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26 Alden Street

Corrected text: In a town whose economy turned on the luck of the fishery, poverty was often no farther away than one capsized boat or a couple of empty nets. By 1870, there were so many poor people that Provincetown constructed this large Alms House, also known as the Town Asylum, to shelter them. In 1956, it was transformed into a municipal nursing home called Cape End Manor, which was housed here until a new facility was built at 100 Alden. The asylum was converted into town offices and renamed the Grace Gouveia Building, in honor of Grace Gouveia (pictured). This beloved teacher, poet, and social activist immigrated from Portugal in 1915 at the age of 6. She died in 1998. [Photograph of Gouveia (undated), by and courtesy of Jay Critchley.]

29 Alden Street

Corrected text: Many Azorean fishermen spent their first nights in Provincetown in this large house, George “Moe” Van Dereck wrote in the 2014 Provincetown Portuguese Festival Booklet, which was devoted to Alden Street. The 1910 census showed 54 boarders domiciled here, all Portuguese, most in their 20s and 30s. The shack was the David Rothman Frame Shop in the 1960s, before Van Dereck turned it into Moe’s Fancy Alden Street Workshop, where you could get your guitar fixed, buy supplies, and pick up tickets for the hootenannies that Van Dereck organized. “Builder, musician, volunteer fireman, sculptor, beachcomber, and dump-picker extraordinaire,” as The Banner described him, he’s married to the artist and gallerist Simie Maryles, of 435 Commercial. His brother is the proprietor of Napi’s.

100 Alden Street

Corrected text: The official name for this “concierge condominium” complex is Seashore Point. But you’ll often hear it called the Manor (“She’s up at the Manor these days, God love her”), since it supplanted and eventually replaced the Cape End Manor, a 28-bed municipal nursing home that was built on this site in 1980 to replace the facility at 26 Alden. In 2006, management of the Manor was transferred from the town to Deaconess Abundant Life Communities and ground was broken on the first 43 units of Seashore Point, designed by EGA Architects of Newburyport. The first residents, Dr. Richard and Barbara Keating of Truro, arrived in 2008. The final 38 units of the project, overseen by the developer Ken Weiss, were completed in 2014.

124 Alden Street

Corrected text: Catholicism and Portuguese national identity are closely tied together at the Cape end, as even the briefest stroll through the 12-acre Cemetery of the Church of St. Peter the Apostle will reveal, on headstones carved with names like Avellar, Cabral, Cordeiro, Corea, Costa, Duarte, Dutra, Ferreira, Flores, Lopes, Macara, Santos, Silva, Souza, and Taves. The land was acquired in 1869, even before the church at 11 Prince was built. It is owned by the Roman Catholic Diocese of Fall River. Renovations of the cemetery were begun in 1952, during the pastorate of Msgr. Leo J. Duart, who also bequeathed money for the construction of the cemetery chapel, which opened in 1976. The sculptural scene of Calvary was donated by the Rev. Manuel C. Terra.

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2-2A Allerton Street

Corrected text: Built around 1800 on Commercial Street, the house was moved to this site and opened in the late 1910s as the Ship’s Bell (“because of the gladness that was ringing in our hearts”) by Eleanor Bloomfield and Mary “Ivy” Ivins. They called themselves “independent women.” A contemporary reading might be that the Ship’s Bell was the town’s first lesbian-owned guest house. The property was later owned by Charles Hapgood, author of The Earth’s Shifting Crust (1958), and his wife, Tamsin (Hughes) Hapgood, a real estate agent. Their son, William Hapgood, an inventor and musician, sold it in 2001 to the artist and photographer Marian Roth (pictured left), and the clothing designer Mary DeAngelis. Hapgood owns the garage, No. 2A, whose attic apartment shelters the artist Barbara Cohen (pictured right). [Photograph (undated), from The House That Is, or a Tale of the Ship's Bell, Lowe Brothers Company.]

3 Allerton Street

Corrected text: The house and three-car garage were built in 1938 by James S. Thomas, a contractor and member of the Bone Domer Construction Crew who was also known for ferrying people and supplies to the dune shacks in a specially modified Model A Ford. That was how he met the artist Edith Hughes, who was to become his wife. Their son Jonathan is still remembered for scaling the Pilgrim Monument in 1959 — on the outside. He was 21. Their daughter, Michal (Thomas) Barnes, lives in Ohio but still owns the property. Daniel Towler (pictured), one of the town’s more informed and passionate historians, has lived here since 1995. Edith’s backyard studio has subsequently been used by the potter Debbi Kahn, the sculptor Paul Bowen, and the painter Bert Yarborough. In recent years, the painter Alyssa Schmidt has sold miniature landscapes from a roadside stand here, on the honor system.

