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I believe this house is still around and in restored shape. Original photo is on www.lapl.org digital online collection. I used some suggestions from flickr member Udri/Photoshop Support Group discussion.
San Francisco
built 1895
the sole house on a block of automotive repair shops, gas stations, etc
site on corner now occupied by gas station: 1900 occupant: Salem Evangelical Church (German)
20200507_173728 South Van Ness Avenue
Grade II listed building at 1 Exeter St. Dated 1881 with two period shopfronts in original condition. Attractive mouldings over the windows, in excellent external condition.
I saw this home in Savannah, Georgia's Victorian Historic District in July 1985.
This is in the Italianate Sytle
I took this photo inside the Still Room before I found out that photography was not allowed anywhere in Cragside House. Ooops! Not sure if I prefer this version or the color version.
Eastlake/Victorian. Built for Thomas Robinson, Florence and Cripple Creek, Colorado, railroad founder.
During the High Victorian age a distinct style of commercial architecture developed in Bristol. It made extensive use of jazzy polychrome brick and became known as "Bristol Byzantine". "Byzantine" is, of course, a misnomer and pedantic architectural writers now refer to "the Bristol commercial style". For me, nonetheless, it will remain "Bristol Byzantine".
Large numbers of these buildings were lost to wartime bombing and still more were wantonly destroyed during the campaign of terror against all things Victorian which lasted into the mid 1970s. We are extremely fortunate therefore, that this building, the apotheosis of the style, has survived.
Just look at it! It's so absolutely outrageous that you have to love it. It was built in 1869 as the granary of Messrs Wait & James. The architects were Archibald Ponton and William Venn Gough. It's a building that has to be "read". No two floors are alike. Note the way the second and third floors are treated as a unit within a single arcade; note also how the arcades of the top two stories are a little recessed. How massive and heavy the building looks, but how strong those mighty piers of Cattybrook brick. The unglazed piercing of the brickwork was to allow ventilation, and flues within the walls delivered heat from basement furnaces to dry the grain.
Stuffy old Pevsner, in the local volume of his "Buildings of England" guides, describes this great structure as "indeterminately Gothic" and dismisses it in a sentence. By 1979, Andor Gomme, in Bristol, an Architectural History, avers that it is "the most piquant and striking monument of the High Victorian age in Bristol ...as potent a symbol of the city as the cathedral or St Mary Redcliffe".
How fashions change. My own policy has been to ignore them and trust my own powers of discrimination.
I was for a great many years an admirer of the 19th century city halls that grace many a British industrial city. My long roll-call of favourites include Leeds, Manchester, Belfast, Bolton, Rochdale, Hull, Nottingham and Glasgow, every one a powerful statement of local civic pride. To my joy, the old cotton mill city of Lowell MA has a city hall that matches the best of them. Built in 1893 and surmounted by a 180-ft clock tower, it was designed by local architects Merrill and Cutler in what has been described as a Richardsonian Romanesque style.
Mortimer House was built in 1886–8 for Edward Howley Palmer, a merchant with Dent, Palmer and Company of Gresham House, Old Broad Street, City, and a director and former governor of the Bank of England.
Largely secluded behind a high brick wall, Mortimer House exudes an air of mystery and surprise amid the surrounding terraces of South Kensington. Perhaps most surprisingly of all, it is still in private occupation. Its style is an amalgam of Tudor and Jacobean in red brickwork diapered with blue, with stone mullioned-and-transomed windows, a multiplicity of gables of various shapes, some of them stepped, crested with statuary of griffins or bears supporting shields, and clusters of tall, decorated brick chimneystacks. Inside there is a predictable eclecticism of style, ranging from Jacobean in the long hallway containing an oak open-well staircase with twisted balusters and wide handrail to Adamesque in the double drawing-room at the front. The fittings include fine marble chimneypieces in a late-eighteenth-century manner. A room on the first floor may originally have been used as a chapel. Several changes have been made to the decorative schemes since the house was built, some of them quite recently, and a long conservatory-cum-swimming-pool has been added to the west side of the house, where the detached stables (now converted into garages) with stepped gables and a turret with a conical roof are also situated.
[British History Online]
amazing Italianate rowhouses
â„– 2430 + â„– 2428 Pine Street (built 1878)
Western Addition / Lower Pacific Heights
San Francisco
2014-Dec-B 056
Ceylon Place from Seaside, c.1890.
For more information or to obtain a print please contact East Sussex Libraries: library.enquiries@eastsussex.gov.uk
Designed by City Architect George Clough in a German Renaissance style, also called a transitional style between French Second Empire and Classical Revival, Houses the Massachusetts Supreme Court, Pemberton Square, Boston.
