association for the Charleston Civic Services Committee, 1944. Print. 2Stoney 1944.3Stoney 1944.4The History. Report obtained by John Paul Hugely from Caroline Poston, daughter of John Ragsdale, former owner. Date: Unknown. Print. 5Stoney 1944.6The History.7 Stoney, Samuel E. "Historic House To Be Spared." News and Courier [Charleston] 13 Dec. 1954: Print 8 Stockton, Robert P. "95 Broad Street: A Well Kept Secret." News and Courier [Charleston] 4 June 1977: Print. 9 Stockton 1977.10Bivins, John, Jr. "Charleston Rococo Interiors, 1765-1775: The 'Sommers' Carver." Journal of Early Southern Decorative Arts 12.2 (1986): Web. 2015. 11The History.12The History.13The History.14The History.15The History.16The History.17The History.18The History.19Stockton 1977.20The History.21The History.22The History.23The History.24The History.25The History.26The History.27The History.28The History.30The History.31The History.32The History.33The History.34The History.35Stockton, Robert P. "95 Broad Street: A Well Kept Secret." News and Courier [Charleston] 4 June 1977: Print. 36The History. Report obtained by John Paul Hugely from Caroline Poston, daughter of John Ragsdale, former owner. Date: Unknown. Print.

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37The History.38The History.39The History.40The History.41The History.42The History.43Stockton 1977.44Stockton 1977.45Tucker, Spencer, James R. Arnold, Roberta Wiener, Paul G. Pierpaoli, and David Coffey. American Civil War: The Definitive Encyclopedia and Document Collection. Vol. 1. Santa Barbara: ABC-CILO, LLC, 2013. Print. A-C. 46Tucker 2013.47Stoney, Samuel E. "Historic House To Be Spared." News and Courier [Charleston] 13 Dec. 1954: Print. 48Sanborn Map and Publishing Co. "May 1884." Charleston County Public Library. New York: Sanborn Map, 1884. Digital Sanborn Maps 1867-1970. Web. 49Sanborn Map and Publishing Co. "June 1888." Charleston County Public Library. New York: Sanborn Map, 1888. Digital Sanborn Maps 1867-1970. Web. 50Sanborn Map and Publishing Co. “1902." “Revised April 1944.” “Revised February 1951.” Charleston County Public Library. New York: Sanborn Map, 1902, 1944, 1951. Digital Sanborn Maps 1867-1970. Web. 51Stoney 1954.52Country of Charleston. RMC Deed. 16 Feb. 1984. Book Number C135; Page Number 365. Register Mesne Conveyance Office, Charleston. 53Country of Charleston. RMC Deed. 2 March. 1981. Book Number U124; Page Number 296. Register Mesne Conveyance Office, Charleston. 54Country of Charleston. RMC Deed. 10 Oct. 1998. Book Number E317; Page Number 293. Register Mesne Conveyance Office, Charleston. 55Country of Charleston. RMC Deed. 1 June. 2000. Book Number N348; Page Number 562. Register Mesne Conveyance Office, Charleston. 56Country of Charleston. RMC Deed. 7 Dec. 2012. Book Number 0296; Page Number 014. Register Mesne Conveyance Office, Charleston. 57Country of Charleston. RMC Deed. 7 Dec. 2012. Book Number 0296; Page Number 014. Register Mesne Conveyance Office, Charleston. 58Ravenel, Beatrice J., St, and Harley J. McKee. Major Peter Bocquet, Jr., House. Rep. no. SC-264. Library of Congress, 1933. Print. Historic American Buildings Survey. 59Ravenel 1933.60Stoney 1954.61Mitchell Construction Company. Board of Architectural Review Application. 3 June 2003. Request to remove slate roof and copper flashing and replace with same. 95 Broad Street, Charleston. 62Ravenel 1933.63Mitchell Construction Company 2003.64Ravenel 1933.65Ravenel 1933.66Ravenel 1933.67Kornwolf, James D., and Georgiana Wallis. Architecture and Town Planning in Colonial North America. Vol. 1. Page 885. Baltimore: John Hopkins U, 2002. Print. 68Ravenel 1933.69Ravenel 1933.70Ravenel 1933.71Ravenel 1933.72Ravenel 1933.73Ravenel, Beatrice J., St, and Harley J. McKee. Major Peter Bocquet, Jr., House. Rep. no. SC-264. Library of Congress, 1933. Print. Historic American Buildings Survey.

