Latest news with #Shaker
Boston Globe
5 days ago
- Business
- Boston Globe
Tour a Cambridge condo and a Duxbury Colonial
CONDO FEE $496 a month BEDROOMS 1 BATHS 1 LAST SOLD FOR $349,250 in 2013 PROS This corner condo is on the second floor of an 1873 Mansard Victorian in Cambridgeport, between the music venues, shops, and restaurants of Central Square and Magazine Beach on the Charles River. Enter into a spacious living room with wood floors, nearly 9-foot ceilings, and a large bay window overlooking historic Hastings Square. Double doors swing open to a large bedroom with a bay window and twin closets. An archway off the living room leads to a newer kitchen with exposed brick, stainless appliances, and Shaker cabinets. A nearby mudroom with storage connects to the updated bath with skylight. Condo fee includes heat, hot water, and electricity, and the unit includes a deeded parking space and private storage. CONS Shared laundry is in the basement. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up 308 Brookline Street, Unit 3 B in Cambridge Handout Advertisement Robin Kelly, Coldwell Banker, 617-852-3776, $1,250,000 161 WINTER STREET / DUXBURY Exterior of 161 Winter Street in Duxbury. Handout SQUARE FEET 2,460 LOT SIZE 1.49 acres BEDROOMS 4 BATHS 2 full, 2 half LAST SOLD FOR $310,000 in 1998 PROS This 1985 Colonial with a circular driveway sits near 41 acres of conservation land at Berrybrook Fields. Right of the entry foyer, the dining room is open to a bright, spacious kitchen with skylights, double oven, wet bar, and curved island. The adjacent family room has cathedral ceilings, skylights, and a stone fireplace. Glass doors in both rooms open to a deck, inground pool, and fenced yard. Nearby, a half bath and large living room also have access to the pool. Upstairs, there's laundry off the landing, and the primary bedroom—with skylights, vaulted ceilings, and a private bath—uses another bedroom for a dressing room. Two more bedrooms share a hallway bath. There's a den and garage access in the basement. CONS WalkScore of 6 (out of 100). Advertisement Living area of 161 Winter Street in Duxbury. Handout Julia Hannon Para, Alante Real Estate, 617-571-4216, Jon Gorey is a regular contributor to the Globe Magazine. Send comments to
Los Angeles Times
6 days ago
- Entertainment
- Los Angeles Times
The funny-tragic rom-com ‘Oh, Hi!' starts blissful, ends toxic
The high-stakes romantic comedy 'Oh, Hi!' is a backhanded compliment to lotharios like Rudolph Valentino, James Bond and 'The Wolf of Wall Street's' Jordan Belfort. At least those frank seducers wanted quickies. Fickle Isaac (Logan Lerman) strings women along pretending to be a sweetheart. Four months into dating Iris (a bubbly Molly Gordon), he whisks the smitten girl on a weekend getaway to a farmhouse in fictional High Falls with quaint Shaker furniture and a closet of erotic accessories. There, at the worst possible time, Isaac blurts he doesn't want to commit. His kindness is cruel — and Iris wants payback. The first act is all infatuation with director Sophie Brooks and cinematographer Conor Murphy delighting in scenes of superficial bliss: sunflowers, pretty clouds, Adirondack chairs nestled together just so. The intention is to slap each shot with the Instagram hashtag #couplegoals. Then Brooks shifts into the light thriller she's teased since the opening notes of heaving, scratchy violins. Iris and Isaac haven't noticed any red flags. But there are cautionary pink ones. Iris is visibly insecure about Isaac's conversations with other women, including the strawberry peddler who coos that he has 'soft hands,' and his mother, who dials him up to crack inside jokes. Iris' smile is too tense; Isaac's comes too smoothly, even when sharing a memory of catching his father cheating on his mom. A pop psychologist would say witnessing his dad's infidelity triggered Isaac's fear of commitment. (Brian de Palma experienced nearly the same thing and turned into, well, Brian de Palma.) But Isaac is a literature guy, toting around a paperback of Nobel Prize winner José Saramago's 'Blindness' to underscore that neither one of them sees their mismatch clearly. Isaac just wants the girlfriend experience without the weight of expectations. Iris' dewy eyes are all expectation. The plot finagles a way to tether them to the bedroom until they get closer to being on the same page. (It involves several pairs of handcuffs.) The mechanics of this hostage situation are hard to buy. You have to keep reminding yourself that she's drunk and impulsive while he, rather nonsensically, holds his feelings inside until the exact moment he should shut up and save himself. Partners like Isaac have been edging toward a clinical diagnosis: alexithymia, or the inability to describe your emotions. It's the people around the patient who suffer the symptoms. Iris' best friend Max (Geraldine Viswanathan, an always welcome sight) offers a blunter verdict: 'Classic softboy,' she laments. 