lunes, 23 de octubre de 2017

L'Architecture Americaine. American building interiors. 1880-83. New York, Boston, Chicago etc. Albert Levy Photographer

Illustrated Boston. The Metropolis. 
Published by American Publishing and Engraving Co.
102 Chambers St. New York 
  • Open in the page of Architect.William Ralph Emerson

Owner: Vestibule of the J. H. White residence, Fisher Hill, Brookline. Massachusetts 1880-81. Architect. Peabody and Stearns. Standing.

Standing with our backs against the piazza door..we see a wide oaken stairway, of easy ascent, and at its right an entrance into the billard room...The walls are wainscoted to a height of five feet, and then tinted in Indian Red, which, together with tints of gold, brown, and gray, appear again the panels of the heavily beamed...there is a large center-table, eight feet long by five feet wide, on which in addition to a variety o choice books, appear vases filled with fucsias, English primroses and umbrella ferns...

Artist houses, being a series of interior views of a number of the most beautiful and celebrated homes in the United States.

Mención a esta foto la encontramos en .

The largest estate on the south side of the hill was built by dry goods magnate Joseph H.White in 1881-82 (541-45 Boylston St.). White's house and carriage barn, though still standing, are surrounded by recent development. It was designed by the prominent Boston firm of Peabody & Stearns and was pictured in L'Architecture Americaine. published in Paris in 1886. Frederick Law Olmsted was hired to plan the landscaping for this estate, although little evidence remains of his work. 

The Fisher Hill Historic District encompasses a residential area in central Brookline, Massachusetts. The area was subdivided and built out beginning in the 1880s, with landscaping design by Frederick Law Olmsted and John Charles Olmsted. The district is bounded on the west by Chestnut Hill Avenue, Baxter Road, and Channing Road, and on the south by Massachusetts Route 9. Its eastern boundary runs along Buckminster Street to Dean Road, joining the northern boundary of Clinton Road, running between Dean Road and Chestnut Hill Avenue. Prior to its development in the 1880s, Fisher Hill had a relatively small number of landowners. Some of them banded together, hiring the Olmsteds to design a subdivision plan for the entire district. Lots were sold to wealthy individuals, who built fashionable houses, often designed by architects. In 1914 a restrictive covenant was entered into by a significant number of property owners, restricting their properties to strictly single-family residential uses.
The district was listed on the National Register of Historic Places in 1985.

Architect: W. R. Emerson
Owner: Vestibule of a summer residence

William Ralph Emerson (March 11, 1833 – November 23, 1917) was an American architect. He partnered with Carl Fehmer in Emerson and Fehmer.

Emerson was born in Alton, Illinois, a cousin of Ralph Waldo Emerson, and trained in the office of Jonathan Preston (1801–1888), an architect–builder in Boston, Massachusetts. He formed an architectural partnership with Preston (1857–1861), practiced alone for two years, then partnered with Carl Fehmer (1864–1873). On September 15, 1873 he married Sylvia Hathaway Watson.
He is best known for his Shingle Style houses and inns. He worked with fellow Boston designer Frederick Law Olmsted on the creation of the National Zoo in Washington, D.C., designing several of the zoo's first buildings.
Emerson was a friend to the Boston painter William Morris Hunt, who painted a portrait of Emerson's son Ralph, shown at an exhibition of Hunt's work at the Boston Museum of Fine Arts in 1880.
Emerson died in Milton, Massachusetts.

Architect: W. R. Emerson
Owner: Vestibule of a summer residence

Bibliografía sobre este arquitecto

The Architecture of William Ralph Emerson 1833-1917 by Cynthia Zaitzevsky
Review by: Eleanor Pearson
Journal of the Society of Architectural Historians
Vol. 32, No. 3 (Oct., 1973), pp. 250-253
Published by: University of California Press on behalf of the Society of Architectural Historians

Architect: L. T. Schofield
Owner: Private residence. Cleveland .Dining-room Buffet

Levi T. Scofield. (1842-1917), the designer of this sculptural dining room buffet, was noted for his public monuments: Soldiers' and Sailors' Monumente in Public Square Cleveland

SCOFIELD, LEVI T. - The Encyclopedia of Cleveland History

Architect: Burling and Whitehouse. A. Fiedler (decorator)
Owner: Dining-room of the S. M. Nickerson residence