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74Ravenel 1933.75Ravenel 1933.76Ravenel 1933.77Ravenel 1933.78Ravenel 1933.79 Ravenel 1933.80Ravenel 1933.81Ravenel 1933.82Ravenel 1933.83Ravenel 1933.84Ravenel 1933.85 Ravenel 1933.86Ravenel 1933.87Ravenel 1933.88Ravenel 1933.89Ravenel 1933.90Ravenel 1933.91Ravenel 1933.92Ravenel 1933.93Speltz, Alexander. The History of Ornament: Design in the Decorative Arts. New York: Portland House, 1989. Print. 94Speltz 1989.95Ravenel 1933.96Ravenel 1933.97Ravenel 1933.98Ravenel 1933.99Ravenel 1933.100Olver, Elizabeth. Jewelry Making Techniques Book: Over 50 Techniques for Creating Eyecatching Contemporary and Traditional Designs. Cincinnati, OH: North Light, 2001. Print. 101Historic Charleston Foundation. Major Peter Bocquet's House. 1992. Historic Charleston Foundation Tour Guide Notes. 108 Meeting Street, Charleston. 102Ravenel 1933.103Bivins, John, Jr. "Charleston Rococo Interiors, 1765-1775: The 'Sommers' Carver." Journal of Early Southern Decorative Arts 12.2 (1986): Web. 2015. 104Bivins, 1986. 105Bivins, 1986.106Stockton, Robert P. "95 Broad Street: A Well Kept Secret." News and Courier [Charleston] 4 June 1977: Print. 107Historic Charleston Foundation. Major Peter Bocquet's House. 1992. Historic Charleston Foundation Tour Guide Notes. 108 Meeting Street, Charleston. 108Historic Charleston Foundation 1992.109Historic Charleston Foundation 1992.110Historic Charleston Foundation 1992.111Broome, Spencer, and Megan Abigail Chandler. "95 Broad: Proud Revolutionary." Charleston Mercury [Charleston] 10 Sept. 2009: Print. 112Broome 2009.113Stoney, Samuel E. "Historic House To Be Spared." News and Courier [Charleston] 13 Dec. 1954: Print. 114Sanborn Map and Publishing Co. “May 1884.” “June 1888.” “1902.” Charleston County Public Library. New York: Sanborn Map, 1884, 1888, 1902. Digital Sanborn Maps 1867-1970. Web. 115Sanborn Map and Publishing Co. “1902." Charleston County Public Library. New York: Sanborn Map, 1902. Digital Sanborn Maps 1867-1970. Web.

