Mableton's Evolution

The McDonald Mansion originally called “Mableton” was built in 1879 by Mark L. McDonald, one of Santa Rosa’s most prominent early citizens.

This landmark house is being restored thanks to the commitment of its current owners, and with the help and expertise of guild members, architects Rynerson & O'Brien, who have been compiling a history of the house and have kindly shared the next installment of that history with us here!

 
“Mableton”, circa 1882. This is the earliest known view of the house, taken from a lithograph published in the 1880’s. Courtesy of Sonoma County Library History Annex and Santa Rosa Press Democrat.

Mableton's Architectural Style

The McDonald Mansion’s stylish street presence, and its prominent corner site on an oversized parcel, made it an effective tool in the marketing and sales of residential lots in the newly established “McDonald’s Addition” neighborhood. As a result, McDonald Avenue soon became the address of choice for the most prominent citizens of the expanding city of Santa Rosa. However, no other home built on the street ever eclipsed the visual prominence of Mableton and the sprawling scale of its grounds.

It was in homage to the Mississippi plantation home of Ralphine North McDonald’s childhood that the McDonalds called their summer home “Mableton”. Unusual for substantial California homes of its era, the architectural form of the house can be described as a large-scale adaptation of a so-called “raised Southern cottage”. The typical plan of such homes included a single main living level, built or “raised” over an above-ground basement that was intended as a flood precaution. The second floor or attic level of such homes was often left as undeveloped space, but was sometimes utilized for later expansion.

Initially, the wrap-around porch or verandah, another characteristic Southern feature, surrounded all four sides of the house. This defining element creates a strong link between the house and its landscape, where specimen trees, spacious lawns and abundant flowers completed the ideal summer home setting.
One of the building’s signature details is its extensive use of flat sawn and cutout wood ornament (seen in the two-tiered roof cresting, and icicle-like trim that outlines the various roof overhangs). The use of such repeating flat patterns, and their geometric quality, are particularly characteristic of the Victorian era’s “Stick” and “Eastlake” styles (sometimes called “Stick/Eastlake”), which enjoyed nationwide popularity during the post-Civil War era. The style moniker “Steamboat Gothic”, coined in reference to similar decorative treatments applied to large riverboats of that era, is likewise evoked by Mableton’s low-slung proportions and long verandahs. The application of California redwood ornament to a Southern building form makes this house a uniquely American domestic hybrid.

In the early lithograph view, the stepped pyramidal (hipped) form of Mableton’s roofline is completed by two tiers of cresting, and its surface is enriched by successive bands of patterned shingles resembling horizontal stripes. While the verandah and second floor roofs are pierced by small “eyebrow” vent openings, the upper roof is primarily broken by a single central gable with an arching bargeboard. In the verandah roof, a smaller gable occurs above the main entry stairs. Still missing are the larger dormer windows that were added for bedrooms developed later in the attic space.

Visible on the left side of the house is part of a two-story rear addition across the rear, which supplanted the original verandah there. Within the former rear verandah space, a hallway and stairs were built to access the added second floor bedrooms. Later the rear addition also sprouted second floor dormers, and a square bay window on the left side of the first floor level.

In addition to the main front entry stairs, those seen extending from the left side of the verandah are one of an original pair of stairs placed on opposing sides of the house. Partly visible on the right side are the carriage house (with a cupola and weather vane), and the top of the gazebo projecting above the trees. The original configuration of the curving driveway, with its pair of triangular planted “islands”, remains in place today.

Mableton's Planning and Features

With a room arrangement typical of many antebellum plantation homes, Mableton’s original 1879 floor plan reveals more of its Southern heritage. To maximize natural air circulation through the house, a wide central hall bisects the house from front to back, and opens to shaded verandahs at either end. Typical of the most common plans, two rooms on either side of the central hall each provide additional direct access to the verandah. In lieu of conventional windows, the rooms open to the verandah through “slip-head” windows. Very tall double hung windows that extend to the floor, slip-head windows may also function as doors. Unusually high ceilings were essential to accommodate these oversized window openings within the walls.

A highly effective passive cooling system was achieved by the combination of verandah-shaded exterior walls, high ceilings, and interconnected rooms. In Southern examples, sources of heat and potential fire hazards were often removed from the main house, with utility and service areas (such as the kitchen) located in nearby separate structures. Alternately, the kitchen and other service areas were placed in the ground level basement (the location of Mableton’s original kitchen).
In a departure from typical Southern precedent, Mableton’s design allows for the admission of natural light through a long skylight above its central hall. Between the central hall and each of the four flanking rooms, wide doorway openings are fitted with sliding pocket doors. These generous openings perform multiple functions: in addition to sharing natural light between spaces, they enhance cross-ventilation, and allow greater flexibility in how rooms can be used. The unusual width of Mableton’s central hall, and the presence of a fireplace at its far end, permits it to function as both living and circulation space. Designed for entertaining on a grand scale, this plan creates the potential to effectively combine all of the rooms into a single, contiguous space. The surrounding verandah further expands the interior spaces, and reinforces the strong relationship between the house and its landscape.

