National Park Service, Weir Farm National Historic Site
The interior of the main studio includes a north wall mezzanine, and east and west wall balconies at the second-floor level. This area would be furnished with a library's worth of reference material. Mahonri's son, Bill Young, recalled that his father "spent most of his life in a studio. When he wasn't working he would think in it (in a creative way)."
A small pre-existing structure, Caroline Weir Ely's ca. 1915 book bindery, was attached to the western side of the studio. This room uses some of the multi-paned windows that were part of the Weir Studio before renovations eliminated their use. Mahonri Young used this room for etching.
Initially the exterior of the Young Studio was painted white, with only the southern facade of the former book bindery painted red. Dorothy Weir Young's account book confirms this information in a 1934 record for painting the exterior of the Weir House with red paint, "some left for M's studio." By 1942 the south and west walls of the studio were painted red. The northern wall of the main studio might have painted white through 1946, but the exact date is unknown. The exterior of the northern facade was painted red to match the east and south studio walls.
The exact date is unknown; however, additional windows were added to the north wall between 1932 and circa 1946.
Did You Know?
Painter Julian Alden Weir wanted to build a rural retreat in the Keene Valley area of the Adirondacks, but decided instead that his farm in Branchville, Connecticut, now preserved as Weir Farm National Historic Site, would make a more suitable home for his family.