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117Stoney, Samuel E. "Historic House To Be Spared." News and Courier [Charleston] 13 Dec. 1954: Print.118Stoney 1954.119Stoney 1954.120Ravenel, Beatrice J., St, and Harley J. McKee. Major Peter Bocquet, Jr., House. Rep. no. SC-264. Library of Congress, 1933. Print. Historic American Buildings Survey. 121Ravenel 1933.122Kornwolf, James D., and Georgiana Wallis. Architecture and Town Planning in Colonial North America. Vol. 1. Baltimore: John Hopkins U, 2002. Print. 123Ragsdale, John. Board of Architectural Review Application. 28 June 1991. Approval of design of balcony railing for Rear balcony. 95 Broad Street, Charleston. 124Mitchell Construction Company. Board of Architectural Review Application. 16 Apr. 2003. Request and Approval for the removal of existing stucco due to the condition of the stucco which is no longer adhered to the building. 95 Broad Street, Charleston. 125Mitchell Construction Company 2003.126Mitchell Construction Company 2003.127Mitchell Construction Company. Board of Architectural Review Application. 3 June 2003. Request to remove slate roof and copper flashing and replace with same. 95 Broad Street, Charleston. 128Keffer, Max C. "Existing Photographs of the Roof Slate at 95 Broad." Message to Linda Bennett. 4 June 2003. E-mail. 129Keffer 2003.130Keffer 2003.131Luxury Simplified & Building Art. Board of Zoning Appeals Application. 4 Dec. 2012. Request special exception under Sec. 54-511 to allow a real estate and design office with 1,252 sf of office area. 95 Broad Street, Charleston. 132Huguly, John Paul. Sign Permit Application - Zoning Department. 15 Feb. 2013. Application for new office sign on to be hung on the north facade of the building. 95 Broad Street, Charleston. 133Huguly, John Paul. Board of Architectural Review Application. 1 Mar. 2013. Submitting final details to staff for corner sign. 95 Broad Street, Charleston. 134Huguly 2013.135Luxury Simplified Group. Interior Wall Paint Color. 2015. Luxury Simplified Group Facebook Page, Charleston. 136Luxury Simplified Group. Beautiful Hardwood Door from Argentina. 2013. Luxury Simplified Group Pinterest Page - Restoring an Historic Home, Charleston. 137Leigh-Jones, Chris. "Our 1/2 Story." Web log post. Luxury Simplified. Luxury Simplified Group, 2013. Web. Dec. 2015. 138Leigh-Jones, Chris. "Our 1/2 Story." Web log post. Luxury Simplified. Luxury Simplified Group, 2013. Web. Dec. 2015. 139Record of Earthquake Damages. 1888. On Microfilm. Assessment of Damages caused by the Earthquake of 1886 in Charleston, South Carolina. Historic Charleston Foundation, Charleston. 140Record of Earthquake Damages 1888.141Record of Earthquake Damages 1888.142Reginato, James. "Dear John." Home & Garden Nov. 1997: Print. 143Broome, Spencer, and Megan Abigail Chandler. "95 Broad: Proud Revolutionary." Charleston Mercury [Charleston] 10 Sept. 2009: Print. 144Reginato 1997.145Ross, Nancy L. "Historic Homes Recover: How 3 Of Charleston's Oldest Survived Damage from Hugo." The Washington Post [Washington D.C.] 14 July 1990: 3. Print. 146Ross 1990.147Ross 1990.148Ross 1990.149Broome 2009.150Ross 1990.151Ross 1990.152Ross 1990.153Ross 1990.

