Houses of Los Angeles, 1885-1919 by Acanthus Press LLC

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Front end sheet

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ARROYO SECO, PASADENA, 1904

URBAN DOMESTIC ARCHITECTURE S E R I E S

HOUSES OF

LO S A N G E L E S 1885 –1919 VO LU M E I

SAM WATTERS Research by REBECCA GALE Research Consultant JIM LEWIS

AC A N T H U S P R E S S N E W Y O R K : 2 0 07

Published by Acanthus Press LLC 54 West 21st Street New York, New York 10010 www.acanthuspress.com Copyright ÂŠ 2007, Sam Watters

Every reasonable attempt has been made to identify the owners of copyright. Errors of omission will be corrected in subsequent printings of this work. All rights reserved. This book may not be reproduced in whole or in any part (except by reviewers for the public press) without written permission from the publisher. Library of Congress Cataloging-in-Publication Data Watters, Sam, 1954Houses of Los Angeles / by Sam Watters. p. cm. -- (Urban domestic architecture series) Includes bibliographical references and index. ISBN-13: 978-0-926494-30-5 (v. 1 : alk. paper) ISBN-10: 0-926494-30-9 (v. 1 : alk. paper) ISBN-13: 978-0-926494-31-2 (v. 2 : alk. paper) ISBN-10: 0-926494-31-7 (v. 2 : alk. paper) 1. Architecture, Domestic--California--Los Angeles. 2. Los Angeles (Calif.)--Buildings, structures, etc. I. Title. NA7238.L6W38 2007 728.09794'94--dc22 2007013156

Book design by Maggie Hinders and Jeannine C. Ford Printed in the USA

CONTENTS

HOUSES OF LOS ANGELES 1885–1919 VOLUME 1

Introduction • 11 L E W I S L . B R A D B U RY H O U S E , Los Angeles • 32 A N D R E W M C N A L LY H O U S E , Altadena • 36 C E N T I N E L A , Inglewood • 42 V I L L A M I R A M A R , Santa Monica • 48 G R AC E H I L L , Pasadena • 54 T H A D D E U S S . C . LOW E H O U S E , Pasadena • 60 D R . A N D M RS . A DA L B E RT F É N Y E S H O U S E , Pasadena • 70 I V Y WA L L , Pasadena • 80 E D WA R D L . D O H E N Y H O U S E , Chester Place • 88 PAU L D E LO N G P R É H O U S E , Hollywood • 104 E L M I R A D E RO, Glendale • 110 H O L M BY H O U S E , Hollywood • 120 A D E L A I D E A . T I C H E N O R H O U S E , Long Beach • 128 T H E T E R R AC E S , Pasadena • 134 V I L L A M E R R I T T- O L L I V I E R , Pasadena • 146 W I L L I A M A N D R E WS C L A R K J R . H O U S E , Kinney Heights • 154 D R . G U Y H . C O C H R A N H O U S E , Los Angeles • 170

D R . A N D M RS . A DA L B E RT F É N Y E S H O U S E , Pasadena • 176 V I L L A M A DA M A , Shatto Place • 186 E D WA R D M . TAY LO R H O U S E , Altadena • 194 H E N RY E . H U N T I N GTO N H O U S E , San Marino • 200 RU S S E L L M . TAY LO R H O U S E , Berkeley Square • 218 E L M E R G R E Y H O U S E , Oak Knoll • 224 D R . J O H N R . H AY N E S H O U S E , Los Angeles • 232 C O R D E L I A A . C U L B E RTS O N H O U S E , Oak Knoll • 240 S E C O N D O G U A S T I H O U S E , South Arlington • 250 C A S T L E YO R K , South Arlington • 256 A N OA K I A , Arcadia • 260 J U D S O N C . R I V E S H O U S E , Westchester Place • 266 A RT E M E S I A , Hollywood • 272 YA M A S H I RO, Hollywood • 276 WA LT E R L . D O D G E H O U S E , West Hollywood • 286 S H A D OW H I L L , Beverly Hills • 294 M I S U E Ñ O, Pasadena • 304 V I L L A C A P I S T R A N O, Edendale • 312 M A RS H A L L I A , Pasadena • 320 W E L L I N GTO N S . M O RS E H O U S E , San Rafael Heights • 328 FLORES ADOBE, S outh Pasadena • 336 Client and House • 342 Landscape Architects and Interior Decorators • 345 The Architects • 346 Notes • 359 Bibliography • 370 Photography Credits • 375 Index • 377

