amazing Small House Ideas Morris Avenue

Morris Avenue

Morris Avenue Historic District, Morris Avenue, Mount Hope, Bronx, New York City, United States

The block of Morris Avenue between Tremont Avenue and East 179th Street in the Bronx, constructed between 1906 and 1910 by the speculative builder August Jacob to the designs of architect John Hauser, is a notable example of a uniformly planned streetscape. The resulting architectural homogeneity is rare in any urban situation. While the houses appear to take the form of the standard single-family rowhouse found throughout the urbanized sections of Manhattan and Brooklyn in the 19th century, these are in fact two-family dwellings. They are significant as examples of how law can effect design. Hauser’s response to proposed changes in the building law is responsible for the three-story elevations of the houses on Morris Avenue and the unique interior arrangement behind them. Jacob’s land acquisitions and the subsequent building history here reflect the Bronx’s early urban development.

Bronx Development

This block of Morris Avenue, in the 17th century, had been but a minuscule and uncharted portion of the 3200 acre Manor of Fordham, the only Westchester County manor to be granted by Royal Charter, that of James, Duke of York, to John Archer, the first lord. In retrospect the manor’s final dissolution in 1764 — sold in tracts by the Dutch Reformed Church — has been called the largest sale of real estate in the history of the Bronx. By mid-19th century this block was still a small part of a larger property owned by Thomas W. Ludlow, described as located at Fordham in the Town of West Farms. In 1846 Westchester was divided; east of the Bronx River remained part of Westchester County, but the area between the Bronx and Harlem Rivers became West Farms. In 1874 West Farms was annexed to the City of New York as the 24th Ward. Four years later Ludlow sold his holdings in four parcels, or sub-divisions, an area roughly approximated today by the Grand Concourse on the east, East Tremont on the south, University Avenue on the west, and Bumside Avenue on the north.

In 1889 three of these subdivisions were reunited and within a matter of months were sold together to one Augustus Kountze, who bought more property in the neighborhood a year later. Kountze died in 1894, leaving his widow Catherine and their children to consolidate most of the inherited holdings into ownership by a single entity of which the son, Herman Kountze, was president—the United Real Estate and Trust Company incorporated in the State of Nebraska and located in Omaha. Herman himself, and his brothers, Luther and Charles B. of Denver, joined their mother as trustees. As a consequence of their distant domiciles, legal transactions involving their Bronx property required a battery of notaries. The property increased in value in the seventeen years of their stewardship; in 1901 179th Street was opened from Jerome Avenue to Anthony Avenue; in 1904 Morris Avenue was opened from Tremont Avenue to Parkview Terrace. By 1906 Morris Avenue had been given its full length.

The urban development of the Bronx gained momentum after the introduction of the Interborough Rapid Transit in 1904. Although the area had been served by the Harlem and Hudson River Railroad for several decades already, the factor of public transportation was still a major one in the area’s, transition from rural and suburban to .urban. . The IRT extended under nearby Jerome Avenue. In 1907, it was announced a trolley line would be

laid along Tremont Avenue

Convenient transportation encouraged residents of the more densely populated borough of Manhattan to seek more spacious accommodations in the Bronx. Real-estate speculators and builders were ready; indeed, it appears they were more than ready. The anticipated influx from Manhattan, though significant, didn’t fill all of the brand new space available, especially the new tenements. Despite the cheaper rents and promotional headlines like "Flat hunting in the Bronx is now a seasonable pastime/Every taste can be suited," ^ many new tenements were still empty and loan companies refused to back further tenement construction. Manhattan tenement residents who did not have sufficient means to buy a single-family house were looking for a less congested environment. Realizing this, developers then turned their attention to building two-family dwellings. This block of Morris Avenue is a response to such trends.

The Builder and the Architect

At present little is known of August Jacob, the developer and builder of this block of Morris Avenue. Nor is it known if this was his first effort. When he began the Morris Avenue project, Jacob resided at 527 West 149th Street. He was married; his wife’s name, Philipina C. Jacob, appears on the deeds conveying each of the new houses on Morris Avenue to its new owners. Jacob’s frequent associate, George H. Jacob, is somewhat of a mystery as well. Based on the scant evidence which deeds and conveyances offer, it is posited that George Jacob was either August’s brother or his son. Slim evidence points to the latter. At the time this block was developed, George was unmarried and living at the same address as the August Jacobs. Although the last six houses on the the east side of the street (extending to the corner of 179th Street) were erected on land bought by August but nominally George’s when building permits were applied for, each was sold by August and Philipina C. Jacob.

By 1910 George was secretary of the August Jacob Construction Company, formed to erect the two five-story tenement buildings flanking the Tremont entrance to the block, while August was president. Yet, after this block had been developed all three Jacobs bought and sold property independently in the block west, on 179th Street. The large size of their undertaking on Morris Avenue, the complexity of coordinating the several building campaigns, the timely manner in which they arranged loans for both land acquisition and building construction, and the speed in which they accomplished it all leads to the assumption that the Jacobs had some previous experience in real-estate development.

John Hauser had been designing single residences and tenement buildings, predominantly in northern Manhattan, for more than a decade when he began his collaboration with August Jacob in the Bronx in 1906. Indeed, that year saw the completion of the residential row at 453-475 West 141st Street, Manhattan, which he designed for the Picken Realty Company These twelve four-story rowhouses were built of brick and limestone in the "free classical" style. The alternating pattern of three-sided and curved bays is of interest in the context of his designs for August Jacob on Morris Avenue.

August Jacob’s initial purchase from the the United Real-Estate and Trust Company included three parcels: the whole eastern half of Tax Map

Block 2829 (i.e., the west side of Morris Avenue from Tremont Avenue to East 179th Street); the last five lots on the east side of Morris Avenue (Tax Map Block 2807, now the six lots numbered 11, 12, 13, 14, 15, and 96); and the first four and one half lots on the east side (lots 1, 90, 2, 3 and one half of 4 of Tax Map Block 2807). The first of the remaining seven and one half lots (half of lot 4 through lot 10 of Tax Map Block 2897) was bought from Catherine Kountze’s surviving trustees, dwindled down to only Luther and Charles B. Kountze. The other lots were also bought individually or in pairs throughout 1907.^ All of these, on both sides of the street, were covered by protective covenants enforceable until 1910, restricting what could and could not be constructed on them: no slaughter houses, smiths’ forges, furnaces, foundries, iron factories, breweries, distilleries, noxious or dangerous emissions, no building less than two stories, no building without a cellar except barns and outhouses, and no bams within sixty feet of the street.

Building History

Despite its common authorship and for all its apparent homogeneity, this block of Morris Avenue has a rather disjointed building history. Differences among the groups of houses best identify the five building campaigns which Jacob and Hauser undertook, sometimes overlapping, sometimes simultaneously, within the short four-year time span in which both sides of the street were developed.

The reasons for these differences are very basic. The property records demonstrate that Jacob could not acquire the land all at once. Consistently, from the same two mortgagors, he had to secure loans from one to buy the sites and from the other to build the houses. What with preparations like the probable demolition of a few existing structures, grading and excavating, he was unable to launch a single building campaign. Jacob purchased the three initial parcels in 1906, the remainder on the east side of the street throughout 1907. The first building campaign, from June 20, 1906 to January 1, 1907,? occurred on the last six lots on the west side of the street, now occupied by Nos. 1989 through 1999 (plate 1), and the adjacent lot, containing No. 60 East 179th Street (plate 2). The six, all abutting, were articulated as three buildings, as if Hauser’s major concern at the outset was to differentiate between the houses, rather than to create uniform rows.

This appears to have been his intention when designing the row on West 141st Street in Manhattan for the Picken Realty Company. The alternating bays on West 141st Street are immediate predecessors of these six on Morris Avenue, which are two stories high set on high English basements. Here pairs with curved bows flank a pair with angled bays. Stoop and areaway railings are uniform in decorative pattern.