Three rooms from the Samuel M. Nickerson Residence. 40 East Erie Street Chicago. 1883 ( American Victorian Architecture A Survey of the 7's and 80's in contemporary photographs. Arnold Lewis and Keith Morgan)

The dining room, smooking room and bedroom are all from the S.M. Nickerson residence. These rooms were closely described in Artistic Houses which noted the flemish Renaissence style  on the dining room, the high wainscoating of the smoking room whith shelves for "collected bria à brac ", and the general finish of the bedroom with high waisncoating and a canvas ceiling divided by wooden or brass moldings. 

Architect: Burling and Whitehouse. A. Fiedler (decorator)
Owner: Smoking-room of the S. M. Nickerson residence

Digital libraries Saic Edu

Title/Project Name Nickerson, Samuel M., Residence
Alternate Title/Project Name R.H. Love Galleries
Street Address/Neighborhood 40 E. Erie St.
City Chicago
State/Province Illinois
Country United States
Date Designed or Built 1883
Architect/Designer/Creator Burling and Whitehouse
Date of View c.1885-1900
View or Detail Type Exterior
Image Notes view from SW
Caption/Inscription Text BRC: 11
Photographer Taylor, J.W. [Chicago]

Architect:  H. H. Richardson
Owner: Fireplace of the Oakes Ames Memorial Library ( Standford White )

The mantel from the North Easton Library shows the strong influence of the English Pre Raphaelites. Henry-Russell Hitchcock believes than the mantes was designed by Stanford White, then a draughtsman in Richardson' office. Except for a decorative mantel in Austin Hall this fireplace design is a unique example in Richardson' work

Henry Russell The architecture of H.H. Richardson and his times. MIT press. 1961. 186-187 


The Ames Free Library is a public library designed by noted American architect H. H. Richardson. It is located at 53 Main Street, Easton, Massachusetts, immediately adjacent to another Richardson building, Oakes Ames Memorial Hall.
The library was built from 1877 to 1879, although it did not open until March 10, 1883. It is generally rectangular, with broad gable projecting from its north end and a rectangular tower rising where the gable meets the main mass. The gable's front facade contains a heavily arched entry on the first floor and a row of five arched windows separated by pairs of short columns above. The facade is light-brown Milford granite laid in random ashlar with reddish-brown Longmeadow brownstone trim. Its roof is red-orange tile. A children's wing (red brick) was added in 1931, eliminating the original lavatory and document room.
Within, the library's major rooms, stack wing, hall, and reading room are laid out longitudinally. The reading room's fireplace is primarily by Stanford White, and the stone and bronze medallions of Oliver Ames were designed by Augustus Saint-Gaudens.

Architect: Peabody and Stearns
Owner: Fireplace of ladies' parlor of the R. H. White and company Warehouse Store. 30 Bedford Street, Boston, Massachussets. 1881.

  • Appelton Artistic Houses. 
The walls are of plaster, painted many times in a low, deep tint, suggestive of old gold, the inclosing the clock is a glass mosaic, and the inmense fireplace has a fancing Victoria marble, a lining and heart of glazed tile, and a back of iron

American Architect and building.News.  XVI ( September 6, 1884) 117
Artistic Houses. New York, D. Appelton

Architect: H. J. Schwartzmann and Company
owner: Music room and conservatoy of a Private Residence. New York. 

Herman   J. Schwartzmann 1843-1891) was the Architect in Chief of the 1876 Centennial in Philadelphia where he designed Memorial Hall and Horticultural Hall. Following the close of the exhibition he moved to New York City and established a partnership with Alfred Buchman which lasted until 1890. 

Whitney, Henry F.  an Elsie R. Biographical Dictionary of American Architects ( deceased) Los Angels. New Age publishing Company 1956. 542-543.

Architect: Burling and Whitehouse. A. Fiedler (decorator)
Owner: Bedroom of the S. M. Nickerson residence

The Richard H. Driehaus Museum immerses visitors in one of the grandest residential buildings of 19th-century Chicago, the Gilded Age home of banker Samuel Mayo Nickerson. 