'They trick you, they get you — they're the worst.' And they're not new, although they do seem to be mushrooming. Cinema has warned us about variations of this breed of harmless-looking heartbreaker for generations — it was Woody Allen's entire persona. The female version is Julia Roberts' 'Runaway Bride,' so mealy about her own feelings that she ditches four grooms at the altar. This month, you can also watch the pretty good new psychological horror film 'Bury Me When I'm Dead,' which trips over an even higher narrative hurdle by telling its story through the POV of its wishy-washy lead. Passivity can be as impossible to capture on camera as the moon. Movie scripts, like vexed suitors, struggle to pin down a vaporous lover. Here, Isaac attempts to outrun criticism by sighing, 'The issue is that I treated you too well?' Lerman is the former teen dreamboat of 'The Perks of Being a Wallflower' and the 'Percy Jackson' series, and he's interesting casting. Girls from the ages of 11 to 15 idealize pinups like him who have been packaged as handsome, innocuous and flat. Accordingly, he plays Isaac shallowly so that Iris can fill him in with her own projections. If he gave the character a personality, we'd get distracted wondering whether the couple could work out. I'm noncommittal myself on whether Lerman delivers a serviceable performance or a strong one. But his Isaac excels at spotting what people want and reflecting it back. He's unnervingly good at faking charm, like a fox that smooth-talks its way out of a trap. It's a bigger issue that the film doesn't have a handle on Iris' character. One moment, she's an empathetic audience stand-in, the next she's Kathy Bates in 'Misery.' Despite those bumps, Gordon, who shares a story credit with Brooks, is a nimble, likable comedian. Capitalizing on her theater-kid energy, she executes a talent-show dance number to capture Isaac's heart. (Check out her comedy 'Theater Camp,' which Gordon co-wrote and co-directed.) 'Oh, Hi!' sides more with her than him, which is understandable given the women who made it and its intended rom-com audience. Yet that allegiance puts it uncomfortably close to hissing, 'Look what you made me do.' One smart critique launched by the film (albeit underdeveloped) is that no one wants to confront Iris with the truth. Her mother (Polly Draper) comes with her own baggage, advising her daughter, 'Sometimes men don't know what's best for them.' Meanwhile, the internet's you-go-girl optimists placate Iris with flimsy assurances that men always pull away before they commit. As for Max, she suggests killing Isaac, then claims she's kidding. Is she? Probably. But both she and Iris are so accustomed to disguising their wants with humor that it's hard for them — and us — to know what they genuinely think. Max's own boyfriend, the mellow and supportive Kenny (John Reynolds), may as well be wearing a T-shirt that says, 'Not All Bedmates.' Otherwise, the only other mildly memorable role is a prurient neighbor played by David Cross, who is really just there to lend the indie production his star clout. Pointedly and inevitably, our leads regress into Mars-Venus caricatures — he's the jerk, she's the psycho — as Brooks vents her frustration that gender tropes haven't evolved. And not for lack of trying. For months, Isaac has whipped up homemade scallop dinners, while Iris patiently played it cool. The film's core question is: How have men and women worked so hard to overcome toxic archetypes and still wound up stuck here? There's no satisfying answer to that. Brooks can merely offer this flawed pair more kindness than they grant each other (or themselves). Which makes 'Oh, Hi!' a pleasant if perilous date night film. Having spent an enjoyable evening with it myself, I have to admit: I like the movie fine, but I'm not in love.