I N T RO D U C T I O N

A L D O U S H U X L E Y scoffed in 1925 that Los Angeles was “seventeen suburbs in search of a metropolis,” his words resonated with cosmopolitan Europeans and establishment America.1 To people living in New York, Boston, and Chicago, Los Angeles was—and to some still is—a failed city, the repository of wildcat entrepreneurs, harebrained politicians, religious quacks, and, worst of all, Hollywood producers: in other words, the dregs of American society. In the critics’ minds, illiteracy, antiintellectualism, drugs, religiosity, and political corruption were the by-products of a town that could not be great. Despite its temperate climate and natural beauty, Los Angeles was seen by scornful pundits as nothing more than a vast sprawl of architecturally discontinuous neighborhoods wrecked by miles of congested boulevards and electric railways. Los Angeles is not a failed city but a grand urban enterprise undertaken by the region’s oligarchic business community at the end of the 19th century. In 1971 the English critic and historian Reyner Banham discerned that, unlike American cities unified through city plans, Los Angeles was organized by an interlocking transportation network that extended and connected the seemingly distant locales considered a part of Los Angeles proper. Beginning in the 1870s with short-spur rail lines from downtown to outlying regions, followed by interurban streetcar lines first organized in 1893 and the development of a highway system launched in 1939, Los Angeles became a city where downtown was HEN

just two highway off-ramps from any outlying city. Banham summed up Los Angeles by observing that “all its parts are equal and equally accessible from all other parts at once.”2 From its beginning, modern California has been a marketable paradise—“one vast garden, cut up into a world of Edens,” noted an observer in 1867.3 This Arcadian marketability periodically jeopardizes the region’s financial and ecological health by encouraging ill-conceived development in areas ravaged by earthquakes, wildfires, and floods of biblical scale.4 Los Angeles became a city dominated by singlefamily houses through fulfilling its self-created myth that a house and garden 10 minutes from work was available to everyone.5 Liberated from the aesthetic and social constraints of the established cities they left behind, and inspired by a varied landscape, early prosperous Angelenos built houses that were as diverse as their pioneering owners. Scottish castles, Japanese pavilions, Moorish forts, Craftsman bungalows, and Medician villas, as well as English cottages and Spanish farmhouses, modest and lavish, were next door to one another throughout the Los Angeles region. In a city where movies gave form to the nearunimaginable, it is not surprising that houses of the rich and famous had astonishing luxuries—golf courses, airfields, observatories, aviaries, apiaries, deer parks, waterfalls, and acres of hillside gardens with panoramic 100-mile views to snow-covered mountains and blue ocean waters.

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BUNKER HILL, MARGARET E. CROCKER HOUSE, 1908 (JOHN HALL, ARCHITECT)

By the turn of the last century, Los Angeles was already defined as a city of architectural eclecticism and independence. In 1909 an early visitor, interviewed for the Los Angeles Times, enthusiastically observed, “Not much like New York or Philadelphia, . . . or ’Frisco either. Houses in those cities look like they’d been dropped from a bullet mold. It is possible to walk or ride all day through the streets of Los Angeles and be constantly surprised and entertained by the thousand and one variations.”6 The stories of some of those variations designed by inventive architects for power-hungry, deal-making, creative, and civic-minded Los Angeles citizens, related to one another both socially and in business, are the subject of these volumes.

THE CITY California was forged from both the cooperative and contentious interactions among Anglo pioneers, Spanish occupiers, Mexicans, and native inhabitants. Looking to prevent an occupation by the English and threatened by accounts of an expanding Indian population, Spain occupied California in 1769, building military garrisons—presidios—along the coast. Associated with the presidios were Franciscan missions spaced a day’s trip apart from south to north and pueblos as early towns. Los Angeles itself began as a pueblo founded on the banks of the Los Angeles River in 1781 by a Spanish-appointed governor. The pueblo’s original name is debated, but a generally accepted version is El Pueblo de la Reina de los Angeles, “The Village of the Queen of the Angels.” 7