Prior to the development of bedroom space in the attic, all of the McDonald family’s living areas were located on the main (first) floor. It is probable that the two rooms towards the rear of the house were used as bedrooms. However, in the informal context of a summer home, it is likely that these rooms (and possibly the others as well) were employed for multiple uses. Notable is the presence of a large interior bathroom, placed between the two rooms along the south side. This original feature was an unusual luxury at a time when most homes (especially in rural locations) still relied on outdoor plumbing facilities. To better accommodate a growing family, the McDonalds soon expanded the home outward and upward, to include more living, bedroom and bathroom space.

Mableton's Evolving Plan

The floor plan above illustrates the various additions that occurred to the McDonald Mansion after its initial construction. It also shows the configuration of the house in 2005, at the onset of the design process for its current remodel. The process of researching the history of the house, its builders and occupants, its city and neighborhood, and the multiple layers of its physical changes over time, has been painstaking and gradual. While some of Mableton’s remaining mysteries may never be solved, the following descriptions summarize the primary findings resulting from historical research and from physical evidence observed on the site.

Area A represents the remaining extent of the original structure.

Area B represents the earliest changes, which were undertaken by Mark and Ralphine McDonald only a few years after the house was first built.
Primary among these is the addition of a large formal dining room, placed on axis with the original main hall, and with its west wall in the form of an angled bay. Flanking the dining room are other added spaces, which include a master bedroom and bathroom on the south side and a breakfast room and butler’s pantry on the north side. All of these new first floor rooms are separated from the original main hall by a long transverse hallway. Like the former rear verandah it replaced, this hallway is aligned at either end with exterior stairs. To further facilitate interior circulation, the hallway also contains a staircase that provides access to newly developed second floor spaces.

The McDonalds’ growing family had outgrown the confines of the home’s original plan, and this likely fueled the initial expansion plans. Beyond the needs met by the new first floor additions, the previously undeveloped attic level provided ample space for additional family bedrooms. Above the original structure, a bedroom was place in each corner (with the central space above the main hall occupied by a large skylight). The second floor of the new (yellow-shaded) addition allowed for a large sitting room above the dining room, with a bedroom on either side. As the second floor rooms were developed, it was necessary to add dormer windows to each, which resulted in significant changes to the appearance of the original roofline.

Area C indicates a subsequent minor addition by Mark and Ralphine, a south-facing bay window off the master bedroom.

Area D indicates further changes made to the house while under the ownership of Mark Jr. and Isabelle McDonald. They relocated the kitchen from its original basement site to a new addition adjacent to the breakfast room, added a new master bath and closet space, expanded verandah space on the south side, and added a balcony off the breakfast room on the north side. It is likely that Mark Jr. and Isabelle also added two second floor bathrooms (on the north and south side) between the bedrooms added above the original portion of the house. While dormers matching those of the upstairs bedrooms were added for these bathrooms, their asymmetrical placement disrupted the roof’s previously balanced configuration.

Area E represents additions made in the 1970s-1980s, in the years following the McDonald family’s ownership of the property. These included expanded spaces for the master bedroom closet, dressing, and bath areas.

Area F indicates the locations of original exterior staircases that were removed during the remodels of the 1970s-1980s.

Mableton's Latest Changes

The floor plan above illustrates the extent of additions and alterations made to the McDonald Mansion in the latest remodel.

Area G indicates where earlier, poorly planned additions made to the rear (west side) of the house were removed. This was a particularly important exposure in that it adjoined a combination of public (Dining Room), private (Master Bedroom), and utility (Kitchen) spaces.

Area H represents the new additions that supplanted these spaces, and resolved various space planning problems. Central among these was a lack of any direct connection to outdoor living spaces on the building’s rear (west) side. This was resolved by the addition of a raised outdoor terrace that extends primarily from the Dining Room (on the same level), and includes direct access to the garden level via a pair of exterior staircases. This terrace also provides exterior circulation for newly reconfigured Kitchen/Family Room area (north side) and Master Bedroom suite (south side). The addition includes an equivalent expansion of living spaces situated directly below, which adjoin the garden at ground level. Comprised of two small wings with a connective link, the new addition re-establishes a sense of symmetrical balance that had been lost on the rear façade. While significant, the massing of this addition remains respectfully subordinate to that of the remaining historic structure.

Mableton’s Newest Plan: An Overview

1. Verandah

Both spatially and stylistically, Mableton’s verandah remains the most defining exterior feature of the house. Directly adjoining most of the public rooms, it provides a generous amount of covered outdoor living space and overlooks the grounds in three directions.

2. Entry Vestibule

Axially aligned with the main front entry stairs, this semi-enclosed area welcomes visitors at the front door and announces a processional sequence of public rooms within.