Daily News Egypt
19-07-2025
- Business
- Daily News Egypt
Electricity minister follows up on power supply progress for New Delta projects
Minister of Electricity and Renewable Energy Mohamed Shaker held a follow-up meeting to review the progress of electricity supply projects supporting agricultural development and land reclamation within the framework of the Mostakbal Misr for Sustainable Development initiative. During the meeting, Shaker reviewed project timelines, scheduled delivery dates, and progress rates at each site, noting the alignment between planned schedules and actual execution. The discussion also covered the status of equipment manufacturing, transportation, and installation. Coordination was a key topic, particularly regarding the completion of electrical works, energising certain substations, and synchronising these efforts with agricultural development schedules—especially planting seasons. The meeting further addressed the construction of distribution networks and installation of transmission lines across various voltage levels, with particular attention to ensuring power supply for distribution panels serving irrigation pump stations. Special focus was given to the northern supply point at the Hammam pump stations. Participants underlined the importance of adhering to project timelines and providing temporary power sources to meet immediate demands until transformer stations are fully completed and integrated into the national grid. These measures form part of a broader strategy to guarantee reliable electricity supply, implement sustainable energy solutions, maintain grid stability, and improve power quality. Shaker directed that the current action plan be revised to reflect the critical need for a stable and continuous power supply. He called for accelerating the implementation of several transformer stations and highlighted the importance of close coordination among all stakeholders. To expedite technical work, he urged increasing work shifts and intensifying efforts related to tower installations along transmission line routes. The Minister stressed the need to overcome any obstacles, reaffirming the priority of completing projects and starting operations as scheduled, given their central role in supporting agricultural development initiatives. He also confirmed readiness to supply electricity from nearby sources to ensure the timely start of production across all projects. Shaker emphasised that meeting deadlines is integral to the state's sustainable development strategy and vision to create integrated agricultural, industrial, and urban communities. He reiterated the Ministry's commitment to ensuring reliable electricity access for all sectors, with a special focus on supporting land reclamation and agricultural projects to boost self-sufficiency in strategic crops. He also highlighted the need to enhance energy system efficiency and implement both urgent and long-term solutions to stabilise the national grid and improve service quality. This includes expanding renewable energy use, optimising the performance of power generation stations, and securing adequate electricity supplies for new projects, particularly those linked to land reclamation, agro-industrial development, and greenhouse farming under the Mostakbal Misr initiative. Shaker concluded by stressing that providing reliable electricity across all sectors is a cornerstone of sustainable development, essential for driving economic growth, attracting investment, and supporting the state's broader plans for industrial and agricultural expansion.