Title
Symbols - Daytime, Donut - Honey Donut Shop, Neon Signs, Storefronts, Man in Pinstripe Suit, Massachusetts Avenue, Cambridge
Contributors
researcher: Gyorgy Kepes (American, 1906-2001)
researcher: Kevin Lynch (American, 1918-1984)
photographer: Nishan Bichajian (American, 20th century)
Date
creation date: between 1954-1959
Location
Creation location: Cambridge (Massachusetts, United States)
Repository: Rotch Visual Collections, Massachusetts Institute of Technology (Cambridge, Massachusetts, United States)
ID: Kepes/Lynch Collection, 72.95
Period
Modern
Materials
gelatin silver prints
Techniques
documentary photography
Type
Photograph
Copyright
(c) Massachusetts Institute of Technology
Access Statement
Creative Commons Attribution-NonCommercial 3.0
creativecommons.org/licenses/by-nc/3.0/
Identifier
KL_001860
DSpace_Handle
"...though one may not wish to live in or near Manilla Road", wrote Andor Gomme in his deliciously catty way, "it is one of those things to see because it is there". Whilst conceding that the perpetrator, Henry Williams, was a superb architectural draughtsman, Professor Gomme goes on, "...he was completely without stylistic principles or tact. On occasion his irrepressible delight in combining the uncombinable could end in a design whose naïve pertness is quite winning, but as often the effect is very much the reverse". My fellow Flickrite Andrew Foyle, author of the updated Pevsner guide to Bristol, is of the same mind ..."outrageously ugly", he growls.
Well I don't know. This sort of thing is all part of the fun and fascination of architecture and we'd be a little poorer without the likes of Williams. For one thing I always like architecture that has a "maniacal" look about it ...one of the reasons I have always liked the great Victorian architect-madman William Burges. In the same year he designed these houses, 1888, Williams also designed a superbly crackpot Greek-Gothic-Loire-Jacobean branch of Lloyd's Bank in Temple Gate. I dimly remember it ...all ogee windows and pepperpot turrets, smothered in terracotta ornament. "Good fun" ...Andor Gomme again... "but except as a joke, architecturally frightful". Unfortunately it was demolished in 1970, at a time when I was more interested in photographing other things.
Williams was prolific but much of his work has been lost. His new doorway and internal remodelling of Christ Church, Broad Street, are unanimously condemned. I am not competent to judge, but I do enjoy his delightful Stock Exchange building in St Nicholas Street.
The Shard, Tower Of London, River Thames, HMS Belfast, Tower Bridge, Southwark Cathedral, St Paul's Cathedral, London Eye, Big Ben, Palace Of Westminster, Horse Guards Parade, St James Park, The Serpentine, The Mall, The Strand, Buckingham Palace, Admiralty Arch, Trafalgar Square, St Martins In The Fields, National Gallery, Covent Garden and Charing Cross Station.
St Barnabas Horton Cum Studley
In contrast to the massive scale of Keble College chapel one finds a great contrast in the polychrome brickwork patterns, bands and chequers by William Butterfield at Horton Cum Studley. The brick colour is highly attractive, moreso than Keble College, although its form is far more prosaic and has none of the controversial qualities of the well known Oxford College. It is a building one can love for its colour rich yellows, pinks and greys, and its exposed brickwork throughout the interior. It has fortunately weathered well, and also has some excellent glass by A.Gibbs, which if anything is much better than his grander work at Keble. All in all Horton Cum Studley is a successful Victorian building of 1867. The reredos, also by Butterfield is one of great originality and shows just what this architect was capable of when working on a small scale such as this. If one looks at both Mapledurham and Horton Cum Studley one can see intimations of his future work and his grander designs, however it is a shame that Butterfield did not build many more such churches.
c.1855
Stood on (or very near) the site of Bedes School. Standing from around 1839 and demolished in 1898. Photo of a painting
This was my second visit to San Francisco, four years after the first. On that original occasion, I discovered the ‘Painted Ladies’, old Victorian houses that were rescued from demolition and repainted in a palette of bright colours. This was the harbinger of urban revival projects across the United States, reaching my home city of St. Pete too. In San Francisco, having photographed a host of ‘Painted Ladies’ during my original visit, I was keen to pick up the thread from where I left off. I recall that this house was located in the Russian Hill district.
September 1994
Rollei 35 camera
Fujichrome 100 film.
At the turn of the last century, the farms that once comprised Shadyside had all but disappeared and taking their place were row after row of large Victorians. The designers and builders of these homes are mostly lost to history, but it is known that large sections of blocks were owned by a single person who built the homes as investments purely to sell. Old city maps confirm these holdings. And, surprisingly, some of these investors were women.
