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    hot on Galveston

    Galveston Historic Home Tour opens doors to 8 island treasures

    Holly Beretto
    May 1, 2019 | 2:22 pm

    Our coastal history’s doors are wide open in Galveston, as the island community hosts the 45th Annual Galveston Historic Homes Tour on May 4, 5, 11, and 12. Galveston lovers, architecture admirers, and preservation enthusiasts can visit eight homes highlighted in this year’s event.

    Several of these picturesque homes date back to the days before Galveston's great 1900 storm, such as the August Roemer Tenant House, built in 1873, and are located on familiar streets, such as Broadway and Ball. Others boast designs by architectural names, such as Henry Collier Cooke, who created the Cameron House in 1891. The tour is open 10 am to 6 pm each day and features the following historic homes.

    August Roemer Tenant House, built 1873
    1416 Sealy Ave.

    In 1873, August Roemer built this Gulf Coast cottage with triple dormers for use as a rental property. The center-hall house features a notable entry with double doors and transom, turned balusters, and square porch columns. Roemer sold the one-and-one-half-story house in 1879 to Julius and Elizabeth Ruhl.

    James and Amelia Byrnes House, built c. 1881
    2113 Ball St.

    Paving and roofing contractor James Byrnes purchased this property in 1883, making improvements through 1895. Ironically, the Byrnes House was held up as an example of urban decay in 1969 during a city referendum on urban renewal. The home has been in rehabilitation house since 2013.

    Conrad and Henrike Lenz House, built 1887
    1807 Avenue L

    The center-hall, side-gable home that features double dormers was a family residence for German-born Conrad Lenz, who came to Galveston with his wife, Henrike Pruessner. Lenz, a butcher, would later build a shop and smokehouse next door on the corner of 18th Street.

    Allen and Lulu Cameron House, built 1891
    1126 Church St.

    The two-story Victorian home boasts features such as an asymmetrical façade with double wrap-around galleries separated by a patterned shingle skirt, a decorative balustrade, and a widow’s walk. It was designed by Englishman Henry Collier Cooke of the firm Bourgeois Nitchner & Cooke, who emigrated from England and Italy to Galveston in 1891. Cooke's masterpiece was designed for merchant Allen Cameron and his wife, Lulu Aschoff.

    Lucas Terrace, built 1901-1908
    1407 Broadway St.
    Another Galveston structure with English roots, this complex was built by British immigrant Thomas Lucas, who erected it with salvaged bricks from his apartment building at 6th and Broadway, which was destroyed in the great 1900 storm. Lucas Terrace features two connected, gable-front, three-story buildings; a courtyard separates the main buildings from two detached two-story servant’s quarters on the south part of the property.

    Peter and Augusta Nielson House, built 1915
    1711 Rosenberg Avenue (25th St.)
    A residence slightly touched by tragedy, this two-story brick house was inspired by the Arts and Crafts movement. The abode was built by Peter Nielson, a Danish-born merchant tailor, who died suddenly a year after construction. Nielson's widow, Augusta, maintained the residence until 1929, when she moved to Houston.

    Iocopo Niccolai Tenant House, built 1922
    2416 38th St.

    In March 1938, Italian immigrant carpenter, Iacopo Niccolai, relocated this five-room bungalow, along with 11 others. Niccolai concentrated the 12 properties within the 2400 block of 38th Street, which he dubbed “Niccolai Subdivision.” The block was utilized as rentals until his death in 1947.

    Peter and Anna Serini House, built 1903, rebuilt 1923
    1810 Ave. N ½

    Another example of post-1900-storm development, this vacant lot was purchased in 1902 by Alexander McLellan, a Canadian immigrant and foreman for Southwestern Bell Telephone & Telegraph Company. McLellan relocated a house there, and in 1913, Peter and Anna Serini purchased the property. The Serinis rebuilt the home in 1923.

    Additional events
    Several other events are slated around the home tour, including a breakfast the 1892 Bishop’s Palace on May 4, 5, and 11 at 8 am. Tickets are $85 and include breakfast in the historic home’s dining room and a tour of the house.

    On May 3 and 10, for $150, guests can enjoy a multicourse chef’s dinner in one of the historic homes featured on the tour, along with a discussion about the home from its owners. Meanwhile, on May 12, celebrate mom with a jazz brunch at Menard Hall, the oldest residence on the island. Breakfast, door prizes, and more are included in the $70 ticket. All of these special events include the historic homes tour in the ticket price.

    ---

    Individual tickets are $35 each. For schedules and more details, visit the official site.