Business of Fashion
07-07-2025
- Entertainment
- Business of Fashion
Anderson Apotheosis: JW Remodels His Own Brand
It's no wonder 'in a weird way' is one of Jonathan Anderson's favourite expressions. It seems to be how things happen to him. In the two decades since he graduated from the London College of Fashion, his career has traced a surreal arc from idiosyncratic independent to fashion figurehead. Last week was his debut at Dior. This week he relaunches his own brand with a completely new concept. On the surface, the two exercises couldn't be further apart. In a weird way, they couldn't be closer, joined at the hip by Anderson's own obsessive, compulsive drive. 'I love work,' he crows. 'I could do 24 meetings in a day. I love doing what I do. Is it scary? Of course, it's scary.' But there's never a moment when he manifests nerves, even in the hours leading up to his first show for Dior, when industry anticipation was running as high as I can ever remember it, even as he had hundreds of balls in the air with his own brand JW Anderson. He acknowledges the risk of stopping JWA, slowing everything down and then rebuilding it. 'Maybe I'm maturing as a person,' Anderson rationalises. 'I like to be able to prove something. If I don't feel like the underdog, I will never work. So, in a weird way, we had to rebuild a platform to become the underdog again. Why? Because, if not, I can't get up in the morning.' He spent a good year or so analysing what those impulses actually meant. 'I was thinking of Terence Conran. I love Shaker furniture and I'd been doing some research for myself on how it arrived in Britain through Conran. It became such a trend, and then infiltrated into design systems.' But if Conran revolutionised the way people thought about their homes in the '60s and '70s, Anderson's ambition is more humble. 'I think it's maybe how people see their desk or their coffee table. For me, it's more about the storytelling that you can do with an object, more of an intimate kind of thing, like, I bought this stick chair, and look at this amazing wood, and it's made in this country, and the guy only makes two of them a year. It's a nice story to tell, which is not just about how much something costs.' ADVERTISEMENT JW Anderson (Courtesy) He listens to people like Adam Curtis, the documentarian guru of pre-apocalypsism. Curtis's 'Hypernormalisation' is his favourite documentary. 'I've always wanted to meet with him. We were talking about everything. He thinks we're heading towards this time… it won't be about modernity, as in new fashion or new art. It will be heading towards a different time period, like when Gothic Revival, which was ultimately from 13th century architecture, came to dominate the world in the 19th century.' Anderson's own project tends to the kind of connoisseurship that shaped the golden years of the Wunderkammer, the 1700s, the 1800s, before museums became receptacles of human civilisation, when wide-eyed, well-heeled aesthetes would collect extraordinary objets for their own cabinets of curiosities 'as a way to showcase… a fascination with the diverse and sometimes bizarre aspects of the world.' (Thank you, Wiki). Anderson had an early education in such a magpie sensibility. His grandad would take him antiquing when he was a kid. At university, he worked in Sam Roddick's visionary sex shop Coco de Mer. 'In a weird way, Coco de Mer was a very good example of a curated fetish shop,' he recalls, 'where you could buy anything from Betony Vernon's sex toys through to a first edition of 'Lady Chatterley's Lover.'' His other job was working at the equally curated store 202 Westbourne Grove, where he observed how the buyer would acquire a mirror for €2000 ($2,360) and pass it on to customers for £70,000 ($95,000). The major criterion for his own collection is that everything has to have a story. There will be around 560 items when the website launches on September 1. And once something sells out, it's gone. Maybe 200 items will carry over, but seasonality is less of a concern. 'Instead of discounting things, we just keep them until they sell out,' Anderson says, 'and then we replace them. Because I feel like it's hard having a small business. It really is difficult. I feel for every single person who starts a business, I'm fortunate to have LVMH, but at the same time, we're still a small business with the pressure of a marketplace that is just collapsing. So I'm thinking, 'Let's get the Murano glass guy to make the hardest thing that shows his skill, but in something which looks timeless. Or let's get the best person in the world to reissue the Charles Rennie Mackintosh stool.'' Translation: The 'Murano glass guy' is Marcantonio Brandolini and Anderson has charged his company Laguna-B with creating pieces in an opaque green glass which