59 CHURCH STREET, CHARLESTON, SC 29401

On one of the most beautiful streets in historic downtown Charleston, behind garden walls and beneath the shade of live oaks, stands the Thomas Rose House, an extraordinary Georgian residence built in 1735 when Charles Town was still a young Colonial port. For nearly 300 years, this remarkable home has witnessed the evolution of the Holy City--surviving devastating fires, wars, earthquakes, and storms--while retaining its elegant architecture and inimitable craftsmanship. Today, following a meticulous restoration that seamlessly blends historic integrity with modern luxury, this South of Broad estate offers something almost impossible to replicate: a fully livable 18th-century masterpiece set within expansive gardens in the heart of America's most beautifully preserved historic city.The property occupies Lot 61 of the original Grand Modell of Charles Town, granted in 1680 to Elizabeth Willis. By 1701, it had passed to the wealthy Elliott family. Thomas Eliott bequeathed the property to his daughter Beuler, who married Thomas Rose in 1733. Shortly thereafter, Rose commissioned the distinguished residence that still bears his name. The elegant Georgian merchant house was intended to reflect the fashionable architecture of England's port cities. Constructed of brick and oyster-shell plaster, the two-and-a-half-story structure is 5 bays wide with a hipped roof punctuated by dormers and a spectacular full-width drawing room that survives today in all its original grandeur. Around 1790, the iconic double piazzas were added and the entrance moved from the center of Church Street to the south facade to conform to the Charleston single house style that was popular at the time. The piazza door is noteworthy for its columned surround topped by a fanlight and triangular pediment. Remarkably, the interior of the home retains many of its original 18th-century architectural features, preserved in museum-quality fashion. Visitors enter into a gracious reception room and adjoining office. Cypress paneled walls, fireplace surrounds, heart pine floors, high ceilings, deep shuttered windows, and architectural niches immediately showcase the home's extraordinary craftsmanship. A series of arched doors and transoms guide the flow of light throughout the house. Past the reception room, the dining room exhibits a similar level of formality. The stair hall is paneled in black walnut with a mahogany railing and finely detailed stair brackets that reflect the artistry of its builders. Upstairs, the grand drawing room spans the entire width of the building--believed to be the earliest surviving example of this layout in Charleston. Its delicate Adams-style mantel dates to the early 19th century. A jib door beneath the frontmost window allows access to the second-story piazza and Lowcountry breezes. Despite its 1735 origins, the house has been thoughtfully adapted for modern living. Discreet updates include an elevator, modern alarm system, and keyless entry integrated along antique brass hardware. A powder room off the stair hall and other carefully placed conveniences support everyday living without compromising the home's architectural authenticity. In 1942, owner and architect Henry P. Staats built the hyphen that connects the current kitchen and primary bath above to the previously detached kitchen and laundry outbuilding. The modern chef's kitchen features custom cabinetry, a La Cornue gas range (with 6 Delft tiles rescued from the drawing room fireplace restoration placed in the backsplash above), and integrated Sub-Zero refrigerator and freezer. A butler's pantry with bar, wine cooler, and Bosch integrated dishwasher supports effortless entertaining. Just beyond, a screened porch dining room allows meals to be enjoyed outside year-round. Adjacent to the kitchen, the original working kitchen has been transformed into a comfortable family room. The original kitchen hearth with beehive oven and herringbone brick floor serve as dramatic focal points. The mirror above the hearth cleverly conceals a television, blending the lates