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154Ross, Nancy L. "Historic Homes Recover: How 3 Of Charleston's Oldest Survived Damage from Hugo." The Washington Post [Washington D.C.] 14 July 1990: 3. Print.155Ross 1990.156Ross 1990.157Ross 1990.158Ross 1990.159Ross 1990.160Ross 1990.161Ross 1990.162Bivins, John, Jr. "Charleston Rococo Interiors, 1765-1775: The 'Sommers' Carver." Journal of Early Southern Decorative Arts 12.2 (1986): Web. 2015. 163Survey Team: SOB. Hurricane Hugo Damage Assessment Form. 2 Oct. 1989. Assessment of damages to 95 Broad Street after Hurricane Hugo. Conducted by Preservation Volunteers. Historic Charleston Foundation, Charleston. 164Young, Robert A. Historic Preservation Technology. New Jersey: John Wiley & Sons, 2008. Print. 165Young 2008. 166Mulholland, James A. A History of Metals in Colonial America. University, Ala.: U of Alabama, 1981. Print. 167Calloway, Stephen. The Elements of Style: An Encyclopedia of Domestic Architectural Detail. 4th ed. Buffalo: Firefly Books, 2012. Print. 168Calloway 2012. 169Calloway 2012. 170Calloway 2012.171Calloway 2012.172Calloway 2012.173Stockton, Robert P. "95 Broad Street: A Well Kept Secret." News and Courier [Charleston] 4 June 1977: Print. 174Calloway 2012.175Calloway 2012.176Calloway 2012.177Ravenel, Beatrice J., St, and Harley J. McKee. Major Peter Bocquet, Jr., House. Rep. no. SC-264. Library of Congress, 1933. Print. Historic American Buildings Survey. 178Ravenel 1933.179Calloway 2012.180Calloway 2012.181Calloway 2012.182Ross 1990.183Bivins, John, Jr. "John Bivins Papers." The Joseph Downs Collection of Manuscripts and Printed Ephemera. The Winterthur Library, 1995. Web. 2015. 184Bivins 1995. 185Bivins 1986.186Bivins 1986.187Bivins 1986.188Bivins 1986.189Charleston County Public Library. "128 Tradd St. C. 1765." CCPL - Charleston County Public Library - South, Carolina. Charleston County Public Library, Web. 2015. 190Roots and Recall. "128 Tradd Street." Roots and Recall: Connecting People to the Physical past. AFLLC and Roots and Recall, 2015. Web. 2015. 191Bivins 1986.192Bivins 1986.193Bivins 1986.194Bivins 1986.195Bivins 1986.

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196Bivins 1986.197Bivins, John, Jr. "Charleston Rococo Interiors, 1765-1775: The 'Sommers' Carver." Journal of Early Southern Decorative Arts 12.2 (1986): Web. 2015.198Bivins 1986.199Bivins 1986.200Bivins 1986.201Bivins 1986.202Bivins 1986.203Bivins 1986.204Bivins 1986.205Bivins 1986.206Bivins 1986.207Bivins 1986.208Bivins 1986.209Bivins 1986.210Young, Robert A. Historic Preservation Technology. New Jersey: John Wiley & Sons, 2008. Print. 211Young 2008.212Young 2008.213Young 2008.214GSA. "Wrought Iron: Characteristics, Uses and Problems." Historic Preservation - Technical Procedures. U.S. General Services Administration, 6 Nov. 2014. Web. 2015. 215GSA 2014.216GSA 2014.217GSA 2014.218White, John G., and Margot Gayle. "The Maintenance and Repair of Architectural Iron." National Park Service: U.S. Department of the Interior. National Park Service, Oct. 1991. Web. 2015. 219White & Gayle 1991.220White & Gayle 1991.221White & Gayle 1991.222Grimmer, Anne E. "The Preservation and Repair of Historic Stucco." National Park Service: U.S. Department of the Interior. National Park Service, Oct. 1990. Web. 2015. 223Grimmer 1990.224Grimmer 1990.225Grimmer 1990.226Grimmer 1990.227Grimmer 1990.228Young 2008.229Young 2008.230Young 2008.231Young 2008.232Young 2008.233Young 2008.234Young 2008.235Young 2008.236Young 2008.237Young 2008.238Young 2008.

Photo Index

(Figure 1): North and East Facades of the Peter Bocquet House. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 2): Ichnography Map of Charleston by the Phoenix Fire Co. 1788. Arrows show buildings at the present day 93 and 95 Broad Street lots.

(Figure 3): Map of the 1780 Siege of Charleston. Circa 1780s.

(Figure 4): Drawing of a Union Blockade Runner by R.G. Skerrett. 1900.

(Figure 5): Sanborn Fire Insurance Map showing 95 Broad Street listed as a “grocery.” May 1884.

(Figure 6): Sanborn Fire Insurance Map showing 95 Broad Street listed as a “drug store.” June 1888.

(Figure 7): Sanborn Fire Insurance Map showing 95 Broad Street. 1902.

(Figure 8): Sanborn Fire Insurance Map showing 95 Broad Street. April 1944.

(Figure 9): Sanborn Fire Insurance Map showing 95 Broad Street. February 1951.