The second campaign, which began two months after the first, August 21, 1906, comprised the last six houses on the east side of Morris, Nos. 1988 through 1998, directly across the street from the first group, and a seventh, No. 108 East 179 Street (plates 3 and 4).^ Like those of the first campaign, these houses were designed as two-family dwellings. Like the first campaign, pairs of dwellings alternate brick shades, red and buff. But the overall design is different; this was the first group to be a full three stories. Stoop and areaway railings are uniform though a different pattern from those across the ‘street." " — –

The third campaign, the construction of Nos. 1970 through 1986, appears to have been started late in 1906 or early 1907 (plate 5). The earliest house sold was No. 1986, on October 27, 1907. This group of nine three-story houses is characterized by the greatest variety of brick shades, buff, dark honey and burnt orange. The wrought-iron stoop railings are similar to those of Nos. 1988 to 1998 and 108 East 179th Street, but the areaway railings are, again, a different pattern.

Nos. 1971 through 1987, the row of nine houses on the west side of Morris (plate 6), were constructed in a fourth campaign about mid-1907 — the earliest house in this group was sold on September 30, 1908. All of these houses have three stories, and there is no variation in color; they are all buff brick. However, stoop and areaway railings are yet a different pattern.

The two tenement buildings on Tremont (plates 7 and 8) and one house. No. 1968 Morris Avenue (plate 9), comprise the Jacobs’ fifth and final building campaign. The plans for these three were all approved on January 27, 1909. However, No. 1968 was begun on April 1, while the tenements were begun four months later, on August 12. No. 1968 was finished on January 31, 1910, and the tenements were sold about two months later, on April 4. The wrought-iron sidewalk railings are chest height.

Evolution of the Design

Two major questions, unanswered in the buildings’ history, remain. The first is why Hauser introduced a new design two months after his initial designs for the group of houses. The second, not unrelated to the first, is why Hauser shifted his earlier emphasis upon variety in facade design towards a greater homogeneity. Explanation of the rest of the inconsistencies and differences may depend on the resolution of these two questions.

August Jacob’s earliest purchase of land on Morris Avenue, the west side of the street between Tremont and East 179th Street and the two separate parcels on the east side, suggests that, from the start, he intended to develop both sides of this block as a whole. But Hauser did not repeat his designs for the first group of houses in the succeeding building campaigns. The two-story dwellings on their high English basements were superceded by three-story houses. Yet both designs were for two-family houses. In the first group there was a floor for each family, and the family on the first floor also had use of the high basement. The slightly later three-story houses contained two units also; a duplex apartment with connecting interior staircase on the first and second stories, and the second apartment on the third story. No doubt, the three- story houses with their duplexes were an attractive alternative to two- family housing elsewhere. But might not some circumstance external to the design process have prompted this unconventional arrangement? Why this sudden generosity?

There was at this time (1906-07) a bill introduced before the New York State legislature to amend the Tenement House Law to exempt three-family dwellings. Proposed by builders predominantly active in the Bronx and called the Sheridan Bill, it was sponsored by Bronx Assemblyman Sheridan of the 39th Assembly District. Contemporary newspapers carried accounts of this effort daily. Proponents posited that land values in some sections were too high to build two-family houses profitably. They reasoned that three-family houses would attract the same class of tenant who was seeking single or two-family accommodation and that tenants would be willing to pay more for this semi-privacy than they would for comparable space in a tenement building. Although not often mentioned but basic to the builders’ argument, building costs for exempt housing were much lower. Single or two-family dwellings were cheaper to construct; all supports could be of wood. Tenements, by law, had to employ masonry columns and girders of iron or steel.

And the builders argued that the return on one rental apartment was insufficient to maintain a family, a mortgage, and meet annual charges. Could it be that Jacob hoped to be in a position to take advantage of this amendment the minute it was approved? With little trouble his duplexes could be transformed to two single apartments. By 1911 the Sheridan Bill, and others like it before the legislature, had continued to meet with opposition. The staunchest opponent was the Tenement House Commission itself. The atrocious conditions existing before 1901, the year the Commission was established to supervise construction for multi-family use, had not been forgotten. The tenor of a contemporary report on the issue, was pro-Commission, describing the speculative builders as a self-seeking minority and encouraging the Commission to enforce protection. The hoped-for amendment was well on its way to becoming a dead issue only five years after it had seemed a mere legislative formality.

Hauser’s three-story bowed facades, used from the second campaign on, perhaps a direct response to the promise held within the Sheridan Bill, became the module to be repeated the length of the block. But what about the second question; why had Hauser shifted his earlier emphasis from variety toward greater homogeneity? In successive building campaigns Hauser reduced the prominence of his earliest architectural features to a more subtle, syncopated rhythm of component elements. Indeed these undulating brick rows are reminiscent of the Soanian ashlar granite double- bowed facade of the David Sears house (1816) on Boston’s Beacon Street, designed by Alexander Parris.

The reason Hauser eschewed variety in favor of homogeneity is most likely the same reason he shifted from a two- to a three-story dwelling. Jacob, aware of the hard economic facts of speculative building, requested him to do so. A repeated elevation is much cheaper than any kind of variation. A curved bow uses less brick than an angled bay. But Jacob did not forgo all amenities; the bows admitted more light and air than a simple flat facade.


This block of Morris Avenue represents a rare case of an intact, early 20th-century urban development where design responsibilities were limited to but one architect. The block is significant architecturally, as well, for it includes not only typical contemporary building types — tenement buildings and two variations of the two-family dwelling, but illustrates here in built form the architect’s step by step solution to a unconventional program. The resultant homogeneity in itself is exceptional for its time and place. There is no conspicuous evidence here of the sporadic land acquisition and the five consequent building campaigns, all within five years. The building and design histories here on Morris Avenue reflect the hyperactivity that followed the introduction of rapid transit to and from Manhattan as developers sought to provide housing in accommodations more spacious than the congested Manhattan tenements.


Tremont Avenue does not intersect Morris at a right angle but obliquely, descending from the ridge along which now runs the Grand Concourse (toward Jerome) roughly southeast to northwest (plate 10). Consequently, Hauser and Jacob were presented with an east side of the street a few feet longer than the west side. That is why there are seventeen dwellings on the east side and sixteen on the west. Both the northeast and southwest comers of the intersection of Tremont and Morris Avenues contain tenement buildings, their bulk occupying the legal percentage of their vaguely quadrilateral lots. Then follow two rows of houses, facing each other across the street. The lots here are twenty feet wide and 100 feet deep. The houses are the same width but only fifty-five feet in depth. That is until the last four lots on either side of the street are reached. Here the lots are but eighty feet deep to compensate for the two lots inserted behind them (Tax Map Block 2829, Lot 12, and Tax Map Block 2807, lot 96) which front East 179th Street. Each of the houses on East 179th Street, No. 60 and No. 108, is twenty feet wide and eighty feet deep. In total then, there are two tenements and thirty-five dwellings.