    Allen and Lulu Cameron House, 1126 Church St.

    Galveston Historic Home Tour
    Photo courtesy of Galveston Historical Foundation
    Allen and Lulu Cameron House, 1126 Church St.
    home-for-saletours
    news/home-design

    gold pony club

    Inside the creation of the rodeo cook-off’s most over-the-top tent

    Emily Cotton
    Feb 27, 2026 | 12:30 pm
    Cotton Q Club rodeo tent 2026
    Courtesy of Cotton Holdings
    The Gold Pony is the ultra-private VIP lounge behind the stage.

    The Cotton Q Club is arguably the glitziest and most exclusive tent at the Houston Livestock Show and Rodeo’s annual World's Championship Bar-B-Que Contest. Hosting nearly 800 invited guests-per-night, the 5,000-square-foot space includes a 50-foot bar, a new pop-up martini bar by Sophie Cocktail & Terrace Bar called “The Stirrup,” the ultra-exclusive “Gold Pony Club,” and a full stage for private concerts. This season, county music acts include Gabby Barrett, Sammy Kershaw, Josh Turner and Braxton Keith.

    Aside from the obvious, what sets the club apart from the rest is the sheer magnitude of its operation. Once inside, guests are encapsulated by velvet-draped ceilings illuminated by crystal chandeliers, three-layer tartan-topped carpeting, richly-colored wooden-paneled walls, plus thousands of red roses swathed acrobatically throughout.

    To coincide with the year of the horse, five enormous ponies made entirely of red roses have been suspended from the ceilings. The second additions this year hang on either side of the bar in The Gold Pony, the club’s even more exclusive VIP area. The kinetic artworks were created by Houston artist Sneha Merchant —all for a three day fête. This begs the question: how do they do it?

    Cotton Holdings and its subsidiaries are well positioned to carry out the entire project themselves — so they do. Never bothered or besmirched by the possibility of running into issues with rental companies, everything at The Cotton Q Club is procured, purchased, and stored in-house. As one would expect from a company that provides disaster relief around the world.

    “There is a lot of love and care put into this because we’re not in a hotel, we’re not in someone’s home,” Cotton Holdings chief marketing officer Zinat Ahmed tells CultureMap. “So for us to be able to create this entire infrastructure under a tent — down to the walls and chandeliers — it is much more than throwing a party. It’s about the details that make people feel that they are at a hotel, they are in an extravagant room, they are at The Polo Bar.”

    Ahmed notes that a lot of the company’s culture is mixed into the tent, such as what Cotton does as a disaster relief company (including providing food by Cotton Culinary).

    “Cotton Logistics puts up tents during a natural disaster. Seeing the Cotton team, whether it’s cleaning or moving things around, welcoming everyone, that’s part of our Cotton GDS — we restore communities after natural disasters. Our synergies in different parts of our day-to-day are here,” she says.

    Ahmed’s team has complete creative control over the interior aesthetics of the club. Always sourcing anything that cannot be made in-house to local vendors is something she feels is important. Nothing is rented, not even the furniture or accessories.

    “Every single thing, unless it was done by a local vendor, was done in-house: design, signage, execution — even the embroidery,” she explains

    Everything is checked over during the summer months so there won’t be any surprises when the cook-off comes back around. Every item is organized, labeled, and stored either in Cotton’s warehouses, Conex boxes, or in special climate-controlled safes — down to the matchboxes.

    “We are always prepared and ready to go,” explains Ahmed. “It’s not chaotic at all because we’re used to it — it’s a normal day at Cotton.”

    When asked for her favorite parts of the tent this year, Ahmed readily answered that it has to be the five rose ponies in the main area of the club. Secondly, the two commissioned works by Sneha Merchant. Sprinkled in diamond dust, one is a female mallard wrapped in a boa, champagne flute in hand, while the other is a smartly-suited jackalope complete with cowboy hat and martini.

    Both pieces are lit by antique sconces Ahmed sourced from Round Top, while the taxidermy Zebra heads are on loan from the Columbus, Texas ranch of Cotton Holdings’ Chairman Pete Bell.

    “Every detail, down to the swatches of velvet has been thought of with a lot of love and care,” says Ahmed. “You use that mindset with something like this. So, if you have a mindset like before you deploy to a hurricane, you can do it for the Houston Livestock Show and Rodeo.”

    Cotton Q Club rodeo tent 2026

    Courtesy of Cotton Holdings

    The Gold Pony is the ultra-private VIP lounge behind the stage.

    houston livestock show and rodeohome-designcotton holdings
    news/home-design

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