5 Allerton Street

Corrected text: This was home to one of the town’s most enduring craft businesses: the seven-decade-old, two-generation Rilleau Sandal Shop. Founded in 1940 by Roger Rilleau as Hand Industries, at 322 Commercial, it moved next to 347 Commercial, then to this property, which had been known to generations of postcard buyers as “The Rose-Covered Cottage,” said Gaby Rilleau. Roger’s son, Kim, conducted the business in a workshop here from 1968 to 1997. It was “cluttered with dyes, driftwood, sculpture, whale bones and dusty shelves filled with hand tools,” Sue Harrison wrote in The Banner, and carried “the deep, rich smell of leather that new cars can only aspire to.” It was more recently the location of Pat McCobb’s Allerton Custom Picture Framing business.

6 Anthony Street

Corrected text: In 1969, Resia Schor, an artist herself and the widow of the artist Ilya Schor, bought this house, which was constructed around 1800, for herself and her daughters Naomi and Mira. She called it Ça Me Suffit — “It is enough for me.” Resia worked in the oldest part of the house, a former fish shack, making jewelry and sculpture. Mira painted upstairs in a small room with seashell-patterned wallpaper from the ’50s. Naomi, a noted scholar who died in 2001, worked on a number of books in an upstairs room with a bay view. After Resia died in 2006, Mira began drawing in her mother’s studio, which she said “proved to be an engine for new work.” Resia and Ilya are buried in Town Cemetery, under a strikingly modernist tombstone.

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21 Atkins-Mayo Road

Corrected text: This is the home and studio of the sculptor and graphic artist Romolo Del Deo (pictured), whose Fishermen’s Memorial is intended for MacMillan Wharf, once the needed money is raised. His mother, Josephine (Couch) Del Deo, told me that this house was probably built soon after the parcel was acquired in 1915 by Col. Francis Bacon Jones, who fought in the Civil War. His children were the artist Mary Bacon Jones, an important member of the Provincetown color woodblock group, and Russell C. Jones, who sold the property in 1928 to his brother-in-law, Shorb Floyd Jones. Josephine and Sal Del Deo, and Josephine’s mother, Osma Gallinger Tod, bought it in 1971. Romolo was graduated from Harvard College in 1982 and has studied in Florence, Carrara, and Pietrasanta. He counts Dimitri Hadzi among his teachers. He’s owned this property since 1992.

31 Atkins-Mayo Road

Corrected text: The artist and restaurateur Sal Del Deo — namesake of both Ciro & Sal’s and Sal’s Place — has owned this property since 1955 with his wife, Josephine (Couch) Del Deo (both pictured). She is the town historian emerita; a moving force behind the Cape Cod National Seashore, the Provincetown Historic District, and the former Heritage Museum, and the author of Figures in a Landscape (1994), a biography of Ross Moffett; and Compass Grass Anthology (1983). In 1953, she married Sal, who had attended the Art Students League of New York and the Vesper George School of Art in Boston before coming to Provincetown to study with Henry Hensche. His studio is in a freestanding building out back. To design it, Del Deo told me, he measured the dimensions of studios used by Moffett, Philip Malicoat, Pauline Palmer, Max Bohm, Frederick Waugh, and Charles W. Hawthorne. The main house was originally the studio of Mary Bacon Jones.

56 Atkins-Mayo Road

Corrected text: This stout, angular box of a studio was built in the 1950s for Boris Margo, a Ukrainian native who emigrated to the United States in 1930 and married the artist Jan Gelb. They spent summers in a dune shack that still bears their names. “Margo pioneered new materials and techniques to create his biomorphic and lyrically abstract work,” Pamela Mandell wrote in On Equal Ground (2001). In 1971, while Margo was in New York, squatters started a fire that burned the studio down, though firemen did all they could to save the artwork. Margo and his nephew Murray Zimiles rebuilt the cottage in 1973. Since Margo’s death in 1995, the studio has been used by Zimiles and his niece, Dawn Zimiles, who is herself a painter and mixed-media artist.