3. Main Hall

The most dramatic and spatially impressive of all Mableton’s rooms, the Main Hall’s design reflects the Stick/Eastlake style and detailing of the building’s exterior. Rising nearly two stories in height, its vertical proportions are in striking contrast to the predominantly horizontal lines seen outside. In the manner of a courtyard, with a skylight extending nearly its full length, it is the interior’s primary organizing element. When fully opened to the adjacent formal rooms, the Main Hall becomes the centerpiece of an expansive, interconnected sequence of public spaces.

4. Library

Conceived in the English tradition of grandly scaled private libraries, this book-lined room exploits its high ceiling with two levels. A cast iron spiral staircase ascends to a mezzanine-level “catwalk” and separate Map Room (situated directly above the Entry Vestibule).

5. Turkish Parlor

Recalling a Victorian era fashion for special-use areas such as “smoking rooms”, this whimsical space is designed to function as an informal reception room or private retreat. During the period, a homeowner’s status and sophistication were implied by a conspicuous display of souvenirs from worldly travels in an appropriately exotic setting.

6. Ladies’ Parlor

In homage to the period’s taste for gender-specific rooms, the décor of the Ladies’ Parlor reflects the popular historic association of lighter, French-inspired styles with “feminine” taste. The most intimately scaled of the public rooms, it also forges the closest relationship with outdoor living spaces.

6a. Hall/Powder Room/ Closet

Extensions of the Ladies’ Parlor in décor, these centrally located conveniences also adjoin the Turkish Parlor.

6b. Service Pantry

Designed as a secondary outdoor entry vestibule, this space connects both the Ladies’ and Turkish Parlors to the Verandah. Conveniently located for family use and entertaining indoors and out, it also incorporates a compact kitchen facility.

7. Gentlemen’s Parlor

The most generously scaled of the four parlors adjoining the Main Hall, the Gentlemen’s Parlor was conceived as a complement to the Ladies’ Parlor directly opposite. Its décor reflects the historic style association of Gothic Revival with “masculine” taste.

8. Stair Hall
8a. Elevator

A cross-axial counterpoint to the Main Hall, the Stair Hall serves as both a buffer and a connective link between various interior and exterior spaces. The staircase and adjacent Elevator provide vertical circulation to three levels. The Stair Hall’s design shows an “Anglo-Japanese” variation on the “Stick/Eastlake” theme seen in the adjoining Main Hall, Dining Room, and in the building’s exterior.

9. Dining Room

On axis with the Main Hall, the Dining Room shares a similarly grand scale and “Stick/Eastlake” design aesthetic. Octagonal in plan, the room features a three-sided outside wall that parallels the Rear Terrace, and gestures towards the pool and landscape beyond.

9a. Butler’s Pantry

In the 19th century tradition, the Butler’s Pantry forms the service link between the Dining Room and Kitchen.

10. Breakfast Room
10a. Balcony

A transition between the home’s public and private areas, the Breakfast Room functions as the family’s informal dining room, and is the first of three intimately-scaled spaces that comprise the Kitchen wing. Its décor reflects a simplified interpretation of the “Stick / Eastlake” style. The adjoining Balcony is primarily intended for the display of potted plants.

11. Kitchen

Continuing the simplified “Stick / Eastlake” style of this wing, the Kitchen forms its centerpiece. Open to both the Breakfast Room and Family Room, the Kitchen adjoins the Dining Room through the Butler’s Pantry. Exterior doors open directly on to the Rear Terrace, with stairs leading to the pool and other outdoor living areas.

12. Family Room

Lit by windows on three sides, the Family Room terminates the Kitchen wing, and enjoys views over the pool area and surrounding garden.

13. Master Sitting Room

Adjoining the Stair Hall, this room creates another transition between public and private spaces, and comprises half of the Master Suite wing. In a distinct departure from the predominantly Victorian atmosphere seen elsewhere, the Master Sitting Room’s style reflects the (later) Edwardian era taste that is utilized throughout this wing.

13a. Master Bath

Expressing a fashionable European influence that coincided with the Edwardian era, the décor of the Master Bath is conceived with distinctive Art Nouveau design characteristics.

13b. Master Closet
14. Master Bedroom

At the end of the Master Suite wing, this private retreat allows for outlooks in three directions. Off a short hall adjoining the Master Closet, a pair of exterior doors open directly to the Rear Terrace, where stairs lead to various outdoor living spaces.

15. Rear Terrace

The Rear Terrace spans the length of the Dining Room, and repeats its angled form. At either end, where it adjoins the Master Suite and Kitchen wings, stairs connect the Rear Terrace to the pool and garden areas.

NOTE: THE NEXT CHAPTER IN THE STORY OF THE MCDONALD MANSION WILL FEATURE PROGRESS VIEWS OF THE CURRENT CONSTRUCTION PROJECT.

The text and images of this page are available for modification and reuse under the terms of the GNU Free Documentation License, Version 1.2 and later and under the terms of the Creative Commons Attribute Share-Alike.