(Figure 10): Exterior view of the building with anchor ties on the north façade. Louis I. Schwartz, Historic American Buildings Survey. Circa 1950s.

(Figure 11): 95 Broad Street Roof/Chimney. Taken by Steve Minor, via Flicker. January 16, 2011.

(Figure 12): Entryway on the far left side of the North façade. Louis I Schwartz. June 1958.

(Figure 13): East façade of 95 Broad Street, showing paneled shutters on the first floor and louvered shutters on the second and third floors. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 14): Blueprint of the second floor plan at Peter Bocquet Jr. House. Measured by Willie Graham, Carl Lounsbury, and Mark Wenger. Drawn by Carl Lounsbury. The Colonial Williamsburg Foundation. Circa 1980s.

(Figure 15): Staircase from the third floor to the fourth floor. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 16): First floor, south room used as a meeting space. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 17): Second floor, north room used as an office space for Luxury Simplified Real Estate. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 18): Second floor, South room used as a dining/meeting space. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 19): Second floor, north room showing Tudor arch to the right of the fireplace. Louis I. Schwartz. June 1958.

(Figure 20): The Peter Bocquet House pictured in This is Charleston, by Samuel Stoney. Shows evidence of the two story piazza on the east façade of the building. Circa 1840s.

(Figure 21): Exterior photograph of the North and East facades after the piazza was torn down. Louis I. Schwartz. June 1958.

(Figure 22): An Addition to the Residence of Ms. John Ragsdale. Architectural drawings by George L. Porcher, Architects Inc. November 29, 1989.

(Figure 23 & 24): Wrought Iron Balcony added by John Ragsdale. Left photo by Tripp Smith, Luxury Simplified Group, 2013. Right photo provided by the Charleston Board of Architectural review, attached to the original design application.

(Figure 25): Luxury Simplified Business Sign. Restoring an Historic Charleston Home, Luxury Simplified Pinterest Page. 2013.

(Figure 26): Glass entry door added by Luxury Simplified. From the Luxury Simplified Group Facebook Page, Album: “95 Broad Street”. 2013, Updated March 2015.

(Figure 27): Front north room during Luxury Simplified’s renovation. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 28): Front room after Luxury Simplified’s renovation. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 29 & 30): Left: Second floor stair landing prior to Luxury Simplified’s renovation. Right: Hardwood door from Argentina set in glass in the second floor hallway. Photographs obtained by Luxury Simplified’s Pinterest page. Album: “Restoring an Historic Charleston Home”. 2013.

(Figure 31): Second Floor Kitchen prior to Luxury Simplified’s renovation. Obtained from Luxury Simplified’s Pinterest webpage. Album: “Restoring an Historic Charleston Home.” 2013.

(Figure 32): Second Floor Kitchen after Luxury Simplified’s renovation. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 33): Third floor South room during Luxury Simplified’s renovation. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 34): Third Floor South room after Luxury Simplified’s renovation. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 35): Close up of “Carpenter’s Marks” made during the building’s original construction. Photo obtained from Luxury Simplified’s Pinterest webpage. Album title: “Restoring an Historic Charleston Home”. 2013.

(Figure 36): Fourth floor half story with original wood beams cleaned and exposed. Carpenter’s marks are shown on the center of the second and third collar tie. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 37): Front view looking up, showing the original second story wrought-iron balcony. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 38): Front entryway showcasing the original door trim, still intact today. Tripp Smith, Luxury Simplified Group. 2013.

(Figure 39): Humphrey Sommers. Jeremiah Theus, Oil on canvas. Portrait located at the Museum of Early Southern Decorative Arts. Circa 1719-1774.

(Figure 40): Second floor North Room during Luxury Simplified’s renovation. Shows details of painted fireplace mantel and chimney breast. Tripp Smith, Luxury Simplified Construction. 2013.

(Figure 41): Second floor North room detail of the fireplace and woodwork. Louis I. Schwartz, Historic American Buildings Survey. June 1958.