8 Atwood Avenue

Corrected text: When you spot a white-on-blue plaque of a house aboard a scow — as there is on this lovely three-quarter Cape (a single window and pair of windows flanking the front door) — you’re in the presence of a building that was floated over from Long Point, an 1818 settlement established on the thin finger of land separating Cape Cod Bay from Provincetown Harbor. By the late 1860s, as the near-shore fishery grew depleted, this settlement had to be abandoned. Almost 40 structures were salvaged, however, and floated over to town exactly as the plaque suggests, including this one and two nearby, at 10 and 12 Atwood.

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10 Atwood Avenue

Corrected text: Clustered around Atwood Avenue and Point Street are many of the Long Point floaters whose historical provenance seems most solid. At the heart of the property at No. 10 is a house that was believed to have belonged to Joseph Butler when it stood out at the point, somewhat in the center of the settlement. By the 1860s, it had been moved across the harbor and stood on what was known then as Atwood’s Avenue. In 1862, it became the home of the newly wedded Adelia C. (Morgan) Atwood and Stephen F. Atwood. Her great love was the Centenary Methodist Church, where she sang in the choir. Joseph F. Collins and Harry Clark of San Francisco bought the house in 1999 and undertook a renovation that preserved a lot of the distinctive architectural features that had grown by accretion over the decades.

3 Aunt Sukey’s Way

Corrected text: Jack Kearney of Chicago, who trained at the Cranbrook Academy of Art and in Italy, was a sculptor in the classical medium of bronze and the less classical medium of automobile parts. This was his studio and fabrication plant, on property he purchased in 1984. “Sympathetic toward endangered species, Kearney has welded the curved ends of chrome car bumpers into the organic shapes of such beasts as the bison, Siberian tiger, snowy egret and white rhinoceros,” Christopher Busa wrote in Provincetown Arts. Among the works cast here were characters from The Wizard of Oz for Oz Park in Chicago. When a girl spotted the newly finished Tin Man, she admonished the sculptor that he’d forgotten the heart. Kearney told her father to bring his daughter back the next day, by which time he’d given the forever-rusting Tin Man a heart of stainless steel. A man of great heart himself, Kearney died in 2014.

1 Baker Avenue

Corrected text: A picturesque exemplar of the Cape Cod house (in this case a three-quarter Cape with Greek Revival flourishes, built around 1830), 1 Baker further profits from its situation, roughly perpendicular to Pearl Street, which sets it off charmingly. A century and more ago, this was home to the Baker family. Since 2010, it has been owned by Ryan Landry, the indefatigable impresario behind the popular Showgirls revues at the Crown & Anchor and the shepherd of the Gold Dust Orphans theatrical troupe, whose productions have included Mildred Fierce, Pornocchio, Mary Poppers, Valet of the Dolls, and Silent Night of the Lambs.

2 Baker Avenue

Corrected text: Once known as 9B Pearl Street, this house was constructed between 1830 and 1850, according to the Provincetown Historic Survey. Like many older buildings, it has a circular cellar whose shape buttresses the wall against imploding from the pressure of surrounding sand. The property was purchased in 1994 by Claire Sprague (pictured), the host and co-creator with Ann Lane of Sister Talk on WOMR-FM, a program focusing on gender issues that was broadcast for 17 years, until 2009. Sprague was also the co-curator, with Irma Ruckstuhl, of “The Jeweler’s Art: Four Provincetown Silversmiths, 1940s-1960s,” a 2003 exhibition at the Provincetown Art Association and Museum, and was co-executor of the Lillian Orlowsky and William Freed estate from 2004 to 2008. She sold this property in 2012.

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11 Bangs Street

Corrected text: In 1953, almost a quarter century after arriving in this country from Greece, the artist and horticulturalist Nassos Panagiotis Daphnis came to Provincetown. Among the artists he met was Helen Avlonitis, a recent Hunter College graduate and student of Robert Motherwell. They were wed in 1956 and bought this house, then roughly a century old, in 1958. It was a year later that the gallerist Leo Castelli in New York gave Daphnis a one-man show that “established him as a leading exponent of geometric abstraction,” The New York Times said in his 2010 obituary. Besides painting, Helen Daphnis-Avlon operated the Avlon Sun Gallery in the 1980s. She died in 2004.