These two homes on Howe Street fascinate me. They are mirror images except for the different porches and the moldings on the turrets, over the front bay window and over the porch are identical. I don't know if the trim was always black, but it is attractive against the colors of the brick. Both seem to be rental properties.
On the right, former Midland Bank, Bedford Square (dated 1895), originally built as the Constitutional Club. Grade II listed building. On the left, former Lloyds Bank (dated 1892), elaborate corner building of Hurdwick stone coursed rubble with Bath stone dressings. Grade II listed building
Viscorian homes make up a part of San Francisco's history. Victorian architecture, known for its complex structure and massive embellishments, is based on the architectural style popular during the reign of Queen Victoria in England. In the United States Victorian houses were mostly built between 1850 and 1915.
San Francisco Victorian architecture was influenced by cultures from all over the world as people came to settle here. One can see medieval Carpenter Gothics, impressive French palaces, Turkish towers, or exuberant Italian architecture.
Pencil drawing by Keith LaCour
I decided to re upload this to my flickr page today.
I did this drawing back in 2009 but I recently made some minor modifications to the drawing to make it look better. This home is one of the nicest victorian homes in Aviston, that I have ever seen. I took at least 20 photos of the house when I passed by it.
There is a nice collection of Victorian row houses in the fan district of Richmond, Virginia.
The fan is just west of downtown Richmond.
Happy 120th Birthday to my house! A high-basement transitional Queen Anne Cottage, it was built in 1893 by an unknown architect, at a cost of $2,500 (approximately $63,000 in today's money). The original floor plan was a one-bedroom/one-bathroom house with an open formal parlor off the entry hall, a large double living room, dining room, kitchen, and service porch. There was also a servants' kitchen in the basement (complete with dumbwaiter), along with what may have been living quarters for the help. The house had gas for lamps, which was later converted to electricity. Shortly after it was built, the first resident moved in. His name was Herman Heinsohn, a bookkeeper who commuted to San Francisco (most likely by ferry) for work. He lived in the house for almost twenty years. During that time, he may have gotten married and had children, because in 1909 the attic was converted into a second story, with two bedrooms and a bathroom, in the Craftsman style of the early 1900s. Also added upstairs were several closets and secret storage areas. The layout of the house is still the same, and most of the original details still exist, as seen in these photos. A few bad remodeling decisions were made over the years: the scullery got a 1950s make-over, the original bathroom has ugly 1980s fixtures, acoustic tile was installed on the dining room and entry ceilings in the 1960s, and the Lincrusta wallpaper was painted over, along with the redwood woodwork. Thankfully, those things can be undone! Our landlord does not allow us access to the garage or massive basement (we were only given access to the former servants' kitchen for storage, which is rather small), so there is a lot of wasted space that we are paying for but not allowed to use. However, I love the house very much, and cherish the many beautiful parts that remain and are still useful to this day. And I am eternally thankful that the many people who have lived in the house had the good sense to leave most of it alone!
The site now occupied by the Gardiner Haskins "retail centre", entered by the public from Broad Plain, is of complicated provenance. The tall brick building seen here, a prominent east Bristol landmark, was Thomas's soap-boiling works. The manufacture of soap began here in 1783. The present structure was an 1881 re-modelling, perhaps by W. B. Gingell, of a smaller building put up in the 1840s. A fire in 1902 resulted in drastic alterations; the turret-like chimneys were reduced and much decorative brickwork was lost.
The congeries of buildings grouped around Broad Plain, with their massive rubblestone arches ...familiar to any Gardiners customer... were added or re-modelled piecemeal, also possibly by Gingell. There is also a block of 1957-8 by the local Modernist A. E. Powell. The Thomas business eventually passed to Lever Bros, whose in-house architect made additions in 1912. The brick block left of the main building was by Gingell, 1883, and the pennant stone building whose exterior walls are now propped up by scaffolding was by Foster & Wood, 1865-7.
What will this view look like in 20 years I wonder. New office building is due to encroach almost up to the walls. Can Gardiners continue to occupy this large plot of ground so close to the city centre? The vast, costly building is not part of the retail floor space. Presumably it is used for storage. If so, it is eminently unsuited to modern warehousing methods. As we see, some of the buildings are derelict and much of the site is unused. Off right more empty ground brings in a little revenue from customers' car parking.
It's only a matter of time. A few more years of competition from B&Q, maintenance costs, cripplingly expensive alterations to comply with Euro Health & Safety directives ...and then an approach from a deep-pocketed property development consortium and an irresistable offer for the whole site. Gutted internally and refenestrated, the building will be converted to apartments ..."Sudsy Lofts" or something, with glittering new offices all around. Why is efficiency and economics always inimical to beauty and the harmless pleasures of the senses?