(Figure 42): Close up detail of the fireplace mantel in the second floor North room. Picture obtained from Luxury Simplified’s Pinterest Webpage. Album title: “Restoring an Historic Charleston Home.” 2013.

(Figure 43): Second floor South room fireplace mantel and chimney breast. Louis I. Schwartz, Historic American Building Survey. June 1958.

(Figure 44): Broad Street Streetscape. Historic Charleston Foundation. Circa 1893.

(Figure 45): Broad Street Streetscape, including the Peter Bocquet Jr. House. Photo obtained from Luxury Simplified’s Pinterest webpage. Album title: “Restoring an Historic Charleston Home.” 2013.

Photo Index Citations

1. Figure 1: The Peter Bocquet House. 2013. Tripp Smith, Luxury Simplified Group. Charleston, South Carolina.

2. Figure 2: Ichnography Map of Charleston. 1788. Phoenix Fire Co. Charleston. 3. Figure 3: Plan of the Siege of Charleston. Circa 1780s. The Siege of Charlestown,

Charleston. The American Revolution in South Carolina. Web. 7 Jan. 2016. 4. Figure 4: Drawing of Ella & Annie, Blockade Runner 1900. R.G. Skerrett. 1900. 5. Figures 5-9: City of Charleston Sanborn Fire Insurance Maps, May 1884-1951,

Refurbished.1884-1951. The South Carolina Room. Charleston County Public Library, Charleston, South Carolina.

6. Figure 10: General View. Circa 1950. Louis I. Schwartz, Historic American Buildings

Survey. Charleston, South Carolina. 7. Figure 11: Maj. Peter Bocquet Jr. House (c.1700). January 16, 2011. Steve Minor.

Charleston, South Carolina. 8. Figure 12: Entry – Major Peter Bocquet Jr. House, 95 Broad Street, Charleston,

Charleston County, SC. June 1958. Louis I Schwartz, Historic American Buildings Survey. Charleston, South Carolina.

9. Figure 13: Side View. 2013 Tripp Smith, Luxury Simplified Group. Charleston. 10. Figure 14: Peter Bocquet House, 2nd Floor Plan. Measured by Willie Graham, Carl

Lounsbury, and Mark Wenger. Drawn by Carl Lounsbury. The Colonial Williamsburg Foundation. Circa 1980s.

11. Figure 15: 3rd to 4th Stairs. 2013. Tripp Smith, Luxury Simplified Group. Charleston,

South Carolina. 12. Figure 16: First Floor Meeting Room. 2013. Tripp Smith, Luxury Simplified Group.

Charleston, South Carolina. 13. Figure 17: Second Floor Real Estate Office. 2013. Tripp Smith. Luxury Simplified

Group. Charleston, South Carolina. 14. Figure 18: Second Floor Dining Room. 2013. Tripp Smith. Luxury Simplified. 15. Figure 19: Front Room, Second Floor. June 1958. Louis I. Schwartz, Historic American

Buildings Survey. Charleston, South Carolina.

16. Figure 20: 95 Broad Street. Circa 1840s, pictured in This is Charleston by Samuel Stoney. Charleston, South Carolina.

17. Figure 21: Exterior from Northeast. June 1958. Louis I. Schwartz, Historic American

Buildings Survey. Charleston, South Carolina. 18. Figure 22: An Addition to the Residence of Ms. John Ragsdale. November 29 1989.

George L. Porcher, Architects, Inc. Charleston, South Carolina. 19. Figure 23: Rear Detail II. 2013. Tripp Smith, Luxury Simplified Group. Charleston,

South Carolina. 20. Figure 24: Photograph attach to BAR application. June 28, 1991. Board of Architectural

Review. Charleston, South Carolina. 21. Figure 25: Handmade Luxury Simplified Exterior Sign. 2013. “Restoring an Historic

Charleston Home”, Luxury Simplified Pinterest Page. Charleston, South Carolina. 22. Figure 26: Glass entry door, added by Luxury Simplified. 2013. Obtained from the

Luxury Simplified Facebook page, Album Title: “95 Broad Street”. Charleston, South Carolina.