– From the 1986 NYCLPC Landmark Designation Report

Posted by Emilio Guerra on 2010-08-01 01:25:29

Tagged: , 07/25/2010 , 25 de julio de 2010 , 25072010 , 25-VII-2010 , EE.UU. , Estados Unidos , Etats-Unis , July 25, 2010 , July 25, 2010 walk , New York , New York City , New York City, New York , New York City, NY , New York, New York , New York, NY , Novjorko , Nueva York , Nueva York, EE.UU. , Nueva York, Estados Unidos , Nueva York, Nueva York , NY , NYC , NYC, NY , NYC, New York , Paseo del 25 de julio de 2010 , United States , USA , Bronx , The Bronx , El Bronx , Borough of the Bronx , Morris Avenue Historic District , New York City Landmarks Preservation Commission , Landmark , NYCLPC , LP-1392 , Historic District , Historic District of New York , Historic District of New York City , Historic District of NYC , Historic District of the Bronx , Historic Districts , Historic Districts of New York , Historic Districts of New York City , Historical District of New York , Historical District of New York City , Historical District of NYC

amazing Small House Design Sturdivant Hall

Sturdivant Hall

Sturdivant Hall, also known as the Watts-Parkman-Gillman Home, is a historic Greek Revival mansion and house museum in Selma, Alabama, United States. Completed in 1856, it was designed by Thomas Helm Lee for Colonel Edward T. Watts.[2] It was added to the National Register of Historic Places on January 18, 1973, due to its architectural significance.[1] Edward Vason Jones, known for his architectural work on the interiors at the White House during the 1960s and 70s, called it one of the finest Greek Revival antebellum mansions in the Southeast.
Construction of what is now known as Sturdivant Hall began in 1852, but was not completely finished until 1856.[2] Following completion, Edward Watts and his family lived in the house until 1864, when the house was sold and the family moved to Texas. The house was purchased from Watts by John McGee Parkman, a local banker, for the sum of $65,000 on February 12, 1864. Following the end of the American Civil War, Parkman was made president of the First National Bank of Selma. The bank engaged in cotton speculation and accumulated huge losses. The military governor of Alabama, Wager Swayne, had his Reconstruction authorities take possession of the bank and arrest Parkman. He was imprisoned at the former Castle Morgan in Cahaba. Assisted by his friends, Parkman attempted to escape from the prison on May 23, 1867, but was killed.[3][4]

The house was sold at auction for $12,500 in January 1870 to Emile Gillman, a prominent Selma merchant. The Gillman family owned the house until 1957, when it was sold to the City of Selma for $75,000. A large share of the money for buying the house came through a $50,000 bequest from the estate of Robert Daniel Sturdivant, with a provision for setting up a museum in the city. The mansion was turned into a house museum after the purchase and named in honor of Sturdivant. The property continues to be maintained into the present day by the City of Selma, Dallas County, and the Sturdivant Museum Association
The house is a two-story brick structure, stuccoed to give the appearance of ashlar. The front facade features a monumentally scaled hexastyle portico utilizing 30-foot (9.1 m)-tall Corinthian columns. The front portico is accessed from the second floor by a cantilevered balcony with an intricate cast-iron railing. Identical front doorways on both levels feature elaborate Greek Revival door surrounds with full Corinthian columns to each side of the door.[4]

The side elevations of the house feature a small cantilevered balcony on one side and a wide first floor porch surmounted by another balcony on the other. Both make use of elaborate cast-iron structural and decorative elements. The rear elevation is dominated by a monumental distyle in antis portico with two Doric columns. A kitchen, smokehouse and two-story servants’ quarters are set at right angles to the rear portico, forming a semi-enclosed courtyard to the rear of the house. A low pyramidal hipped roof covers the main block of the house, as well as the front and rear porticoes. It is crowned by a small cupola.[4]

First floor hall and cantilevered staircase
The interiors of Sturdivant Hall reflect the growing taste for opulence in the United States during the 1850s.[2] The first floor has elaborate plasterwork and millwork throughout, with the drawing room and ladies parlor being the most detailed. They both feature door surrounds with Corinthian columns and are ringed by paneled pilasters, topped by plaster cornices. The main entrance for the first floor enters a L-shaped front hall, with a cantilevered staircase in the side portion of the hall. Other rooms on the first floor are the dining room, gentleman’s parlor, and the warming room. The second floor houses a T-shaped hall and four bedrooms. From there, another cantilevered stair leads to an attic-level landing. From this landing a spiral stair winds around a central pole up to the cupola
The house is a two-story brick structure, stuccoed to give the appearance of ashlar. The front facade features a monumentally scaled hexastyle portico utilizing 30-foot (9.1 m)-tall Corinthian columns. The front portico is accessed from the second floor by a cantilevered balcony with an intricate cast-iron railing. Identical front doorways on both levels feature elaborate Greek Revival door surrounds with full Corinthian columns to each side of the door.[4]

The side elevations of the house feature a small cantilevered balcony on one side and a wide first floor porch surmounted by another balcony on the other. Both make use of elaborate cast-iron structural and decorative elements. The rear elevation is dominated by a monumental distyle in antis portico with two Doric columns. A kitchen, smokehouse and two-story servants’ quarters are set at right angles to the rear portico, forming a semi-enclosed courtyard to the rear of the house. A low pyramidal hipped roof covers the main block of the house, as well as the front and rear porticoes. It is crowned by a small cupola.[4]

First floor hall and cantilevered staircase
The interiors of Sturdivant Hall reflect the growing taste for opulence in the United States during the 1850s.[2] The first floor has elaborate plasterwork and millwork throughout, with the drawing room and ladies parlor being the most detailed. They both feature door surrounds with Corinthian columns and are ringed by paneled pilasters, topped by plaster cornices. The main entrance for the first floor enters a L-shaped front hall, with a cantilevered staircase in the side portion of the hall. Other rooms on the first floor are the dining room, gentleman’s parlor, and the warming room. The second floor houses a T-shaped hall and four bedrooms. From there, another cantilevered stair leads to an attic-level landing. From this landing a spiral stair winds around a central pole up to the cupola
The house is a two-story brick structure, stuccoed to give the appearance of ashlar. The front facade features a monumentally scaled hexastyle portico utilizing 30-foot (9.1 m)-tall Corinthian columns. The front portico is accessed from the second floor by a cantilevered balcony with an intricate cast-iron railing. Identical front doorways on both levels feature elaborate Greek Revival door surrounds with full Corinthian columns to each side of the door.[4]

The side elevations of the house feature a small cantilevered balcony on one side and a wide first floor porch surmounted by another balcony on the other. Both make use of elaborate cast-iron structural and decorative elements. The rear elevation is dominated by a monumental distyle in antis portico with two Doric columns. A kitchen, smokehouse and two-story servants’ quarters are set at right angles to the rear portico, forming a semi-enclosed courtyard to the rear of the house. A low pyramidal hipped roof covers the main block of the house, as well as the front and rear porticoes. It is crowned by a small cupola.[4]

First floor hall and cantilevered staircase
The interiors of Sturdivant Hall reflect the growing taste for opulence in the United States during the 1850s.[2] The first floor has elaborate plasterwork and millwork throughout, with the drawing room and ladies parlor being the most detailed. They both feature door surrounds with Corinthian columns and are ringed by paneled pilasters, topped by plaster cornices. The main entrance for the first floor enters a L-shaped front hall, with a cantilevered staircase in the side portion of the hall. Other rooms on the first floor are the dining room, gentleman’s parlor, and the warming room. The second floor houses a T-shaped hall and four bedrooms. From there, another cantilevered stair leads to an attic-level landing. From this landing a spiral stair winds around a central pole up to the cupola
The house has at least one ghost story associated with it. Sturdivant Hall is featured in a short story by Kathryn Tucker Windham, in her 13 Alabama ghosts and Jeffrey. The story, “The Return of the Ruined Banker”, involves John Parkman and the purported return of his ghost to the house after his death

Posted by Chereokee Rose on 2013-03-12 13:23:58


awesome Small House Ideas 102-45 47th Avenue House, Edward E. Sanford House

102-45 47th Avenue House,  Edward E. Sanford House

Corona, Queens

Built for Edward E. Sanford about 1871, this small, two-story, frame house is one of the last intact 19th-century buildings remaining in what was the village of Newtown, one of the oldest settlements on western Long Island. Rendered in a modified Italianate style, the house is stylistically within an architectural tradition established in the second quarter of the 19th century for the design of suburban and rural cottages of a type often illustrated in builders’ handbooks. The house retains most of its original fabric and is particularly notable for the decorative detailing of its porch, eaves, and property-line fence. These fancifully carved elements display the craftsmanship of 19th-century carpenters and builders, who, using simple techniques, could transform a humble, domestic structure into an architectural delight.

Development of Newtown

From its first settlement until 1898 with the Act of Incorporation of Greater New York, the boundaries of Queens County also included Nassau County.

