SHARON — For more than a century, the Buckley family’s sprawling estate, known as “Great Elm,” has stood at the heart of Sharon life, a gathering place for neighbors, world leaders and artists alike. Now, the circa 1812 Georgian Colonial with its rare glass atrium is on the market for $3,999,000, drawing both serious buyers and viral attention on Zillow Gone Wild.
The sale, led by Cameron Smith, grandson of family patriarch and oil spectator William F. Buckley, Sr., and nephew to conservative icon William F. Buckley, Jr., marks the end of the family’s stewardship of one of northwest Connecticut’s most storied homes.
“It’s such a unique property,” said listing agent Pels Matthews, broker/owner of William Raveis Lifestyles Realty in Washington Depot. “There is nothing like it in Litchfield County. It reminds me of New Orleans, Charleston or Savannah.”
The listing has already reached a national and international audience thanks to Zillow Gone Wild, a popular online feed that highlights unusual and distinctive homes.
Great Elm’s soaring glass atrium and Buckley legacy has attracted thousands of comments and shares, with readers marveling at both its historic pedigree and its dramatic architectural centerpiece.
The Zillow feed notes: “The only thing better than a house with an atrium is a house with an atrium with bedrooms that all have access to it so everyone can ‘retire to their quarters’ at the end of the night and guess what? This Sharon home has just that. Are we moving to Sharon now?? Hello??? Will Sharon be there??”
“That has taken it to a whole different level,” Matthews said of the viral Zillow exposure.“I’ve got people calling me from Europe, and all over the country.”
Matthews noted that the estate is not just dramatic but is also incredibly livable. “The home can easily support multi-generational living or be shared by two families if desired, with the common atrium.”
The viral attention reflects how the estate, once known primarily within Litchfield County and political circles, now resonates with a wider public fascinated by unique homes with deep stories to tell.
Buckley family’s summer retreat
Built in 1812, purchased by William F. Buckley Sr. in 1923 and expanded in 1929, the house became the Buckley family’s summer retreat. It later shaped the early life of Buckley Jr., who founded the National Review and emerged as a leading conservative voice. To accommodate the growing Buckley family, the home was converted to five condominiums in the 1980s, three of which were occupied by Buckley siblings until their death.
Buckley Sr. died in 1958, Patricia Buckley in 2007, Buckley Jr. in 2008 and James Buckley in 2023.
According to the listing by Willaim Raveis Lifestyles Realty, the home encompasses the majority of the original mansion and was renovated in 2013.
The house, on 8.072 acres, offers eight bedrooms, seven full and two half baths, period pine paneling, historic wallpaper, Art Deco details, multiple fireplaces and private terraces surrounded by specimen trees.
The atrium is the highlight and heart of the home, having hosted many elegant dinners and weddings over the decades. The mature plants can be included in the sale.
The home sits within a larger association that maintains shared amenities including a 70-foot heated pool and tennis and paddle/pickleball courts.
The estate is being sold by Smith, as his family’s presence in Sharon has gradually passed into history, he told Mansion Global in May 2024, when the house originally hit the market for $5.5 million under another brokerage.
“Our generation, except for me, is no longer in Sharon,” Smith said at the time. “The home no longer provides the congregating place it used to. It’s no longer needed for it.”
William Raveis Lifestyles Realty
Where world leaders, neighbors congregated
Though a national figure, William F. Buckley Jr. was deeply tied to local life. He supported the Hotchkiss Library, appeared at the Sharon Green fair, hosted organ recitals and opened Great Elm for musical evenings and fundraisers.
His wife, Patricia, was celebrated as one of New York’s great hostesses, famed for her flittering parties that drew leaders in politics, the arts and business. At Great Elm, she carried that same spirit north, entertaining both Manhattan guests and Sharon neighbors under the soaring glass atrium.
Over the years the estate welcomed figures such as Ronald Reagan, Henry Kissinger, Margaret Thatcher, Tom Wolfe and Malcolm Muggeridge, as well as musicians and artists including harpsichordist Albert Fuller and pianist Samuel Barber, who performed in the house and nearby venues.
The mix of statesmen, writers, performers and townspeople gave Great Elm a unique social rhythm, where international debates might follow a neighborhood concert.
Together the Buckleys gave the estate a dual role, a setting for cosmopolitan society and a lively hub of small-town life, until Paricia’s death in 2007 and William’s in 2008.
Gretchen Hachmeister, executive director of the Hotchkiss Library of Sharon, said the Buckleys’ generosity to the library extends to the grandchildren of William F. Buckley, Sr.