23. Figure 27: Front Room. 2013. Tripp Smith, Luxury Simplified Group. Charleston, South

Carolina. 24. Figure 28: Front entry after Luxury Simplified’s renovation. 2013. Tripp Smith, Luxury

Simplified Group. Charleston, South Carolina.

25. Figure 29: The second floor landing that now houses the restored glass and door conversation space. 2013. Picture obtained from Luxury Simplified’s Pinterest page. Album title: “Restoring an Old Historic Charleston Home.” Charleston, South Carolina.

26. Figure 30: Beautiful hardwood door from Argentina set in to glass to keep identity of the

building clean. The door forms an entrance to a quiet space with seating for two. 2013. Picture obtained from Luxury Simplified’s Pinterest page. Album title: “Restoring an Old Historic Charleston Home.” Charleston, South Carolina.

27. Figure 31: 1770 Kitchen design meets 21st century. Our kitchen prior to its restoration.

2013. Picture obtained from Luxury Simplified’s Pinterest page. Album title: “Restoring an Old Historic Charleston Home.” Charleston, South Carolina.

28. Figure 32: Kitchen after Luxury Simplified’s renovation. 2013. Tripp Smith, Luxury

Simplified Construction. Charleston, South Carolina. 29. Figure 33: 3rd Back Room. 2013. Tripp Smith, Luxury Simplified Group. Charleston,

South Carolina.

30. Figure 34: Third floor South room after Luxury Simplified’s renovation. 2013. Tripp

Smith, Luxury Simplified Group. Charleston, South Carolina. 31. Figure 35: Detail of the original beams on the 4th floor. Roman numeral system is known

commonly as “marriage marks” or “carpenter’s marks”. 2013. Photo obtained from Luxury Simplified’s Pinterest webpage. Album title: “Restoring an Historic Charleston Home”. Charleston, South Carolina.

32. Figure 36: 4th Floor Front. 2013. Tripp Smith, Luxury Simplified Group. Charleston,

South Carolina. 33. Figure 37: Front View Looking Up. 2013. Tripp Smith, Luxury Simplified Group.

Charleston, South Carolina. 34. Figure 38: Front Door Straight On. 2013. Tripp Smith, Luxury Simplified Group.

Charleston, South Carolina.

35. Figure 39: Humphrey Sommers. Circa 1719-1774. Jeremiah Theus, Oil on canvas. Portrait located at the Museum of Early Southern Decorative Arts. Winston-Salem, North Carolina, South Carolina.

36. Figure 40: 2nd Floor Front. 2013. Tripp Smith, Luxury Simplified Construction.

Charleston, South Carolina. 37. Figure 41: Mantel, Front Room, Second Floor. June 1958. Louis I. Schwartz, Historic

American Buildings Survey. Charleston, South Carolina. 38. Figure 42: Located across from the Charleston County Judicial Center this Georgian

masterpiece is a terrific restoration. In every major book or inventory of Charleston’s finest homes this 1770’s contains come of the very finest woodwork, mantles, moldings and paneling on all floors. 2013. Picture obtained from Luxury Simplified’s Pinterest Webpage. Album title: “Restoring an Historic Charleston Home.” Charleston, South Carolina.

39. Figure 43: Rear Room, Second Floor. June 1958. Louis I. Schwartz, Historic American

Buildings Survey. Charleston, South Carolina. 40. Figure 44: View on Broad Street. Circa 1893. Historic Charleston Foundation.

Charleston, South Carolina. 41. Figure 45: Paint colors in Charleston, S.C. 95 Broad Street. Circa 2013. Picture obtained

from Luxury Simplified’s Pinterest Webpage. Album title: “Restoring an Historic Charleston Home.” Charleston, South Carolina.

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