At the time of incorporation, only the three western townships of the county voted to become part of New York City: Jamaica, Flushing, and Newtown. Newtown, which borders the East River and lies closest to Manhattan, was first settled by the Dutch in 1640. About the middle of the 17th century, they were joined by a steady flow of New Englanders; however, population growth was slow. In 1790, the number of inhabitants of the township hovered at about 2,000. By 1850, there had only been an increase of 5,000 residents.

The town’s economic base was agriculture, particularly the cultivation of vegetables and fruits for the people of Manhattan. This market expanded rapidly during the 1850s due to the exceptional growth taking place on Manhattan and in downtown Brooklyn. It was noted at the time that:

The introduction of turnpike roads, the establishment of daily stages and steamboat communication with the city of New York, have increased the facilities for travel and transportation of produce to a remarkable degree.

This growth, although interrupted by the Civil War, continued through the rest of the century, spurred on by the extension of railroads and street railways throughout the county. Real estate developers, recognizing the proximity of Newtown to Manhattan and Brooklyn, began buying parcels and tracts of farmland on the outskirts of the village. One of the earliest investors was Benjamin W. Hitchcock who owned the site of the Sanford house and the surrounding area, which he called the Village of West Flushing in 1854.3 Daniel Sanford Duncomb (1813-1883), a Manhattan merchant, began to invest in village real estate and, having acquired the present site of the 102-45 47th Avenue House, sold it to Edward R. Sanford in April 1871. 4 The house that Sanford built and which remained in his family for over 100 years is one of the rare intact houses remaining frcm this period of suburbanization.

The Architecture of the Sanford House

It is unlikely that the house was designed by an architect or by the owner.

The usual practice in suburban and rural areas was for a property owner to hire a builder, either a mason or a carpenter, to erect a house on his site. Since the vast majority of the houses of the period had similar floor plans and methods of construction, a practiced builder needed little outside aid. Builders’ guidebooks, which gave practical advice on construction techniques to those in the building trade and often included plans for houses and architectural details, were widely used.

A.J. Downing’s, The Architecture of Country Houses, and Calvert Vaux’s, Villas & Cottages, exemplify these very popular mid-19th-century handbooks. Moreover, architectural elements such as foliate brackets, window and entrance enframements, and wooden doors, sashes, and shutters were mass-produced and available at local lumberyards. Hence, it is quite likely that Sanford hired a local carpenter from the village to erect his new house, following the building traditions of the period.

Stylistically, the house is a vernacular or simplified version of the highly popular Italianate style. Architectural elements such as the square-headed windows and doors, the cap-molded lintels, and porch colonnettes are typical of the Italianate mode, while the carved details follow the picturesque tradition of country "Italian villas," once so much a part of America’s rural and suburban landscape.


The house, set back from the street behind a wooden fence of simulated balusters, occupies the western half of a 50′ wide lot. It rises two-and-one-half stories with a gable roof, is three bays wide, and is sheathed in clapboards. Extending to the east of the house and set back from the facade is a two-bay wide, one-story extension. A porch, raised above ground level and tying the extension to the main house, shades the first story. The porch has seven squared colonnettes on thin plinths which are crowned by capitals that carry cut-out panels supporting the pitched roof. Between the colonnettes are parapet panels with punched-out, propeller-like

cuts that create balusters in silhouette. Along the edge of the porch roof is a cut-out skirt of exaggerated egg-and-dart design.

The two full-height parlor windows have two-over-four sash and cap-molded lintels. The transomed entrance also has a cap-molded lintel and double-leaf doors. Each leaf of the door has eight beaded panels, two of which are glazed. The three windows of the second floor have two-over-two sash and simple cap lintels. A_bull’s-eye yfXridcM pierces the gable.

The western elevation of the house has a three-sided bay at the ground floor with square-headed windows above which is an architrave panel of cutout diamonds.

The double-hung windows have two-over-two sash and the egg-and-dart skirt trims the roof edge. Above the bay at the second floor are two square-headed windows with cap lintels. At the attic level, a gablet with a bull’s-eye window pierces the roof and breaks the line of the eaves. To the north of the gablet is a brick chimney-

A modified version of the egg-and-dart skirt extends around the roof at the eaves. The eastern elevation (the side with the one-story extension), has a square-headed window with a cap-molded lintel at the first floor. At the second floor of the main house there are no windows but, at the center, is a refaced chimney with metal venting stacks rising above the roof.


The Sanford house at 102-45 47th Avenue is a handsome, simple example of the Italianate mode embellished with fanciful wooden details that testify to the craftsmanship of 19th-century carpenters.

The house is also an important reminded to the people of Queens and the entire city of that period in our history that marked the transformation of the landscape of the city from a rural, agrarian countryside to what would become one of the most densely populated urban areas in the Nation. The house evokes a time and place in our history, new so unusual in the city, that it is even more important to preserve it.

– From the 1987 NYCLPC Landmark Designation Report

Posted by Emilio Guerra on 2010-07-01 12:25:04

Tagged: , Etats-Unis , États-Unis , États-Unis d’Amérique , États-Unis d’Amérique NYC , New York , New York City , New York City, New York , New York City, NY , Nueva York , Nueva York, EE.UU. , Nueva York, Estados Unidos , Nueva York, Nueva York , NYC , NYC, New York , NYC, NY , United States of America , USA , June 26, 2010 , June 26, 2010 walk , Paseo del 26 de junio de 2010 , 26 de junio de 2010 , 26-VI-2010 , Borough of Queens , Queens , Queens, NYC , Corona , Corona, Queens , NYCLPC , New York City Landmarks Preservation Commission , Landmark , Edward E. Sanford House , 102-45 47th Avenue House , LP-1292 , Italianate , Italianate vernacular , NY , Ciudad de Nueva York , EE.UU. , Estados Unidos

amazing Small House Design 121 Herberton Avenue House

121 Herberton Avenue House

Port Richmond, Staten Island, New York City, New York, United States

This residence, constructed by carpenter-builder James G. Burger around 1859-61, is a rare surviving example in New York City of a picturesque villa in the Rustic style. Combining elements derived from the pattern books of Gervase Wheeler, Calvert Vaux, and Samuel Sloan, the design features the broad gables, openwork brackets, long outside galleries, raised basement, and simple ornament characteristic of the style. A three-bay wide, two-and-one-half-story frame building, the 121 Heberton Avenue House is sheathed in its original clapboards and retains its original wood moldings and first floor fenestration. Notable features include the handsome bracketed door and window surrounds, the angled bay windows on the side elevations, and the cross-gabled roof with overhanging eaves enriched with unusual chamfered braces.

Probably built by Burger as a speculative investment, this house passed, soon after its completion, to Captain John J. Housman, a prosperous oysterman and noted abolitionist. The house was leased to tenants until 1892 when it was acquired by Robert Brown, the owner of a neighboring saloon who held a number of offices in the Port Richmond government. The house remained in the ownership of the Brown family until the 1940s. Prominent residents included Judge Thomas C. Brown, a Municipal Court justice who occupied the house in the 1890s and early 1900s, and Robert S. Brown, a clerk in the Court of Special Sessions and chief of the Democratic County Committee. It is currently being used as a residence and remains a significant reminder of the period when the neighborhood around Veterans Park was Port Richmond’s most desirable residential section.

History of Port Richmond

Port Richmond is located on the north shore of Staten Island, adjacent to the Kill van Kull, the strait between Staten Island and Bayonne, New Jersey. The area was settled by the Dutch and the French in the late 1600s and was the site of the Dutch Reformed Church cemetery as early as 1690. At the time the area was sparsely populated; in 1698 only 727 people lived on all of Staten Island.

The county seat was established in 1729 in Richmond, in the center of the island, but much of the development occurred on the shore, at ferry landings. By 1771 the population of Staten Island was 2,847. Port Richmond village grew throughout the eighte enth and nineteenth centuries to become a small but important ferry landing, transferring people and property between Staten Island and New Jersey, in particular Bayonne and New Brunswick. The village incorporated as Port Richmond in 1866, the same year as the Staten Island villages of New Brighton and Edge water.