Bradbury's New Blog Explores Wallpaper's Storied History

Guild member Steve Bauer of Bradbury and Bradbury Art Wallpapers has been getting noticed for his splendid blog, which is shaping up nicely into a resource for wallpaper historians and enthusiasts of period design.

Many wallpapers have wonderful stories. Stories with questions. Hard questions. Questions like "Have you ever thought seriously about the use of medieval monks as the central design motif for your Arts & Crafts dining room??"

William Campbell Wall Paper Co., circa 1912

One recent entry highlights the Western themed papers popular in the 1950's:

(pretty sure this one matched my brother's PJs.)

Have a look at Bradbury&Bradbury "the Blog" here: http://bradbury.com/blog/ for more wallpaper tales, and inspiration, too!

“Mableton” and The McDonald Family, a brief history

The McDonald Mansion originally called “Mableton” was built in 1879 by Mark L. McDonald, one of Santa Rosa’s most prominent early citizens.

This landmark house is being restored thanks to the commitment of its current owners, and with the help and expertise of guild members, architects Rynerson & O'Brien, who have been compiling a history of the house. Here they share the first installment.

“Mableton”, circa 1882.

Earliest known view of the house, taken from a lithograph published in the 1880’s.

Mabelton was built in 1879 as the summer home of the Mark L. McDonald family, whose primary residence was in San Francisco. The family chose the name “Mableton” after the Mississippi plantation home of Ralphine North McDonald. Note the original two-tiered roof cresting and the bands of patterned roof shingles (now missing), which are to be restored. Partly visible on the far right of the image are the carriage house and the gazebo. Courtesy of Sonoma County Library History Annex and Santa Rosa Press Democrat.

Early History

The McDonald Mansion, originally called “Mableton,” was built in 1879 by Mark L. McDonald, one of Santa Rosa’s most prominent early citizens. Colonel McDonald, a Kentucky native, came west as captain of a wagon train in the early 1850’s. Trained in engineering, he first built roadways servicing gold and silver mines. His early successes allowed him to buy a seat on the San Francisco Stock Exchange, during which time he joined the ranks of the city's rich and powerful, including George Hearst, Leland Stanford and Charles Crocker.

Ralphine North McDonald (1843-1918)

Col. Mark Lindsey McDonald (1833-1917)

By the late 1860’s, McDonald had begun to apply his wealth, influence and entrepreneurial spirit to new business opportunities in Santa Rosa. These included purchase and subdivision of 160 acres of land, the called "McDonald’s Addition". During the 1870’s, the new development flourished, and McDonald Avenue became the premier residential street of Santa Rosa. The neighborhood’s popularity was enhanced by a range of amenities including gas and water service, and a new streetcar line established by Colonel McDonald. An extensive tree planting program, implemented with the assistance of famed local botanist Luther Burbank, introduced some imported species while preserving existing native examples.

Thompson's "Historical and Descriptive Sketch of Sonoma County, California," 1877.

McDonald was active in civic affairs and was instrumental in the development of numerous local improvements, including Santa Rosa’s first library, the first steam railroad brought to Santa Rosa and operation of the Santa Rosa Water Works Company, an early private utility. He capitalized and built the nearby reservoir known as Lake Ralphine, which was named for McDonald’s wife. His other business interests included fruit packing plants and drying yards in the area.

McDonald Avenue street car, circa 1910. Note 804 McDonald Avenue (Healey Home) in rear.

The McDonalds’ primary residence was in San Francisco and Mableton was built as their summer home. The couple had seven children, although two of their daughters (Ralphine and Alice) died during childhood. Those who survived into adulthood included Mark L. McDonald, Jr., Stewart, Mabel, Edith and Florence.

Colonel Mark L. McDonald family around 1900. Mrs. McDonald, Edith, Stewart, Maxwell McNutt (husband of Florence McDonald), Mable, Florence, Mark Jr. and the Colonel.

Mark McDonald Jr. married Isabelle Juilliard, and it was they who would eventually own Mableton. Stewart McDonald died of tuberculosis in 1907. Mabel, who was an accomplished horsewoman, married William H. Hamilton of San Francisco. Edith married Selah Chamberlain, a socially prominent San Franciscan. Florence, also an excellent horsewoman, married Maxwell McNutt, a high-profile San Francisco attorney.

Mabel McDonald and William H. Hamilton Wedding Party. On Mableton steps circa 1904.

Mark L. McDonald Sr. died in 1917, in San Francisco, at the age of 84. Following his death, his wife Ralphine resided at Mableton, where she died in 1918 at the age of 75. The couple is buried in the Santa Rosa Rural Cemetery, which is located at the north end of McDonald Avenue.

“Mableton”, circa 1910. This photograph was included in a promotional brochure published by the Santa Rosa Chamber of Commerce. It shows that, by this date, dormer windows had been added to the second floor bedrooms. Visible at far left is a bay window added to the rear portion of the house (absent in the 1882 lithograph view). Also, some of the original roof cresting is still visible. Courtesy of the California Historical Society.