The Life and Work of Edward J. Burling, Architect

The Samuel M. Nickerson House, located at 40 East Erie Street in the Near North Side neighborhood of Chicago, Illinois, is a Chicago Landmark. It was designed by Edward J. Burling of the firm of Burling and Whitehouse and built for Samuel and Mathilda Nickerson in 1883. Samuel M. Nickerson was a prominent figure in the rising national banking industry, who was said to have owned at one point more national bank stock than anyone else in the United States.
The house is listed on the National Register of Historic Places and today is home to the Richard H. Driehaus Museum.

Architect: G. W. Lloyd
0wner: Bar room


jueves, 19 de octubre de 2017

Burham and Root Augustus Byram residence Chicago, Illinois

Con ocasión de un viaje a Nueva York tuve ocasión de ver uno de los iconos de Nueva York como es el edificio Flatiron. Al mirar los datos sobre su historia comprobe que de su arquitecto Burham and Root tenía en mi colección una foto.
Este post es una actualización del post así como un recuerdo a la actividad de dicho arquitecto

architect: Burham and Root
owner: Augustus Byram residence


 Chicago Tribune April 28. 1901. Byram' will

Obituario de Augustus Byram

 Archive org.

Full text of "City of Chicago Landmark Designation Reports

The Augustus H. Byram 
House was built in 1881 at 29th Street and Michigan Avenue. In contrast to the Kent 
House, the Byram House was faced with limestone and its detailing was derived more 
from the Gothic than from the Renaissance, but the massing and the French detailing 
indicate a striking affinity between these two designs. 
Daniel Hudson Burnham   
Daniel H. Burnham (1846-1912) was one of the earliest modern city planners and, with his partner, John Wellborn Root, the architect of the first American skyscrapers. At his death in 1912, Frank Lloyd Wright eulogized, "(Burnham) was not a creative architect, but he was a great man."
Daniel Hudson Burnham  gained his early architectural experience with William Le Baron Jenney, the so-called "father of the skyscraper."
In 1873, Burnham formed a partnership with John Wellborn Root (1850-1891) that produced such commissions as the Kent House, Masonic Temple, Monadnock Building, Reliance, Rookery, St. Gabriel's Church, and the Union Stock Yard Gate.  The Masonic Temple has been demolished.
He directed  the construction of the 1893 World’s Columbian Exposition that inspired the City Beautiful Movement, and created urban plans for San Francisco, Washington, DC. Chicago.

The Rookery. Frank Lloyd Trust

.....Amidst the atmosphere of experimentation and innovation that defined post-fire Chicago, the architectural firm of Burnham and Root rose to prominence. Daniel H. Burnham (1846-1912) and John Wellborn Root (1850-1891) formed their partnership in 1873. By the time they received the commission for The Rookery, in 1885, the firm had already established a strong reputation in tall commercial structures


El edificio de estilo Beaux Arts fue diseñado por el arquitecto de la escuela de Chicago Daniel Burnham. Al igual que una columna clásica griega, su fachada de caliza y terracota está dividida horizontalmente en tres partes. El uso del acero en su construcción permitió que la obra alcanzase los 87 m de altura, lo que habría sido muy difícil empleando las técnicas habituales de la época.
El diseño inicial de Burnham era similar al del edificio que se levantó, pero mucho más elaborado en la parte superior y con las fachadas dotadas de numerosos escalones cerca del pináculo. También se distingue la esfera de un reloj, que de igual modo fue eliminada del diseño final.

En la Halic Collection del Art Institute de Chicago hay otra vista de este edificio

Title/Project Name Byram, Augustus, Residence
Street Address/Neighborhood 2909 S. Michigan Ave.
City Chicago
State/Province Illinois
Country United States
Date Designed or Built 1881
Architect/Designer/Creator Burnham and Root
Date of View c.1885
View or Detail Type Exterior
Image Notes view from NW from across the street before adjoining buildings existed
Caption/Inscription Text BRC: 3
Photographer Taylor, J.W. [Chicago] [?]

miércoles, 18 de octubre de 2017

Links. Arquelogía. Cueva de Lascaux. Culture France.