Port Richmond was a transportation center for three centuries. The ferry landings were located at the north end of Port Richmond Avenue, which was laid out in 1701. The Staten Island Railroad, established in 1860, built a station there in the 1880s, and it was a transportation hub for streetcars by 1900. Port Richmond’s commercial and industrial base included the 1836 Staten Island Whaling Company; the first bank on Staten Island, established in 1837 in conjunction with the whaling company; and the Jewett White Lead Company, which later became part of Dutch Boy Paints and operated into the twentieth century. Lumber and coal yards also sprang up along the waterfront.

The village’s earliest residents were Dutch and French Huguenots. By the middle of the nineteenth century, Irish and German immigrants built houses in the neighborhood. Other immigrant groups, including Scandinavians and Poles, moved in later in the century, building frame and masonry detached and row houses. Staten Island’s first public park, now called Veteran’s Park and located across the street from the 121 Heberton Avenue House, was laid out in 1836. In 1883, Port Richmond was described as a model village:

The general appearance of Port Richmond is inviting and pleasing. The streets are wide, well-macadamized and smooth; the side walks well paved and generally shaded by trees of large growth. The business blocks

are substantial and the dwellings range from pretentious mansions to quiet cottages.

In 1898, at the time of the consolidation of New York City, the population of Staten Island was 65,000. Population increased slowly on Staten Island and in Port Richmond in the first half of the twentieth century. After World War I, the borough’s industrial base declined and the north shore factories slowly closed, spurred by the Depression in the 1930s. Port Richmond’s ferry business ended with the opening of the Bayonne Bridge in 1931. Port Richmond Avenue was still considered the shopping and entertainment district for the surrounding communities in 1939, and Port Richmond remained a small but bustling village until after World War II, when it slowly declined. The neighborhood grew little and declined economically through the 1980s, but has recently experienced a resurgence, with the restoration of historic houses and buildings.

The Development of Veterans Park, James G. Burger, and the Construction and Early History of the 121 Heberton Avenue House

In 1836, Peter and Eder Haughwout purchased two large tracts of land which together extended from the east side of Port Richmond Avenue to the west side of present-day Cottage Place between Church Street and Castleton Avenue. The Haughwouts had this land laid out into building lots retaining a square block bounded by Park Avenue (formerly Broadway), Bennett Street, Heberton Avenue, and Vreeland Street for a public park (present-day Veterans Park) which they presented to the Village of Northfield. By 1838, the Haughwouts had sold a number of lots on Port Richmond Avenue, the main thoroughfare leading inland from the ferry landing. In 1842, the trustees of the School District 6 purchased land for a school at the northwest corner of Heberton Avenue and New Street which was erected shortly thereafter. In 1843, the North Baptist Church erected a modest frame church building on the northwest corner of Park Avenue and Vreeland Street facing on to the west side of the park. (This building was replaced by the present brick structure in 1878 when the church’s name was changed to the Park Avenue Baptist Church.) By 1853 the blocks on the north, south, and west sides of the square had been built up with fine residences. A number of modest shops and residences had been erected on the blocks between Cottage Place and Jewett Street, just to the east of the Haughwouts’ land. The blocks between Heberton Avenue and Cottage Place remained undeveloped.

In 1853, carpenter-builder James G. Burger purchased the future site of the 121 Heberton Avenue House, then a trapezoidal lot at the southeast corner of Heberton Avenue and Bennet Street that extended through the block to Cottage Place. Burger was a member of a prominent Staten Island family that had settled is West Brighton near Burger Street in the seventeenth century.

In 1845, following the death of his first wife, Burger married Jane M. Haggerty, a widow, who had inherited large tracts of land in Port Richmond and Factoryville (West Brighton) from her first husband. In 1847, Burger relinquished his rights to his wife’s property allowing it to be put in trust for her benefit and the future benefit of her children from her first marriage. In 1850, Burger was one of a number of Staten Islanders who went to California in hope of earning a fortune in the Gold Rush. Ill health forced him to return to Staten Island and by 1851 he had resumed to his trade as a house carpenter. The following year, he purchased some land on Ann Street in Port Richmond from his wife and constructed two now demolished houses that he retained as investment properties. By 1861, he was in financial difficulties and his creditors forced a foreclosure sale of his real estate in May. Just prior to the sale, one of his creditors, John J. Housman, arranged to purchase this house and lot. It is probable that the house had only recently been completed since it was not represented on Walling’s 1859 Map of Staten Island but was mentioned in the deed for the property that the Richmond County sheriff granted to Housman in September 1861.

Captain John J. Housman (1808-1878), was a prosperous oyster fisherman. His house and business were located on Richmond Terrace near Housman Street midway between Port Richmond and Mariners’ Harbor. He was described in a history of the North Shore of Staten Island as "of the best class of oystermen." He was a staunch abolitionist and …

When the Union Army set out to reach Richmond, Va., by way of the James River, Mariners’ Harbor furnished many skilled pilots who knew every foot of the way, selected from its oyster fleet by Capt. John J. Housman.

The 121 Heberton Avenue House was one of four properties that Housman owned in Northfield. After his death in 1878, it passed to his estate and remained in the ownership of the Housman family until 1892. Census records and directories of the period suggest that it was never occupied by members of the Housman family but instead was a rental property.

Most likely it commanded a high rent since the blocks facing the park were considered "the most beautiful part of Port Richmond and perhaps its most desirable residence portion." Because the nineteenth century censuses for Port Richmond do not list addresses, little is known about the occupancy of this house while it was owned by the Housman family. However, the Staten Island directories indicate that from at least 1888 to 1892 the house was occupied by Emil Bottger, Superintendent of the Port Richmond schools.

The Design of the 121 Heberton Avenue House

Recalling Staten Island’s rural past, the 121 Heberton Avenue House is a fine and well-preserved example in New York City of a picturesque rural cottage. During the mid-nineteenth century American rural architecture underwent a revolution as nationally- circulated journals and architectural handbooks rapidly began to introduce new ideas about planning and design to a broad public. Much of the credit for this change belongs Andrew Jackson Downing, who introduced English ideas on rural landscape design and architecture to the American public through a series of essays in The Horticulturalist, a "journal of rural art and rural taste,"which he edited, and in his architectural handbooks, including A Treatise on the Theory and Practice of Landscape Gardening (1841), Cottage Residences (1842), and The Architecture of Country Houses (1850),. Downing published numerous designs for cottages, farmhouses, and villas, featuring the work of Alexander Jackson Davis, John Notman, Gervase Wheeler, Richard Upjohn, and Calvert Vaux (the last became his business partner). These designs were largely in the Gothic Revival, Italianate, and Swiss Cottage styles since Downing considered the picturesque qualities of these styles particularly suitable for country settings. In addition, he outlined several elements that he believed were important in a country home regardless of its style – it should "spread out and extend itself on the ground," [its details] should be simple and bold, its ornaments … rustic, strong, or picturesque, [rather] than delicate or highly finished." It was important he said that "the roof is boldly shown, and rendered ornamental, the windows suitably introduced and enriched, and the comfort and pleasure of climate and home understood." Chimney stacks were particularly important because they were expressive of "human habitation and domestic life … in a northern climate" and "verandas, piazzas, bay windows, and balconies were also valuable as they were chiefly used for domestic buildings and therefore conveyed "domestic habitation."

Downing died in 1852 but his publications were frequently reprinted and reached a wide audience. In addition, many architects, including a number whose work Downing had featured, published architectural pattern books in the 1850s and 1860s. As architectural historian Daniel Reiff observed in his study of the use of pattern books in American architecture, it was understood that carpenters and builders, who "were already adept at designing, planning, and detailing buildings," would adapt pattern book designs and details "to meet local needs and financial constraints." Indeed, precise copies were the exception rather than the rule and many carpenter- builders combined ideas from a variety of sources. This seems to have been the case with James Burger’s design for the 121 Heberton Avenue House. The overall form of the building and some details appear to be based on a design for an "English Rustic Cottage" (pls. LXV and LXVI) in Gervase Wheeler’s Homes for the People (1855).