The Middle Years

After the death of the senior McDonalds, the eldest son Mark Jr. and his wife Isabelle eventually became sole owners of Mableton, and made it their primary residence. In his career, Mark Jr.’s followed the example of his father, and found success running the Santa Rosa Water Works, and the M. L. McDonald Jr. and Co. Fruit Packing plant. He also had extensive holdings in orchard land and other real estate.

Mark McDonald, Jr., with daughter Marcia

Like her husband, Isabelle was a native Californian with family roots dating back to the Gold Rush. Her parents, Mr. and Mrs. Charles Frederick Juilliard, settled in Santa Rosa. The site of their family home was donated to the city by Isabelle’s father, and survives today as Juilliard Park in downtown Santa Rosa. Isabelle’s privileged upbringing included private East Coast schooling and several years of residence in Tuxedo Park, New York with her wealthy uncle Augustus Juilliard, who was the founder of the Juilliard School of Music.

By the early 1920’s, Mark and Isabelle had begun to extensively remodel Mableton to suit their own tastes. Among the changes they implemented were alterations to the rear of the house, installation of additional bathrooms, and numerous landscape improvements, including a tennis court (now the site of a formal garden). The couple had two children who survived into adulthood: a daughter, Marcia, and a son, Juilliard (a third child, Mark McDonald III, died in infancy).

Marcia Augusta McDonald, around age 18

Juilliard McDonald, as a young adult.

The Last of the McDonalds

After Mark L. McDonald, Jr. died in 1932, Isabelle occupied a Nob Hill apartment in San Francisco as her primary residence. Until her death in 1960, Mableton was once again used mostly as a summer home. Isabelle’s son, Juilliard McDonald, had a successful career and maintained the family’s business interests. Although he was married twice, Juilliard died childless in 1946. Following the death of Isabelle, her daughter Marcia became the last surviving McDonald heir. Like her mother, Marcia chose to make her primary home in a San Francisco apartment. However, after her mother's death, she was less inclined to visit Mableton, and subsequently allowed the property to fall into disrepair.

When Marcia, who never married, died childless in 1971 at the age of 65, the fate of the mansion was uncertain. The terms of Isabelle’s will and trust had dictated that, upon Marcia’s death, Mableton was to be left jointly to the University of California and Stanford University. Eventually, the property was offered for sale to the City of Santa Rosa, and local controversy over possible development plans for the site ensued.

Mableton circa 1971.

Mableton In Transition

Ultimately, Mableton was saved from the wrecking ball by Dr. Jack Leissring, who purchased the dilapidated mansion in 1974 with the intention of restoring it. In that same year, the property was listed in the National Register of Historic Places. Then, in 1977, during the course of the restoration process, a major fire occurred. Most of Mableton’s roof and second floor rooms were destroyed, and the fire burned through the previously intact original main hall ceiling and skylight.

Santa Rosa Fire Department extinguishing fire in Mableton in 1977.

Officially, the house was considered to be nearly a total loss. It was only through the efforts and perseverance of Dr. Leissring that Mabelton would once again regain its historic position of prominence on McDonald Avenue.

Aftermath of 1977 fire.

Re-framing Mableton roof after 1977 fire.

In 2005, the mansion was purchased from Dr. Leissring by John and Jennifer Webley, who remain the current owners. The Webleys' vision for the future of Mableton has guided the direction of the project that is currently in progress.

Mableton in December 2005.

The next chapter in the story if the McDonald Mansion will feature details of its makeover, and updated views of the project's evolution.

Chris Yerke shares his old house expertise on SFGTV

Guild member Chris Yerke recently discovered that a television program in which he participated is now available as streaming video on the San Francisco Government TV website. Filmed in 2006, the program was filmed as part of the San Francisco Building Department's brown bag lunch series, and aired on San Francisco cable channel 26. The program features contractor Chris Yerke, CEO of Restoration Workshop, Ltd. and carpenter James "Tools" Gauvin of Matarozzi Pelsinger in a panel discussion of old house issues.

This one hour program visits the thorny issues like weatherizing period homes, replacing windows, finding period house advice and craftspeople, and finding appropriate materials and hardware. It can be viewed by visiting the SFGTV.gov site, and scroll down the list of programs and select "This Old House."

Tiffany's legacy in the Bay Area

Glass artist Ted Ellison recently guided guild members on a tour around the Bay Area that featured the range of work produced by Tiffany Studios.
Here are some of the highlights of that tour.

<--- Tiffany Studios art glass window at St. Peters Chapel, Mare Island.

When Louis Comfort Tiffany began making leaded glass windows, he wanted to break from the European tradition of painted glass, a fine example of which was featured in the first stop of this tour. The rest of the day was spent visiting installations that featured technical advances in glass production, inspired design and innovative fabrication techniques that would redefine the art of stained glass.