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INTRODUCTION

With Mexico’s independence from Spain in 1822, California became a colony of the Mexican government. Three years later, Mexico designated Los Angeles a city, and beginning in 1835, it secularized the missions to encourage civilian settlement in the new republic. In parcels ranging from 1,000 to 48,000 acres, land grants in the form of ranchos were given to native Californians and American settlers, with more than 51 grants issued between 1822 and 1848 in the Los Angeles region. Between 1850—when California entered the union and the city became a municipality—and the end of the century, Los Angeles was transformed from a frontier town into a vital economic center. The region was connected to San Francisco by the Southern Pacific Railroad in 1876, and the large Mexican ranchos were

broken up by American settlers who in turn subdivided their newly acquired land holdings to form the region’s first towns. These early settlements included Pasadena to the east of central Los Angeles and Santa Monica to the west. Having received land and money from the federal and state governments in exchange for building the national railway network, railroad barons entered the real-estate business, foreseeing the benefits of supporting population growth, small-scale farming, water conservation, and scientific agricultural development.8 Working in tandem with the Los Angeles Chamber of Commerce, organized by the city’s powerful business elite, the railroad companies unleashed unprecedented advertising campaigns introducing health seekers, tourists, and businesses to Southern California. The

BIRD’S EYE VIEW OF LOS ANGELES, 1894

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SANTA MONICA, ELECTRIC CAR STATION, 1922

Atchison, Topeka & Santa Fe Railway, which had arrived in Los Angeles at the end of 1885, began a ticket rate war with the Southern Pacific Railroad, which lured farmers and city dwellers across America to California’s unexploited paradise. Beginning in 1886, Americans arrived by the thousands, and their inevitable search for housing set off a two-year period of unparalleled land speculation. During the boom of the 1880s, an estimated 2,000 real-estate agents sold parcels created from old ranchos and promoted the region by making exaggerated claims about the fertility of California and the agricultural fortunes to be made. At first lots were sold far from the urban center, but as Los Angeles developed, settlement was encouraged nearer downtown.

Architects, most notably the Newsom brothers from San Francisco, participated in the real-estate boom by designing large-scale hotels, housing developments, and commercial buildings and even investing their own money in what came to be risky ventures when the boom ended in 1888. As architectural historians Robert S. Winter and David Gebhard have noted, these early firms were the beginning of a distinct Los Angeles phenomenon: the large architectural office as much involved with design as with city planning and the financing of building projects.9 Urban development at the end of the 19th century left a vastly changed Los Angeles region. Long Beach, Los Angeles, and Pasadena embraced the City Beautiful movement, which promoted the planned integration of

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INTRODUCTION

EAST LAKE PARK, CIRCA 1914

public and commercial services with private amenities. A comprehensive Los Angeles zoning ordinance was passed in 1909, and a city planning association was created in 1915. By the turn of the century, piped water, sewers, and streetlights had transformed downtown Los Angeles from a decaying slum of neglected adobes into a city with cast-stone buildings, shops along paved sidewalks, and elegant residences on Spring, San Pedro, and Aliso streets. Construction of the city’s harbor at San Pedro began in 1899 and it expanded into a major port after 1913. Schools and universities were founded, including the State Normal School (which became the Southern Branch of the University of California, and eventually UCLA), the University of Southern California, and Occidental College.

The period from 1890 to 1910 was a picturesque time in Los Angeles history, before factories, the Hollywood movie industry, the automobile, and public utilities converted a landscape of farms and residential neighborhoods in and around downtown into a modern horizontal city that spread out from the early business center. To accommodate the region’s increasing need for a reliable source of water, the city completed in 1913, with the oversight of William Mulholland (1855–1935), an aqueduct that traveled 233 miles to Los Angeles from the Owens River Valley in northern California. Most significantly for the region’s expansion, public transportation developed in the form of the privately held Pacific Electric Railway and Los Angeles Inter-Urban Railway, organized by

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WEST ADAMS STREET, CIRCA 1914: LYCURGUS LINDSEY HOUSE, 1908, AND SECONDO GUASTI HOUSE, 1913 (HUDSON & MUNSELL, ARCHITECTS); LUCIEN N. BRUNSWIG HOUSE, 1909 (FRANCIS X. LOURDOU, ARCHITECT)

Henry E. Huntington (1850–1927) to connect the diverse residential areas being developed by him and his business colleagues. Through the annexation of outlying communities that had remained independent of Los Angeles, the city’s population grew from 50,295 in 1890 to 319,198 in 1910, living in neighborhoods spread over 99 square miles. On one day alone in 1915, Los Angeles tripled its size by annexing the San Fernando Valley—except for Glendale, Burbank, and San Fernando—and Palms, north of Culver City. By the 1920s, Los Angeles had become a city of cities, all in Los Angeles County but some independent of the Los Angeles city government.