Wheeler’s cottage is a T- shaped building with a gabled two-story main block and gabled one-and-a-half-story side wings that act as terminations for the veranda that wraps around the front and sides of the house. In describing this house, Wheeler noted that "the roofs project boldly from the gables and to a somewhat less degree upon the eaves, and are supported by open framing in the large gables." Curved brackets were set beneath the purlins at certain key points adding to the stability of the structure and increasing the decorative quality of the design. In his plans for 121 Heberton Avenue James Burger adopted many of the salient features of Wheeler’s design — the cruciform plan and cross gabled roof, wrap-around veranda, and oversized gable with projecting bracketed eaves; however, he adapted the design to create a larger two-and-one-half-story three-bay wide house perhaps drawing inspiration from "Design No. 1" for a "Simple Suburban Cottage" published by Calvert Vaux in his Villas and Cottages of 1857. Vaux’s design for a front gabled house with smaller side gables, shares certain similarities with this house. In addition to the use of a gable front and cross-gabled roof, these similarities include the tripartite facade design with its asymmetrically placed entrance and square-headed windows and the first story plan incorporating a two-bay wide front parlor and a small rear porch. Another notable feature of the 121 Heberton Avenue House, its decorative door and window enframements featuring wide lintels capped by molded cornices resting on simple curvilinear brackets, may have been inspired by similar bracketed enframements in the design for "A Villa Mansion" which served as the frontispiece for Gervase Wheeler’s Homes for the People. It is worth noting that like his "Rustic Cottage" the tower of Wheeler’s mansion is ornamented with openwork brackets.

Such brackets are relatively rare; however, they appeared in a number of Wheeler designs and in two designs published by the influential Philadelphia architect Samuel Sloan in The Model Architect of 1852. The last more detailed source probably provided the model for the brackets at No. 121. In a page of details for "An Ornamented Cottage" in the "bracketted" style [Design XXV] Sloan included a profile drawing for a decorative triangular bracket with open sides. While Burger probably did not have the resources to reproduce anything so elaborate he seems to have attempted to create the same effect by breaking the design up into component parts and reproducing some of the essential elements. Thus, he created wood braces with chamfered corners attaching them directly to the wall rather than to a vertical member and supporting them with scrolled corbels similar in design to the scrolled bases of Sloan’s brackets. Burger also inserted abacuses as imposts between the braces and purlins. Another feature of his design, the large square chimney decorated with rectangular recessed panels may also have been inspired by a drawing on the same page of details though once again Burger’s interpretation is less decorative than Sloan’s model.

Elsewhere in his book Sloan identified a slightly more elaborate building with many of the same features as Design XXV as "Swiss style." Downing called the Swiss cottages that provided the inspiration for the style "the most picturesque of all dwellings built of wood." He admired "their broad roofs, open galleries, and simple and bold construction."

The true Swiss cottage is always built of wood, and often shows a great deal of ornamental work in the brackets which support the roof, as well as the borders to the doors and windows, etc…. The living-rooms are raised several feet above the level of the ground, and are reached by a flight of steps outside. Frequently all this ornamental work is done in a rude manner, with the axe alone, and the effect is more picturesque and rustic, and therefore better suited to rural buildings than highly finished carpentry.

He cautioned, however, that if the style was to be employed for a house in "a tame landscape" that it must be "subdued and chastened in its picturesqueness, and much less bold and rude." In describing a Swiss style design he felt had been successfully adapted to a suburban site he noted that "it still retains the picturesque roof, the bold brackets, and the long outside galleries-but all much more delicately made than in Swiss examples" while a successful adaptation of a Swiss farmhouse design was "purposely made so in simple in its exterior as to lose some of those details by which we most commonly recognize the Swiss chalet."

In designing No. 121 Burger incorporated the broad gables, ornamental trussed brackets, elaborate molded surrounds for the doors and window, long verandas, and high basement which Downing identified as key features of the style, suggesting that he was influenced by Downing’s precepts. However, he eschewed the jig-sawn ornament that is usually associated with the Swiss Style as well as the bark- covered wood ornament that would have been inappropriate for its suburban setting. Instead he used extremely simple ornament that allowed him to incorporate classically-inspired motifs like the bracketed window surrounds with seemingly medieval motifs like the oriel windows at the side of house in a harmonious design.

In the 1850s, pattern books were dominated by Gothic and Italianate designs interspersed with a few designs based on Northern European vernacular timber-framed houses such as Sloan’s "ornamented Cottage" or Wheeler’s "English Rustic Cottage." Houses in the style were always relatively rare, and in New York City, where so many mid-nineteenth- century wood houses have been lost, the 121 Heberton Avenue House is an exceptional survivor.

The Brown Family

In January 1892, Robert Brown purchased the 121 Heberton Avenue House from Jacob Housman. Robert Brown (1840-98?) and his wife Matilda (Longworth) Brown (1839-191?) were Irish immigrants who came to this country as children and grew up in New York City. The Browns settled in Port Richmond around 1866. There, Brown purchased a building with a ground floor saloon and upstairs living quarters at the southeast corner of Bennett Street and Cottage Place, directly across the street from the rear yard of 121 Heberton Avenue. He became active in the volunteer fire company on Bennett Street and took an interest in local Democratic politics. He held various town offices and immediately prior to Consolidation served as one of the Trustees of the Village of Port Richmond. The Browns had five children at least four of whom resided with them in this house during the 1890s. Their eldest son, Robert S. Brown (1861- 1926) remained in the Brown’s apartment above the saloon.. Their son, Thomas C. Brown (1876-1938) graduated from New York Law School in 1897 and practiced law from 1898 until 1904, when he was appointed a Justice of the Municipal Court of New York City. The Brown’s three daughters were

Frances, a school principal, Martha, a designer, and Matilda, wife James A. Simpson. In 1910, the Federal census indicates that Matilda Brown was residing in the house with her daughters Martha and Matilda and her son-in-law. By 1915, Matilda Brown had died. The Simpsons had moved and Robert S. Brown who had inherited this house was living there with his wife and family. Robert S. Brown had given up his contracting business and become a court clerk. He served as clerk of the Special Sessions for over twenty-two years and with his brother Thomas was one of the leaders of the Democratic Party on Staten Island. Following his death members of the Brown family continued to occupy the house. In the 1930s, the rear portion of the lot was sold.. During World War II, the house was acquired by C. Dallessandro and after the war was sold to J. Balsano. It remains in residential use.


The 121 Heberton Avenue House occupies a trapezoidal corner lot which has a frontage of fifty- nine feet on Heberton Avenue and seventy-three feet on Bennett Street. Non-historic wood picket fences border the property on Heberton Avenue and along the western half of the property on Bennett Street. The eastern portion of the Bennett Street boundary, the eastern (rear) boundary, and southern boundary are bordered by non-historic six-foot-high picket fences. The house is approached by a historic bluestone path that extends from the front gate to the front porch.

The 121 Heberton Avenue House is a T-shaped building, with a two-and-one-half-story gable-roofed main block and two-story gable-roofed side wings. There is a one-story-plus basement kitchen ell at the rear of the building which has a one-story entrance porch at ground level. A veranda wraps around the front portion of the main block, which is three bays wide. The house rests on a masonry base which is parged with stucco and lit by rectangular windows. The front porch rests on non-historic cinder block piers which have been painted. There is a deep areaway under the porch at the front of the house providing full-length windows for the basement.

The upper walls of the house are sheathed with lapped- clapboards. Its window and door openings are set off by molded wood surrounds with projecting lintels supported by simple brackets. The sides elevations of the main block have angled window bays at the first story. The windows at the first story have historic wood sashes which are protected by storm sash. The upper-story windows have non-historic six-over-six replacement sash. The gable roofs have deep overhanging eaves supported by exposed rafters with carved braces resting on corbel brackets. A massive brick chimney at the center of main block is decorated with a recessed panel motif. It is now partially parged with stucco but otherwise retains its original form. The columns, railings, and cornice and roof of the wood porch that extends across the front and sides of the main block probably date from the 1920s or 1930s.