Painted glass windows by Heaton, Butler and Bayne, at St Lukes Church, San Francisco

St. Lukes Episcopal Church, San Francisco
Designed in 1909 by Benjamin Geer McDougall (who also designed Oakland's Cathedral Building, the first gothic revival skyscraper west of the Mississippi in 1914), this Gothic Revival Church is filled primarily with the work of London's Heaton, Butler and Bayne. Featuring installations both intimate and monumental, this is a prime example of the influence William Morris had on leaded glass of the period. The high quality of the painted decorative details can be viewed at eye level in the windows that line the outer walls of the chapel.

Detail of Tiffany mosaic mural, Lake Merrit Methodist Church, Oakland

Lake Merritt Methodist Church, Oakland

In addition to leaded glass windows, Tiffany Studios created mosaics for architectural installations and decorative objects. In 1922, three large mosaic panels were commissioned for First United Methodist in Los Angeles, and transplanted to Oakland in 1990. Each panel, measuring 17' x 8', displays the full variety of iridescent, mirrored, textured, and colored opalescent glass manufactured by Tiffany.

Detail of layered glass landscape panel by Tiffany Studios, Grand Lake Theater, Oakland

Grand Lake Theater, Oakland
Allen Michaan opened the Grand Lake Theater to share the large landscape panel and mosaic panel in the lobby. The landscape is a notable example of the plating technique frequently employed by Tiffany Studios, where multiple layers of glass are layered together to modulate color and suggest depth of field.

Three of the exquisite Tiffany windows in St. Peter' Chapel, Mare Island

St. Peters Chapel, Mare Island
The Chapel was built in 1901 and is home of the largest collection of Tiffany windows in the western United States. An astounding display of fine design and excellent craftsmanship, these windows represent the height of the Studio's output in an accessible and up-close environment. Each window features inspired color choices and employs an array of techniques (including painting, staining, acid etching and plating) to achieve the effects Tiffany sought. A must see for anyone interested in craft, art or composition.

Artistic License would like to recognize the stewardship of these sites, and thank those who graciously opened these spaces to us.
- Ted Ellison


photos by Ted Ellison
click on images to view larger

Jane Powell at "Bathonista"

A whole blog dedicated to bathrooms? why yes, it's iBath.com's aptly named Bathonista, where this month author and reigning guild president Jane Powell answers five questions about early 20th century bath design.


"This is absolutely the best time for restoring or reproducing a bungalow-style bathroom, as both vintage pieces and great reproductions are available for all the various bathroom parts."
- Jane Powell

Everything you need to know about bungalow bathrooms can be found in Jane Powell's book, Bungalow Bathrooms, which is due to be released in paperback this August.

New Life for Oakland Cathedral's historic artwork

Artistic License members salvage historic elements for Oakland's new Cathedral of Christ the Light


<--St.Simon, stained glass from the Cathedral St. Francis de Sales, restored by Reflection Studios

Prior to the demolition of Oakland's former cathedral, Saint Francis de Sales, Allen Dragge's Reflection Studios was hired to safely remove all the stained glass windows. CMA Conversion Management Associates, worked on behalf of architectural firm Skidmore, Owings & Merrill to facilitate the restoration and installation of historic architectural elements in the new building. The stained glass panels have now been reinstalled in the mausoleum of the new cathedral, each one backlit and surrounded by a field of translucent onyx.

Reflection Studios also salvaged a sculptural ceramic mural which had been mounted on the wall at St. Francis de Sales. This ceramic panel resided in storage crates from 1993 until 2008. CMA contracted with guild members Diane Winters and Riley Doty to restore and install this colorful piece of ceramic art. It consists of thirty pieces, many sculpted in high relief and weighing as much as fifty pounds. Some pieces suffered damage from the 1989 Loma Prieta earthquake and from the removal process. (One section repaired by Diane had been broken into fourteen separate pieces!)

Diane Winters working on repairs to the tile mural

This artwork dates from 1962, executed by the Rambusch firm, commissioned for installation at St. Francis de Sales at the time of its consecration as the cathedral for the diocese of Oakland. The artwork seems to express that time in history, immediately following Vatican II. Several historic changes were initiated then, including saying Mass in many native languages instead of universally in Latin. The spirit of reaching out to diverse cultures seems reflected in this ceramic piece, which features traditionally executed scenes from the life of St. Francis de Sales, but with background patterns that suggests ethnic arts such as weaving or basketry. As a whole this lovely piece truly is a relic of the church's history, even though its origin is relatively recent in the larger scheme of things.

Riley Doty, working on repairs to the tile mural

In its original configuration the entire piece measured 10.5 feet high and over 5 feet wide. When Doty and Winters laid out the mural "dry" on the floor of the storage warehouse the architects from SOM were initially disappointed to observe these dimensions because the space they had in mind for it had a nine foot ceiling. SOM, working with Father Paul Minnihan from the cathedral, developed a wonderful solution to this problem. The restored mural was installed as a relic, with the main body attached to a specially constructed backing which hangs a few inches away from the back wall. The remaining sections sit adjacent, artfully placed on podiums, and the whole makes up a lovely composition.