“Several of them, organized by Cameron Smith, made generous gifts to our recent capital campaign and named our new conference room in William F. Buckley, Jr.’s, memory,” she explained. “His son, Christopher, recently gifted us a complete set of his humorous political novels, which have joined the collection of works of both Williams, Christopher and Priscilla.”
Hachmeister noted that several years before she joined Hotchkiss, the library held a fundraiser called “A Bevy of Buckleys” and supporters dined under a tent at Great Elm. She also recalled that “Senator James Buckley was a frequent library patron.”
The Sharon Statement
Matthews noted that Great Elm is more than just a piece of real estate. “It is part of the local fabric of Sharon along with national political history.”
A document known as the Sharon Statement was adopted on Sept. 11, 1960 by a group of 100 young conservatives who convened at the Buckley home for the purpose of creating Young Americans for Freedom, which has been widely regarded by historians as one of the most important declarations in the history of American conservatism.
“The Sharon Statement,” said Matthews, “is an important credo in the conservative movement, and there is a large stone with a plaque on the property with the full statement.”
For Sharon, the listing closes one chapter of local history and opens another. For buyers, said Matthews, it offers a chance to own one of the region’s most distinctive homes, anchored by its glass atrium and its place in American and cultural life.
Whoever buys Great Elm, said Matthews, “will be inheriting that legacy.”
Contemporary chamber musicians, HUB, performing at The Clark.
MASS MoCA is known for its 20th-century holdings spread throughout a sprawling complex of industrial brick buildings. Installations by Sol LeWitt and James Turrell have permanent homes there. Just down the road in Williamstown, the Clark features masterworks by Winslow Homer, Frederic Remington, John Singer Sargent and Claude Monet.
But what visitors might not immediately associate with those established names is how deeply both institutions invest in art happening right now.
On Saturday afternoon, a panel of young artists discussed their relationships with art, identity and technology as part of MASS MoCA’s “Technologies of Relation” exhibition, which opened that evening. The artists represented a broad range of cultural backgrounds, drawing on ancestry while exploring the future of art and technology.
The work itself ran the gamut: wax relief paintings, stained glass, interactive video and sculptural installations. One immersive piece automated the traditional Armenian practice of reading fortunes from coffee grounds. Particularly striking were Roopa Vasudevan’s hand-drawn QR codes and Taeyoon Choi’s large-scale weavings of binary code.
Opening the same night was Zora J. Murff’s “RACE/HUSTLE.” Through photographs, paintings and installations, Murff explores the wide-ranging and sometimes violent implications of being Black in America today. Each piece — whether confronting the rise of white supremacy or examining stereotypes imposed on Black communities — carries razor-sharp visual commentary designed to unsettle.
Pelenakeke Brown’s “Reverb” (detail) at Mass MoCA. D.H. Callahan
On Sunday, the Clark continued the contemporary thread. A small exhibition of work by Raffaella della Olga, titled “Typescript,” features intricate patterns created using a typewriter on varied paper surfaces. The effect seems almost impossible until viewers watch a video of della Olga loading her typewriter with 140-grit sandpaper and typing in a hypnotic rhythm. Though the typewriter is considered obsolete technology, she continues to find new applications for it, completing some of the works in recent months.
Next door in the Clark auditorium, HUB New Music performed works written specifically for its unusual instrumentation: violin, cello, clarinet and flute. While that combination may not stand out to casual listeners, relatively little classical repertoire exists for it. The ensemble regularly commissions composers to expand the possibilities.
The results were striking. From the opening notes of Francisco del Pino’s “Passacaglia,” the quartet’s command and layered repetition pulled unexpected emotion from the audience.
After three pieces came the world premiere of Daniel Wohl’s “Mirage,” a roughly 25-minute work accompanied by digital blips, static and electronic textures evoking radio transmissions and UFO lore. Hearing four virtuoso musicians extract entirely new sounds from traditional instruments echoed the weekend’s larger theme: old tools made new again.
Like della Olga’s typewriter, Vasudevan’s QR codes or Murff’s charged imagery, the performances demonstrated that contemporary art often grows from familiar materials — reimagined.
The old masters will always draw visitors to these institutions. But when living artists command equal attention, this quiet corner of the Berkshires feels less like the middle of nowhere and more like a creative epicenter.
D.H. Callahan is a voice actor, creative director and trail steward. He lives with his artist wife in West Cornwall, Connecticut.
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