The house’s primary facade, facing westward to Heberton Avenue, has a three-bay design. The one- story front porch is approached by a wood stoop with wood railings. The porch has non-historic square posts with stylized capitals. Its non-historic railings are composed of narrow wood members arranged in an x- pattern. The tracery wood braces though inspired by nineteenth-century sources are also non-historic. On the other hand the narrow porch floor boards appear to be historic and may be original. A nineteenth-century boot scraper has been installed on the porch floor near the stoop. The porch ceiling is pierced by three louvred metal vents. The porch roof has been covered with non-historic roofing materials.

The entrance to house is in the south bay. The center bracket of door surround has been painted with the number "121." The entry retains its original paneled wood door but has a non-historic storm door. There is an iron lantern attached to the clapboards to the north of the entry and a non-historic metal mail box and wood sign to the south of the entry. On the upper stories, the windows retain their historic wood surrounds but have non-historic six-over-six replacement sash. There is a small metal vent cover between the second story windows and a small fire alarm protruding from the clapboards to the south of the attic window.

The first story of the north facade of the main block is lit by a single window opening containing a pair of historic wood sash windows and non-historic storm sash. The west wall of the side wings is illuminated by a matching window which also has historic sash windows and non-historic storm windows. Paired two-over-two wood sash windows are also employed for the angled bays. Articulated by a wood-framed two-story-plus-basement five-sided angled bay at the west end of the facade and by a line of square-headed windows at the east end of the facade. The second-story window has non-historic replacement sash.

The design of the south facade is identical to that of the north facade. The first story windows retain their historic sash. The second story window has replacement sash. A basement window opening located between the side wall and the bay window has been sealed with glass block.

The rear facade, which faces east, is partially concealed by the intersecting kitchen wing at the first story. The elevated basement of this facade is parged with stucco. Its square headed windows contain ? window sash. The first story window on the north side of the facade retains its historic bracketed surround but has replacement sash. Non-historic replacement sash windows and storm window s have been installed at the second story. The third-story gable is lit by a non- historic six-over-six window. There is a small metal vent cover between the second story windows and a small fire alarm protruding from the clapboards to the south of the attic window.

The base of kitchen ell and enclosed porch are parged with stucco. The upper portion of the porch is clad in non-historic siding and its roof is covered with non-historic materials. The wood and glass porch door is non-historic. The east wall of the kitchen ell is pierced by a large non-historic picture window. The south side of the wing contains an entry with a non- historic wood and glass door which is sheltered by a non-historic vinyl awning.

– From the 2002 NYCLPC Landmark Designation Report

Posted by Emilio Guerra on 2010-09-13 17:34:32

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Great Small House Design 17e 1610 27th St – Remodeled Craftsman (E)

17e 1610 27th St - Remodeled Craftsman (E)

Adams-Normandie Historic Preservation Overlay Zone (HPOZ)

We began our adventure to ANNA (Adams-Normandie Historic Preservation Overlay Zone) at our former favorite old haunt, La Barca, for Carne Asada and Carnitas Burritos. After a very unsatisfying lunch (they’ve gone down hill since we were last there several years ago) we headed into ANNA with a goal to photograph the Van Buren National Register Historic District.

Along the way we found some wonderful things: ghost signs, a house moved from the West Adams Heights neighborhood a few blocks away, two worn and aging grand dames on West Adams Boulevard, a wonderful hidden estate on Budlong (now sadly carved into apartments), and more than a few fabulous houses on Raymond and (of course) Van Buren.

01. Commercial Building, 1907 to 1913
1419 W 24th St
T. Widd’s Sub
“Dye Works and Trading Co.” reads the ghost sign. A little lower is, “Suits Dresses, and _____.”

02. Commercial Building, 1912 to 1920
1425 W 24th St
T. Widd’s Sub
The ghost signs here are a little harder to make out. “Napps Van_tio_aul” Below is, “Feed and Fuel,” which is a clue to it’s age. The later vertical sign attached to the front reads, “Storage & Moving.”

03. House, 1912 (Moved, remodeled and divided into apartments)
2401 Catalina St
Kenwood Park Tract
Possibly Dennis and Farwell
We know this house, because we first saw it in an early 1900’s promotion of a nearby tract called West Adams Heights. The house in the photo is reverse, but that wasn’t uncommon for the time. If it’s the same house (and we’re pretty sure it is), then it was built earlier and probably moved to this location in 1912, when the main streets around West Adams Heights were beginning to go commercial. After further investigation, if it turns out to be the same house, then it was probably built around 1905 by the architecture team of Dennis and Farwell. Anyone up for a friendly wager?

04. House, c. 1899
1514 W Adams Blvd
Montgomery Tract
The Tax Assessor’s Office indicate this stately Victorian was built in 1908. An obvious mistake. It’s not impossible, but highly doubtful the owners would commission a house in one of the most fashionable districts, in a style ten years out of date. It’s currently undergoing renovation. Lets hope it’s for the best.

05. House, 1899
1528 W Adams Blvd
Montgomery Tract
This faded Shingle Styled late Victorian Grand Dame recalls a bygone era. You can imagine just how proud the neighborhood must have been in it’s heyday. Now, most of it’s neighbors are gone, and these two houses at the corner of Juliette and West Adams Boulevard look a little . . . stranded.

06. House (Former Estate), 1908
2739 S Budlong Ave
Reeds Sub
The houses south of West Adams Boulevard on Juliette and Budlong are a strange collection, which appear to have been transported here and set down, jumbled without much thought or reason, or planning. Most of them are FUBAR, but it’s evident that most were designed for lots larger than the ones they now occupy. Perhaps they were in the path of the Santa Monica Freeway and saved (sort of). But, among this odd collection, on Budlong, is a large house set back far from the street, with a charming (but dilapidated) river rock wall and a massive Moreton Bay Fig. It’s a wonderful estate now converted to apartments. Who lived here? No idea, but the house seem familiar in a Maxim de Winter-Manderley sort of way. The shape, size, and style are indicative of an architecture team like Hunt and Burns or Hunt and Eager. Caroline Eve (a lovely name) was employed here as a domestic, according to the 1915 City Directory. If you know anything about this house, please leave a note. We’d love to know.

08. House, 1905
2756 Raymond Ave
Blaisdell and Weiss Tract
A fine example of a transitional English Styled (or Elizabethan as it was often called then, or sometimes Tudor) house as styles were moving from the Victorian to the Craftsman.

09. Repath Residence, 1907
2750 Raymond Ave
Blaisdell and Weiss Tract
According to the 1909 City Directory Chas. H. And Ruth M. Repath resided in this charming Craftsman Chalet home. Mr. Repath appears to have been a partner in Repath and MeGregor, Mechanical Engineers, located at 606 S Hill St. By 1915 a Mark B. Smith, Oil, was in residence. The house is asymmetrical, with mild chalet features.

10. Lang Residence, 1909
2749 Raymond Ave
Akin and Cass Sub
Transitional Victorian/Craftsman with Tudor elements.
Frank M. Tyler (Tyler and Company)
Even without pulling the property permits, we can confidently tell you this house was designed by Frank M. Tyler, and probably built on spec by Tyler and Company. It’s a typical, well-executed Tyler plan. Although this one was originally a single-family house. It was the home of Aug. T. Lang, President of the Iroquois Bottling Co, according to the 1909 City Directory.

11. Couch House, 1904
2744 Raymond Ave
Blaisdell and Weiss Tract
A solid and masculine Craftsman home. Notice the inventive support (or lack thereof) on the left side of the porch, and the charming widows weep. According to the 1909 City Directory, Geo S Couch was listed as living here.

12. Laupheimer House, 1907
2740 Raymond Ave
Blaisdell and Weiss Tract
The clean lines, strong porch column, asymmetrical facade, open gables, and especially the sideways double gable point to Hudson and Munsell as the architect of this beautiful Craftsman home. More investigation here is needed. It appears Mrs. Effie E Laupheimer was the resident here, according to the 1909 City Directory.