Restored tile mural fragments, displayed in the new cathedral.

This composition is displayed as part of the Donor Wall. Both this and the stained glass in the mausoleum reside on the ground level, one floor below the cathedral. A visit to the sanctuary above is a must-see for first time visitors. The space created by architect Craig Hartman of SOM is breathtakingly beautiful and at the same time calm and serene.

--- Riley Doty

2009 Alameda Museum Lecture Series

Photo by Dennis Evanosky / Alameda Sun

The Alameda Museum has announced its 2009 Lecture Series, as part of Historic Preservation "Season" in Alameda

In April, May, and June 2009, look for events, tours, and lectures about the rich history of this island town!

The season kicks off Saturday, April 25, 11:00 AM with the "Webster Street Walkabout," a walk led by architect Richard Rutter.

Upcoming Lectures include:

• Thursday April 30: "A.A. Cohen and Old Fernside," by architect and historian Hank Dunlop. Underwritten by Michael Studebaker and Cynthia Audet, owners, Gallagher & Lindsey, Inc., Realtors.
• Thursday May 28: "A Home in Alameda," by local author and historian Woody Minor, based on his new book about Victorian era development. Underwritten by Ginger Schuler, member, Alameda Museum Board; Realtor, Harbor Bay.
• Thursday June 25: "Alameda: An Architectural Treasure Chest," a look at the Island City’s domestic architecture from the Gothic Revival to the Bungalow, presented by Dennis Evanosky and Eric Kos. Their talk is based on Alameda: An Architectural Treasure Chest written by Evanosky and published by Stellar Media of Alameda. Underwritten by Patricia M. Sahadi as a birthday present to herself.
• Thursday July 30: "Winslow Homer and the Post Civil War Era in America," Art historian Colette Colester returns with another dynamic lecture. Underwritten by Peter Fletcher, Real Estate Broker, Windermere Real Estate.
• Thursday August 27: "Just Across the Pond: Oakland Point and the West Oakland Marsh," by architectural historian Betty Marvin. Underwritten by Robbie Dileo; member, Alameda Museum Board.
• Thursday September 24: "Alameda Album" an illustrated talk by Paul Roberts based on two recently discovered vintage photo albums from the 1890s. Underwritten by City Council Member Frank Matarrese.

All lectures start at 7:00 p.m. at the Alameda Museum, 2324 Alameda Avenue, Alameda, CA.

for more information, visit the Alameda Museum website

Who's going to bail out craftspeople? You are.

Jane Powell makes a case for hiring local in the latest article for the San Francisco Chronicle.

"there will be no bailout for the many craftspeople, designers and suppliers who depend on construction, remodeling and design for their living. They need your kitchen remodel, landscape project, paint job or room addition in order to stay in business and pay their employees. You can't save the autoworkers in Detroit, but you can keep people working locally. In addition, most of the money you spend recirculates in the local economy - to suppliers, to subcontractors, even to the local sandwich shop where the workers buy lunch."

Stow-icism: The Legacy of Arts & Crafts Built-Ins

"Built-in furniture reached new creative heights during the Arts & Crafts movement. A study of its myriad forms will help yours to soar once again."


Read the latest article by Guild President Jane Powell in this month's Old House Journal.



photo courtesy The Crafstman Home.

The Best Decorative Painting in the Bay Area

This week the results of the local competition "The bAy List" featuring the best of the San Francisco Bay Area were announced at sfgate.com

Our own Adrian Card won First Place, with 33 glowing reviews of his work posted by clients and fans of his work.
Second Place in this competition was awarded to fellow guild member, muralist Lynne Rutter.

You can see even more of Adrian's work on his newly redesigned website at adriancard.com.

AL members featured in Old House Interiors

Cover Story!

Check out the December 2008 issue of Old House Interiors on newstands now, which features the work of a number of Artistic License artisans.

In this cover illustration the art glass windows by Theodore Ellison, fireplace tilework designed by Paul Duchscherer, tiles made by Diane Winters, tilework installed by Riley Doty.
Elsewhere in this same house are built-ins and furniture designed and built by Debey Zito, and interior painting by Robert Dufort of Magic Brush.

Children's Mural at Burlingame Public Library

Muralist Lynne Rutter's recently completed major commission for the Burlingame Public Library.

The Burlingame Library is a charming Spanish Revival style building, designed by architect E. L. Norberg and completed in 1931.
The storybook mural was commissioned by the Burlingame Library Foundation to commemorate the centennial celebration of the Library. The Children's Wing is a large space with soaring, beamed ceilings, textured plaster walls, and a lot of odd angles. This presented a challenge as there is no one focal point to the room, nor is there an uninterrupted space where one might normally site a mural.