Si algo tengo que agradecer a la fotografía es, curiosamente, que me ha enseñado a mirar a la arquitectura y, también, a la arqueología.
Es por ello que me permito recomendar la excelente web de la famosa Cueva de Lascaux
Espléndida la visita virtual.

martes, 17 de octubre de 2017

Exposiciones para ver. William Morris y compañía: el movimiento Arts and Crafts en Gran Bretaña. Fundación Juan March. Madrid

The Getty.
Kelmscott Manor: In the Attics (No. 1).
Frederick H. Evans (British, 1853 - 1943)

Welcome to Kelmscott Manor

About the Manor

Kelmscott Manor was the inspirational Cotswold retreat of William Morris and his family, friends and colleagues. When Morris first saw the Manor in 1871, he was delighted by this 'loveliest haunt of ancient peace'; he signed a joint lease for the property with his friend and colleague Dante Gabriel Rossetti, the Pre-Raphaelite artist.

La fotografía que se incluye en el post como cabecera es una de las más conocidas de Frederick Evans y representa el ático de la casa de William Morris y estaba destinada a ilustrar un artículo en homenaje suyo a su muerte.

La exposición de la March que, evidentemente, no es de fotografía es totalmente recomendable de ver por la belleza y calidad de los objetos que se nos muestran, raros de ver en colecciones españolas. 
También nos ayudan a entender un tiempo y lugar donde la fotografía empieza a formar parte de la vida de la gente en, precisamente, estos entornos domésticos.

William Morris y compañía: el movimiento Arts and Crafts en Gran Bretaña

Como complemento recordamos este dossier de una antigua exposición en el Museo d' Orsay dedicado expresamente a la fotografía inglesa de ese tiempo.

Sobre Frederick Evans es recomendable ver las mas de 100 fotos que Google arts pone a nuestra disposición. 

lunes, 16 de octubre de 2017

Fotografía. Carte de visite. Heribert Mariezcurrena. Fotografía catalana.

Carte de visite de uno de los primeros y más importantes estudios fotográficos de Barcelona. c.1875.

Passatge Madoz 5, tercer piso, Heribert Mariezcurrena
[Fotografia Catalana] (h. 1870- h. 1885). Hijo del también fotógrafo Ignasi Mariezcurrena, catalanista y miembro de la Associació Catalanista d’Excursions Científicas –una rama del futuro
Centre Excursionista de Catalunya–, Heribert fue el introductor del fotograbado,

  .. Se trata de un volumen de gran formato, ilustrado con fotografías (heliograbados), con el correspondiente texto explicativo escrito por diferentes expertos en el monumento o lugar reproducido. Las fotografías d' Heribert Mariezcurrena (1856-1898) són paisajes y monumentos de las comarcas de Barcelona.


Sobre la historia de la carte de visite se puede leer el interesante artículo del IEFC: 

...........La dificultad de saber con exactitud cuando algunos fotógrafos comienzan a ofrecer retratos en este formato a sus clientes, hizo que tomemos en consideración algunas noticias poco precisas, anuncios o gacetillas, aparecidas en la prensa a partir del 1858. En Barcelona, hacia finales de septiembre de este año se anuncia un fotógrafo francés, instalado en el primer piso del número 6 de la calle Canvis Vells, muy cerca del Pla de Palau, que ofrece retratos a cuatro reales . En uno de estos anuncios leemos: “Con máquina nueva y especial que puede sacar en el espacio de 15 segundos dos retratos con una semejanza que no se ha podido alcanzar con los métodos seguido hasta el día” . Tengo constancia que mientras tanto en Madrid la prensa se hacía eco a finales de 1858 de que un fotógrafo alemán había inventado un procedimiento “por cuyo medio es posible fotografiar doce asuntos al mismo tiempo con un instrumento solo”, el que podría indicar que en la capital aún no se conocía ninguna cámara con cuatro o más objetivos, utilizada para hacer las tarjetas de visita, de otra manera no se entendería que un dato como este pudiera llegar a ser noticia. Pocos meses después, algunos diarios de la corte publicaron una gacetilla con este contenido: “Ha circulado estos días un prospecto ofreciendo al público tarjetas de lujo con las armas y el retrato en miniatura fotográfica, por el médico precio de real y medio cada tarjeta. Esta moda, muy extendida en Francia y que se trata de introducir en España, reúne grandes ventajas a la del uso de la tarjeta con solo el nombre y el blasón del individuo” ....e se anunciaba eran tarjetas de visita fotográficas.