13. Montanya House, 1906
2734 Raymond Ave
Blaisdell and Weiss Tract
Mrs. Loretta de la Montanya is listed in the 1909 City Directory as residing in this charming Craftsman home, which is now unfortunately painted blue. Picture the creosote shingles, and the architecture pops! Again, the Hudson and Munsell hallmarks are present, so more investigation is needed.

14. Hood House, 1905
2729 Raymond Ave
Blaisdell and Weiss Tract
Mr. Walter T. Hook, in mining, may have been the first owner of this picturesque transitional Victorian/Craftsman. Although since it was built in 1905 and Mr. Hook is listed in the 1909 City Directory, he may not have been the original owner.

15. Foster House, 1906
2708/10 Raymond Ave
Blaisdell and Weiss Tract
A full-on Colonial among Craftsman homes. The way the windows line up on the south side of the house would indicate the house was always a duplex, however in the 1909 City Directory only one family is listed here. It was the home of Newton H Foster, purchasing agent for the Salt Lake Rte. (Los Angeles and Salt Lake Railroad, incorporated in 1901 by Senator Clark). Either the Fosters had no neighbors in 1909, or the house was carefully converted early on. Their domestic was a Ms. Clara Vance.

16. Osborne House, 1904/11
2703 Raymond Ave
Akin and Cass Sub
One of the earlier houses on Raymond, it’s obviously had some remodeling. The roof line is incorrect, and it’s now an apartment building. It’s pure Craftsman. According to the 1909 City Directory it was owned by Fredk (Frederick) J Osborne, Salesman for Haas, Baruch & Co. (Grocers). He must have done well, because he could afford an avant guarde house and a domestic in the name of Ms. Kate E McGovern.

17. Raymond House, 1907
1610 27th St
Blaisdell and Weiss Tract
To see this house as it should be, it takes a little imagination. Picture all the stucco removed, with natural shingles. It could be a gorgeous home, with a bit of elbow grease. According to the 1915 City Directory it was the home of Stephen S and Ruth Raymond. Mr. Raymond was a manager at the Fairfield Oil Co. I would guess the street name is merely coincidental.

18. Van Buren Historic District
National Register of Historic Places No. 89001103, 1989.
The gates are new. (An attempt to stave off urban blight). The street scape looks much like it would have when the neighborhood was new, which is one reason why it’s deserving of it’s National Register status. Most of the houses were built by the Los Angeles Building Company. Although most were built to the original owner’s specifications, some were built on speculation, which was typical in Los Angeles at the time.

19. The Furlong House, 1910, Los Angeles Historic Cultural Monument No. 678.
2657 Van Buren Pl
West Adams Street Tract
Frank M. Tyler
Gracing the corner of 27th and Van Buren Place is the Furlong House, designed in the local vernacular, a transitional Victorian/Craftsman style, by prolific architect Frank M Tyler. The house is named for the second or third owner, Thomas J Furlong, who was the city clerk and treasurer for the city of Vernon, until the 1950’s. According to the 1915 city directory the home’s occupants were Shelly W and Bella Keiser, and were believed to live here 1910 to 1921. Mr. Keiser was in real estate and loans.

20. Bowen House, 1907
2651 Van Buren Pl
West Adams Street Tract
This straight-forward Craftsman sports clean lines and an a-symmetric facade. The windows are unfortunate, but it’s in great condition otherwise. The home was built for William Alvin and Grace D Bowen. Mr. Bowen was a successful attorney at Gray Barker and Bowen.

21. Minton House, 1904
2645 Van Buren Pl
West Adams Street Tract
One of the largest houses on the street, the facade of this Chalet-like Craftsman is imposing and strong. The bay window and dropping roof line help break up what otherwise could be a big box. The peaked window on the south side is charming. Clarence H Minton, Real Estate, is listed here in the 1905 City Directory.

22. Percy H. Clark House, 1903, Los Angeles Historic Cultural Monument No. 672.
2633 Van Buren Pl
West Adams Street Tract
As a major developer in Los Angeles, and specifically the developer of this tract on Van Buren Pl, you’d assume the Clark House would be the largest, but it’s not. Instead this craftsman is sedate, with strong clean lines. The front box window is especially unusual. Mr. Clark, not to be confused with the many other Clarks along West Adams Boulevard, was a giant of the early Los Angeles real estate community.

23. Long House, 1904
2633 Van Buren Pl
West Adams Street Tract
Oath Long is listed in the 1904 City Directory as the resident of this lovely Craftsman house. It’s hipped roof is unusual for a style that favored open gables. The only gable appears directly above the entrance.

24. Hutchason-Cheap House, 1904
2627 Van Buren Pl
West Adams Street Tract
Ribbed siding, rather than shingles, the shape and size, and the charming front window make this Victorian/Craftsman house appear more Victorian than Craftsman. Small windows tucked up under the eaves in various places give it a whimsical touch. According to the 1905 City Directory this was the home of Dr. And Mrs. Willis E Hutchason, Mr. Hutchason being a dentist. Later, in the 1920’s and 30’s it was the home Albert and Alice Cheep (and 8 children), according to the 1935 Blue Book. In between, the 1909 City Directory a lists Mrs. Blanch Trimble.

25. Lane House, 1904
2621 Van Buren Pl
West Adams Street Tract
The front bay window and a-symmetrical gable over the door provide a focal point for this well-crafted Craftsman house. It was the home of J. Lansing and Linda H Lane in the 1904 City Directory.

26. Daniels House, 1903
2624 Van Buren Pl
West Adams Street Tract
Somewhere under the unfortunate Sear’s siding is a stately late Victorian, transitional Craftsman, with Colonial touches, ready to blossom. The portico, with strong columns, was built to impress. In the 1904 City Directory Dr. And Jrs. Jared W Daniels were the residents.

27. Guthery House, 1906
2638 Van Buren Pl
West Adams Street Tract
Charlotte Guthery was the owner of this beautiful transitional Victorian/Craftsman 2-1/2 story house, which recalls what was called in Los Angeles at the time as the Elizabethan Style. The widows weep was closed in with windows early on, but otherwise it’s picture perfect.

28. Greenbaum House, 1906
2638 Van Buren Pl
West Adams Street Tract
Textiles appeared to have been profitable in early Los Angeles, as Abraham Greenbaum, a salesman for the Harris and Frank Clothing Store, was able to afford this luxurious Craftsman. Later, in the 1909 City Directory, Simon S. Spier, Millinery, is listed.

29. Leeds House, 1903
2642 Van Buren Pl
West Adams Street Tract
Nestled in among the trees (and hard to photograph) is the lovely transitional Victorian/Craftsman owned by W. R. And Anna F. Leeds from 1903 to 1909. Mr. Leeds was an attorney. From 1909 to the 1920’s George D. And Elizabeth R. Cadwalader made I their home. Mr. Cadwalader was involved with the general machinery at the Los Angeles Brick Co.

30. Corelyou House 1905
2650 Van Buren Pl
West Adams Street Tract
George A. Corelyou was in real estate. The home is mostly Craftsman, with just a few transitional hold overs, and in fine shape, except for the unfortunate window replacements. The front door and sidelights are it’s most attractive and unusual feature.

31. McKinney House, 1906
2656 Van Buren Pl
West Adams Street Tract
This was one of the houses built on speculation by the Los Angeles Building Company. The architect is unknown, but more than likely it was designed by someone like Frank M. Tyler, by Tyler and Company, which built many houses on spec. It’s a charming and well-planned transitional Victorian/Craftsman home. The half-timbering lean toward a Tudor or Elizabethan Style.

Posted by Kansas Sebastian on 2013-04-28 00:32:57

Tagged: , Kansas Sebastian , Los Angeles , California , Historic West Adams , WAHA , Adams-Normandie Historic Preservation Overlay Zone , HPOZ , Historic Houses , Historic Neighborhoods , Architecture