they don't usually do. The Charles Rennie Mackintosh stool is recreated by a Mackintosh conservator in the black-stained oak he favoured, also available in white and a natural oak. Understandably not cheap, given the degree of expertise involved. JW Anderson (Courtesy) Andrew Bonacina, formerly director/curator at the Hepworth Wakefield museum in West Yorkshire, is putting together an art programme that, in some JW Anderson stores, might mean one single expensive masterpiece, in others, a series of mini-exhibitions of up-and-coming artists throughout the year. That was one thing that always struck me about Anderson's curation of art in Loewe's stores. The selection, say, of a piece of Matthew Ronay sculpture in London or the glorious wall of Howard Hodgkin in Madrid suggested a personal engagement that would be hard to quit, if ever the day of disengagement should come. 'Loewe will exist in part of my vision for as long as it needs to, you know,' Anderson says now, 'but in a weird way, what I realized is when you leave something, it's very difficult. I was trying to comprehend leaving something which I had built in my vision, like I built the entire aesthetic, right down to the Craft Prize, around all the things that I love. The good thing is it'll go, you know, and we will continue with JW, doing the thing that we've been doing, which is putting art into British institutions. We just helped put a painting of Andrew Cranston into a museum.' Or, as CEO Jenny Galimberti puts it, 'Loewe was him, and so now this is him.' And gloriously, perversely so. 'Everything has a little weird meaning to it,' Anderson says. 'I think it is just as accurate as when I did the ruffle shorts. It's the same energy, because ultimately, the ruffle shorts were in a wool that was made in Britain that I was completely obsessed by, which was the same wool that was on the little coat on Paddington Bear when I was a kid. So that threw me into the thing. And now it's, What is that in a tea cup? What is that in a pen? What is that in honey?' JW Anderson (Courtesy) It's like Citizen Kane and his sled named Rosebud, the single plangent memory that unleashes a lifetime. Except that with Jonathan Anderson, everything is Rosebud. The tea cup is by potter Lucie Rie. His collection of her work is one of the world's best, so this launch of a couple of her original designs, coffee cup as well, 3D-printed from her archive in the Sainsbury Centre, is probably his pride and joy. Wedgwood said no when Rie originally proposed these designs decades ago. Anderson has all the original correspondence. It took him a while to convince the company they'd made a terrible mistake. 'I know that I want a set of Lucie Rie,' he says now. 'I've made them in a selfish act for myself.' They're expensive — a cup and saucer will retail for £1000, and only a hundred will be made. They'll probably sell in minutes, such is Rie's audience of collectors. The profits will go to a foundation to preserve the legacy of Rie and her partner Hans Coper, to produce a catalogue raisonné, and to provide grants for young artists. ADVERTISEMENT The pen is made by YARD-O-LED, who are the oldest penmaker in the UK. They've also remade a mechanical pencil for JWA. Originally invented and patented in the early 1800s, it's engraved here with an Oscar Wilde quote: 'The secrets of art are best learned in secret…' The honey is from Houghton Hall, the stately Norfolk home of the Marquess of Cholmondeley. 'Someone I always adore for doing random things is Giorgio Armani, he did honey once,' Anderson free-associates (free association is one of the singular pleasures of this particular project). 'So when I was at Houghton Hall, and I was meeting with Rose, they had honey, and I was like, Okay, I love her, and I love them both, and I just think they're so chic, and I was like, well, I want the honey, because maybe if I have the honey, I would feel like that. And it's all that thing, it's sort of odd, our relationships to certain things, going back to Warhol. And Warhol, for me, as cliché as it will always be, is one of the most modern thinkers in the last 500 years, because I think he was able to do this. And at the same time, it was always sharp.' The jars of honey are capped by squares of traditional honeycomb-patterned Norfolk linen from a weaver named Max Mosscrop. (You can really go down a rabbit hole with this stuff.) JW Anderson (Courtesy) And that's Anderson's ambition with his project. It's the power of the object to hold layers of meaning, be it a Marilyn portrait or a jar of honey: Now that is fetishism at a cargo-cult level. Or, muses Anderson, 'In a weird way, it is about obsession. Warhol was so powerful as the starting point of object, obsession, fame. I remember when I was very, very young, I was obsessed by Andy Warhol