76R Bayberry Avenue

Corrected text: “In the Shelter of Cape Cod’s Sandy Arm — Your Port o’ Call.” The motto of the Coastal Acres Camping Court has the pleasingly anachronistic ring of a place that’s endured the changing fashions of Cape-end vacation styles. It was developed by Capt. Manny Phillips, a towering figure of the fishery. His purse seiner, Silver Mink, brought in a record 250,000 pounds of tuna one day in 1959. Captain Phillips opened the 15-acre campsite in 1967 and sold Silver Mink, saying, “With the boat gone I can sleep better at night.” After seven years of good sleep, however, he returned to the sea on the Shady Lady. His son-in-law, Richard B. Perry, took over management of Coastal Acres. The operation is still family-run. [Photograph of Silver Mink (1982), by and courtesy of David Jarrett.]

5 Bradford Street Extension

Corrected text: Kind of cheesy but utterly beloved, the Moors was as much a town institution as a tourist destination. Maline N. Costa opened it in 1939. It burned in 1956 and was rebuilt within a month, as “inhabitants and fishermen scoured their cellars and attics for authentic memorabilia,” Provincetown Magazine recalled in 1982. You could drink in the Smugglers Jug Room or dine on Portuguese fare — “Combed from the Sea” — in the Old Shed. In later years, the Moors was a milestone on the gay social circuit for beachgoers returning from Herring Cove. Mylan Costa, Maline’s son, sold it in 1998. It was demolished and replaced by the Village at the Moors. The nearby motel of the same name, at 59 Province Lands Road, now does business under the name Inn at the Moors. [Postcard (undated), by Maline N. Costa, courtesy of the Pilgrim Monument and Provincetown Museum (Clive E. Driver Collection).]

21 Bradford Street Extension

Corrected text: The Herring Cove Tennis Club, with five red-clay courts, was built in 1947 by Hawthorne Bissell and was known for many years as the Bissell’s Tennis Courts or as the Cast Anchor Tennis Courts. This being Provincetown, the courts were also used in the late 1950s for John Kelly’s classes in Russian ballet. The four-acre property was acquired in 2006 by the developers Jim Watkins and Dave Krohn. In 2008, they began opening units of the Herring Cove Village condominium complex between the tennis courts and the road. The houses, by McMahon Architects of Boston, are punctuated by ersatz widow’s-walk cupolas. The landscape design is by David Berarducci of Boston.

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29 Bradford Street Extension

Corrected text: Bradford Street Extension was once motel alley. Bill White’s Motel was built in 1975 by William A. White and Margaret E. White, who ran the place until Margaret Tinkham (Margaret White’s daughter) and John Tinkham took over in 1994. The Explorer’s Guide said in 2003 that the 12-unit motel provided “arguably the best value in town,” that rooms were “simple but well-maintained, and the Portuguese hospitality is warm.” The property was acquired by John S. Gagliardi, who had previously operated the Copper Fox, and reopened in 2010 as the Foxberry Inn. Bill White was a postman who had gone into the home-building business, Gagliardi told me, and he constructed the namesake motel himself. “He did such a wonderful job.”

105 Bradford Street Extension

Corrected text: Sprawled over a four-acre hilltop site, the sheer size of the 55-room Seaglass Inn and Spa — known previously as the Chateau Motel, Best Western Chateau Motor Inn and Chateau Provincetown — is unlike anything in town. Two generations of the Gordon family were involved: William Gordon and Emily (Prada) Gordon opened the motel in 1958 and expanded it several times. They were followed by their son, William A. Gordon Jr., and his wife, Charlotte L. Gordon. The Gordons proposed tearing down the motel in 2007 and converting the property into a 10-lot subdivision, but kept the Chateau ouvert until 2013, when they sold it to Nadine C. Licostie, executive producer and director of Red Thread Productions in New York, and her wife, Faith Licostie, an emergency room nurse, who rechristened it Seaglass and reopened it in 2014.

144 Bradford Street Extension

Corrected text: Beach Market and Gale Force Bikes, a popular place to rent bicycles for the Cape Cod National Seashore trails, occupies the site of the main barn of Galeforce Farm, founded at the turn of the 20th century by Frank Silva Alves, a fisherman and native of Pico, in the Azores. In its early days, it was one of five dairy farms in town. Frank’s son, Joseph Alves, took over in 1934, installed pasteurization equipment in 1941, and increased the herd to more than three dozen Guernsey and Holstein cows. But a lack of farmhands and a spate of bad weather killed off Galeforce in 1952, by which time it was the last dairy farm at the Cape tip. [Photograph (undated), courtesy of Allen R. Gallant.]