Design consultant and guild member Michelle Nelson brought Lynne Rutter into the project to create a site-specific work that would incorporated the room's architecture. In Rutter's design, the grates, arches, and doors were integrated into the painting, so that the architecture became part of the composition of the mural.

Faraway Castles, approx. 9 feet wide
"The room becomes a story; its walls the pages of a favorite book."

The Burlingame Library is located at 480 Primrose, Burlingame. It's a wonderful building well-supported and well-used by its community, and a well worth a visit from you.

above: The north wall mural with life size-figures was painted on canvas and finished after installation on site. photos by Lynne Rutter.

Amazing baths in Old House Journal

Beautiful Bathrooms for the Period Home

Master tilesetter Riley Doty is featured in this well-illustrated article in Old House Journal.

"The bathroom in Becky Waring's 1906 Berkeley, California, brown-shingle cottage—a house some attribute to Julia Morgan—was dingy, with linoleum on the floor and unappealing 1970s white tile set in stained grout. "I wanted the bath to look as nice as the rest of the house, while maintaining historical authenticity," Becky explains. So she researched period bathrooms everywhere she could, and did extensive product scouting. "It didn't matter if the fixtures were cheap or pricey," she says. "They had to look right." She also found Riley Doty, a master tilesetter with the San Francisco-based restoration group Artistic License, to help guide her."



The WC in Becky Waring's circa 1906 bungalow, tiled by Riley Doty
photo from Old House Journal.

Madonna della Guardia Rises from the Ashes

Guild members Phil Diers and Adrian Card restore a beloved sculpture

The Madonna della Guardia a treasured icon for three generations of Italian-American Catholics at Corpus Christi Parish, San Francisco, has been restored after a devastating fire. The sculpture was acquired by Corpus Christi Church in 1941, when a small group of church members traveled to Genoa, Italy, with the intention of procuring such a statue. The church brings it out once a year for the Feast of the Madonna della Guardia in late August.

In 2006 an arsonist broke into the church and doused the blanket-wrapped statue with gasoline and set in on fire. In the course of beating out the flames, the firemen inadvertently broke off lots of pieces such as arms, hands, and heads. Through a very circuitous route the church was finally able to connect with sculptor Phil Diers who has faithfully recreated all the missing pieces, sculpting several of them from scratch, relying on old photos of the statue for reference.
Decorative painter Adrian Card then used the old photos to repaint the statue to look the same as it did before the fire. He also restored the crown which is encrusted with 128 Swarovski crystals.
Matthias Gordon-Murer, a San Francisco-based woodworker built a hardwood plinth with concealed wheels for the statue which will make it easier to move around the church.

The Corpus Christi Church held a special mass and festival to celebrate the restoration on Saturday, October 18.

Never Do Plumbing on Sundays

"... #1 rule of fixing: Never Do Plumbing On Sundays. Even if you think you won’t need some specialty part, I guarantee that you will...
A corollary to this rule is that any plumbing repair will require at least TWO (if not more) trips to the hardware store. "

you can read the rest of Jane Powell's advice for lovers of hardware in her latest article for the Berkeley Daily Planet: "A Rude Survey of Local Hardware Resources"

Bruce Aidell's Ultimate Craftsman

Sunday's San Francisco Chronicle Magazine features an article by Jane Powell about Bruce Aidell's Craftsman-style wine country home, designed in the manner of a Greene and Greene "ultimate bungalow" by Emeryville architect Greg Klein of John Malick and Associates.

Leaded Glass door detail, via www.jmalick.com

This marvelous house displays some amazing leaded glass work by current guild President Ted Ellison.
Bravo Mr. Aidell for this splendid effort, and to everyone who worked on this incredible house.

Read the article by Jane Powell here.
More about Charles Greene and Henry Greene here.

Tiles and Terra Cotta in "Uptown Oakland"

Check out this cool event with our own Riley Doty


You are invited to join Riley Doty and the Oakland Heritage Alliance for "Tiles and Terra Cotta in Uptown Oakland"
Sunday August 24, 2008
A Walking Tour and Benefit for Oakland Heritage Alliance *
Time: 2 - 1/2 hours; Fairly easy walking

<---- the Howden Building, Oakland, photo by Daniel Martinez


We will survey Oakland's glorious legacy of architectural ceramics, viewing about 20 examples dating from years 1914 - 1931.

Particular attention will given to the preservation needs of terra cotta. Some buildings have been treated very well and others rather badly; we will learn by example about some of the problems of maintenance and
restoration of this wonderful material.

Meet at the Howden Building at 17th St. & Webster St. in Oakland
Tour begins at 10:00 a.m.
Come early to register and to view the Howden Building's tilework. We will try to have the entire interior open - not just the restaurant space.

Cost: $15.00 / * $10.00 for OHA members.
Free admission to anyone who joins OHA on the day of the tour.
easy street parking on Sunday / 5 minute walk from 19th Ave BART station.