to the point where I wanted to buy the wallpaper of the cow. And when the internet started, there used to be online websites where you could do that. Never did, obviously, but I think that will always be in me, this search to find things you know or to bring things together. You know, that's why, in my house, nothing never stays still. It's like a never-ending project.' And there's the core of the quest. As it was with Warhol, where someone paid hundreds of thousands of dollars at auction for a collection of the artist's cookie jars, the power of curatorial personality — Anderson's in this case — infuses and elevates banality. Nothing clarifies that notion more for me than the collection of garden tools on offer at JWA, 200 in all, spades, trowels, hoes, immaculately refurbished by another of Anderson's gifted obsessives whose tool collection had reached a scale where his wife was begging him to divest. A common garden spade, oiled and gleaming, makes me want to get out and dig, but it would also make a perfect Duchampian readymade. Anderson does have a track record with Dada and surrealism, after all. There's a complementary collection of antique watering cans. Don't bother trying to find a logical connection between them and Dean Sameshima's luxuriously embroidered 'Anonymous Faggot' jumper or 'Anonymous Trade' sweatshirt. You're inside someone else's head here. JW Anderson (Courtesy) 'I needed to find a vehicle that was everything that's personal to me, no matter what it is,' Anderson explains. 'It's a weird obsession. It's ultimately me selling myself as these are things I like.' And not just that, but things he always wanted to do. Like chunky gold jewellery. Or real jewellery, which comes to JWA courtesy of a gemhunter named — what else? — Classical Gem Hunter. There will be diamonds. 'I just want five pieces per store, and we do them on beautiful chains. Or a beautiful ribbon. We don't need to remake that idea. You just have to bring it to people, and show that I'm obsessed by this person who finds things. It's not about ownership. It's more about, 'Here it is and I think it looks great.'' Anderson casts his mind back to the spade guy. 'There is no point in over-complicating it, you know? So, in a weird way, the JWA becomes a seal of approval. It's like, we approve this product, we approve this message. It's a fashion royal seal.' He laughs. 'I'm hoping that people are going to look at it and have this fetish to want to buy it.' The obsession carries through to the packaging: the boxes, a year in the making, have an aristocratic heft (that royal warrant thing again), everything else comes in potato sacks, or it's wrapped in the paper used to wrap fish and chips in seaside towns. 'But by redoing it, you kind of get this preciousness.' He feels there are kindred spirits for his concept. 'Just maybe not in fashion. I think Rose Uniacke is very good at how she creates. And there are places in Japan that I go to. I have no idea of their names.' Uniacke is a significant namecheck because her shop on Pimlico Road, a kind of interior designer's row in London, will be a neighbour of Anderson's latest outlet, which is maybe his clearest statement of intent with his brand revamp, because it will be the closest to the kind of world-building that is second nature to people like Uniacke. In the meantime, everything is changing in JWA's universe. The logo has been tweaked to chic. Every store is being completely renovated with softly opulent Uniacke velvet walls defined by a dado rail where all the merchandise will be suspended, Shaker-like, on pegs. That dialogue between excess and austerity is particularly Andersonesque. Architects Sanchez and Banton are of Jonathan's generation, but more commercial than fashion. They're good at practicalities, tight and tidy, so there is a solid functionality in fittings. Shelving is hung from the pegs along with everything else. It's all for sale, and customisable. ADVERTISEMENT As the concept rolls out globally, each shop will ultimately be its own little world, shored up by the work of local artisans. But the corner store in Pimlico will probably be the one where JWA's idiosyncrasies find their fullest expression. In summertime, there might be garden furniture. Or asparagus. Jonathan is obsessed with asparagus. He also loves the idea of someone marching in and ordering six stick chairs for their dining table. 'This, for me, will be the day that I open a bottle of champagne. Because that's exciting to me. And then, at the same time, they can buy a beautiful cashmere sweater that says 'Anonymous Faggot,' as a kind of conceptual act, a fashion object, an art object. JW Anderson (Courtesy) Or maybe they'll be drawn to explore the rest of Anderson's offering. Oh look, a stork scissor from Ernest Wright in Sheffield. Didn't they stop making those a century ago? Good lord, is that a Lucie Rie teacup? And what the hell is coffee-tea? (It's exactly that, a hybrid created by Postcard Teas that's the make up of tea but the taste of coffee.) The big question is on its hind legs, begging: what's the object that speaks to Anderson the most? 