147 Bradford Street Extension

Corrected text: An ample farmhouse from the early 20th century still stands, and still commands a proprietor’s prospect over what was once dairy land. The main building of the Safe Harbor condominium at No. 147 was the home of Joseph Alves and Irene (Raymond) Alves, who ran the Galeforce Farm, Provincetown’s last commercial dairy operation. Their son Raymond Alves sold the property in 1990 to his brother-in-law, Allen R. Gallant, who created the condo in 2005. Gallant’s husband, David A. Cox, a computer expert doing business as the Mac Guru, is a pioneer in chronicling Provincetown from a drone’s-eye view. [Photograph (1956), courtesy of Allen R. Gallant.]

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175 Bradford Street Extension

Corrected text: Joe “The Barber” Ferreira opened what was “probably the only Dairy Queen franchise in America that served kale soup,” Amy Whorf McGuiggan wrote in her memoir, My Provincetown (2003). It took the place of the Wagon Wheels diner, run by Alfred “Fall River” Perry just after World War II. The D.Q. was owned in later years by Elmer I. Silva, principal of Provincetown High School, who offered employment to students like Yvonne Frazier, now a professional opera singer in Europe. It morphed into Silva’s Seafood Connection, which was run in its last years by Paul Silva and his brother, David Silva, now a proprietor of the Red Inn. After turns as LiCata’s and the Beach Grill, the old D.Q. was razed by Victor DePoalo to make way for condominiums and Victor’s restaurant. [Photograph from the Long Pointer 1987, courtesy of the Provincetown History Preservation Project.]

2 Bradford Street

Corrected text: From the 1940s through the 1960s, this side shack was Mary’s Snack Bar — better known as Mary Spaghetti’s — run by Mary Souza. Open until 3 a.m., it was a popular rendezvous with “night prowlers,” as The Advocate put it. Reportedly among those prowlers once were Elizabeth Taylor and Richard Burton. What made it popular among the nocturnal set, of course, made it anathema to the neighbors. Mary’s claims to fame were clamburgers and pepper steak, but the name of the joint suggested another specialty of the house — besides general uproar. Kim Oliver of Provincetown Florist, who owns the property, replaced the tumbledown shack with a Cape-style cottage in 2011.

3 Bradford Street

Corrected text: The amazingly animate yard of the Kacergis family’s Provincetown Welding Works looks like a Tim Burton movie come to three-dimensional life. The works were established in 1946 by Clarence Kacergis. “At first, he imagined a simple welding shop until several Provincetown artists and sculptors looked to stretch themselves and embrace metal as a heightened form of expression,” Gerry Desautels wrote in The Banner. Among them was Chaim Gross. In the present day, Desautels continued: “Maritime objects, fauna, flora and Cape characters — strumming musicians, rowing sailors and sawing woodsmen — are depicted in quirky Kacergis style throughout the chock-a-block shop. … The works are wonders of modern recycling and years of collecting parts and pieces from unspecified junkyards on and off-Cape.” Clarence’s son, Michael Kacergis (pictured), succeeded to the business.

27A Bradford Street

Corrected text: In a town full of wild structures, this amazing relic is one of the wildest: a shingled fly loft for a theater that was integral to the early 20th-century Provincetown renaissance. Frank Shay, an editor and bookseller, belonged to the original Provincetown Players. In 1924, in a bid to keep the spirit of the Players alive after the troupe moved to New York, he converted his barn into the Barnstormers’ Theater, Leona Rust Egan wrote in Provincetown as a Stage (1994). After Paul Robeson’s successful portrayal of The Emperor Jones in New York, Shay campaigned to bring the production to town. Robeson did appear here in 1925, Egan said, not in the Eugene O’Neill play, but performing a program of spirituals and folk songs — to great acclaim. Local lore has it that Bette Davis also trod these boards. The cottage colony around the theater was known in the 1940s and ’50s as Skipper Raymond’s Cottages, run by Frank Raymond and Frances (Perry) Raymond. She’s depicted on the mural at Fishermen’s Wharf. Napi Van Dereck now owns the property.