'The handwoven damask silk shorts,' he answers instantly. 'I was restoring a Chippendale chair and I needed to get fabric for it and I was looking at the Dumfries House renovation because Prince Charles had commissioned all the artisans in Britain who historically would have made things like the type of silk Chippendale would have used, the exact silk that I'm obsessed by. We found the supplier and I said, 'OK, we need to order this fabric, in the three colours, a blue, a yellow, a green.' For me, this is as fetishistic as anything you can get. It's expensive because it is incredibly difficult to do. It is what you would use on walls and chairs, and I love the idea of the walls, the chair and the guy on the chair in the shorts, with the slipper.' The fetishism extends to the label on the shorts. 'When I first started my brand, way before it became a brand, I used to sell jewellery in a shop called Toosee, and the very first label that I ever had was a copy of a Paquin label from the 20s. I had bought this black blouse by Paquin and inside was a triangular label which was the standard way of doing labels in the 20s. And when we were researching this project, I thought we should go back to this original label, when I was not what I am today.' For the look book, which will be the way most people encounter his re-brand, Anderson selected a 35-strong cast of longtime collaborators and people he admires. People curation: quintessentially Warholian. So there's his partner, artist Pol Anglada, and collaborator, director Luca Guadagnino. There is artist Enrico David and musician Oliver Sim; actress Hailey Gates, and the dancer from Anderson's Drink Your Milk campaign. Bella Freud he met years ago at a party when her father Lucian asked him for a cigarette. There are also instructive little videos matching Anderson's characters with his various objects. Joe Alwyn clearly knows his way around a honey dipper. JW Anderson (Courtesy) 'I need to learn here, and I need to re-learn what I love in myself,' Anderson muses. 'This project feels honest to me. This is exactly where I should be right now. Yes, JW Anderson could do a fashion show. And we may do a fashion show when I feel like there is a need to do one. But I don't want people to be like, 'Oh, another fashion show.' I would rather someone goes in and is, like, 'Why do I feel the urge to buy a pot of honey?'' Joe, pass the dipper please.
Boston Globe
20-06-2025
- General
- Boston Globe
Homes in Brockton, Newton that help bring the outside in
LOT SIZE 0.16 acre BEDROOMS 5 BATHS 2 full, 1 half LAST SOLD FOR $157,900 in 1999 PROS Enter this gabled, corner-lot 1925 Colonial with Victorian-style flourishes by way of an elegant foyer with hardwood floors. The spacious living room at right features bay windows and a gas fireplace, and the formal dining room beyond has a coffered ceiling. French doors lead to a heated sunroom with walls of casement windows plus access to the backyard and a garage with wood stove. The updated eat-in kitchen has quartz counters, stainless appliances, and two-toned Shaker cabinets; there's a half bath nearby, and a mudroom exits to the side porch. Up either staircase, four bedrooms (one with access to a walk-up attic room) share a roomy bath. The basement has laundry, a family room, bedroom, and bath. CONS No central air. Advertisement 43 Ash Street in Brockton Handout Sue Hays, Keller Williams, 508-259-5116, Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up $1,575,000 50 GROVE HILL PARK / NEWTON Sunroom of 50 Grove Hill Park in Newton. Handout SQUARE FEET 2,389 LOT SIZE 0.21 acre BEDROOMS 4 BATHS 2 LAST SOLD FOR $1,207,000 in 2016 PROS This 1921 Craftsman with hardwood floors is set on a tranquil cul-de-sac in Newtonville. From the sunroom entryway, French doors open to an inviting living room with stone fireplace, recessed lights and speakers, and built-in shelves. A breakfast bar splits the dining room from the open kitchen with Shaker cabinetry, double sink, stainless appliances, and granite counters. A nearby mudroom with pantry storage leads to a side patio and fenced yard. Past a bath, the primary bedroom connects to a heated sunroom with over a dozen swing-out windows and rich wood wainscoting. On the second floor, three more bedrooms share a newer bath with double vanity. There's a family room and laundry in the walk-out basement. CONS Shared driveway. Advertisement 50 Grove Hill Park in Newton Handout Noreen Boyce, Advisors Living, 617-749-5308, nboyce@