THE HOUSES Subsequent to the early Indian encampments along the Los Angeles River and Pacific Ocean, the earliest domestic buildings in Los Angeles were one-story houses built of mud bricks left in their natural adobe color. They had flat roofs of an asphalt-type mix or shallow pitched roofs of hollow tile. Affluent Spanish and Mexican settlers built U-shaped haciendas with wooden, instead of clay, floors, shaded verandas

supported by wooden posts, and center courtyards of barren earth. With simple walls and fountains, dirt pathways, and modest planting, hacienda gardens were but a shadow of their Iberian antecedents. Throughout its modern architectural history, Los Angeles has developed and expanded ideas that originated elsewhere. With the increasing wealth of farmers, land speculators, business entrepreneurs, and rich tourists, Los Angeles residential architecture in the 1870s and 1880s came to include the styles already fashionable in the East and Midwest. In 1932, Frank Lloyd Wright recounted with disdain that the early Californians showed no concern for the state’s distinctive climate and architectural heritage, having brought with them “the Porch and the Parlor . . . the pie and the ice-water,” to build houses set on the “clipped lawns of little town-lots.”10 Until freeway construction in the 1950s razed early downtown and southside Los Angeles neighborhoods, the city contained fine Federal Revival, Richardsonian Romanesque, and Queen Anne houses, some of which survive today. By the first decade of the 20th century, Angelenos were living along treelined streets with access to bucolic parks remarkably similar to those found in the neighborhoods back East that they had left only a few years before. As the city

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INTRODUCTION

FIGUEROA STREET, THOMAS D. STIMSON HOUSE, 1891 (CARROLL H. BROWN, ARCHITECT)

grew and land values rose, however, public spaces became increasingly rare. Because land developers were unwilling to sacrifice profit for the public good and the city was unable to marshal sufficient financial support for a comprehensive parks plan, Los Angeles developed without consistently reserving land for public spaces.11 The interiors of Los Angeles’ late 19th-century houses evolved from the midcentury Queen Anne movement and the Colonial Revival architecture of the East Coast. First-floor living spaces opened easily into a large central hall, and the service areas were isolated from the public rooms. From the hall and front porch, a garden area was visible. Bedrooms and porches located on a second floor were reached by a center stairway. The interior finishes were an eclectic mixture of wood

paneling, art glass, and native-wood floors. Rooms were appointed with a cluttered array of furnishings and objects that continued the mid-Victorian taste for the exotic and diverse seen throughout America at the end of the century. Progress has always been a double-edged sword in America, bringing prosperity to many while creating a sense that a moral center has been sacrificed in the service of growth. In boomtown Los Angeles, this sense of loss and nostalgia for an imagined simpler time manifested itself in an enthusiastic embracing of the Arts and Crafts movement as articulated by the American furniture maker Gustav Stickley and his The Craftsman magazine. The most notable architectural practitioners of this style were the Greene brothers in

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OAK KNOLL, CHARLES S . EATON HOUSE, 1910 (ROBERT D. FARQUHAR, ARCHITECT)

Pasadena. The Arts and Crafts house promoted a commitment to craftsmanship and the handmade and shared many of the design characteristics of the Prairie style developing in the Midwest, with low horizontal profiles, open floor plans, and banks of windows. Japanese architecture became influential in part because of its overall horizontality and craft traditions; also, Japan was part of the Pacific Rim and therefore increasingly associated with California at a time when the state’s regional heritage was being defined. India’s

colonial architecture influenced the design of the California bungalow, which provided both an original and artistic solution to Southern California’s rising demand for affordable, tasteful, middle-class housing and cool shelter in the summer months. Early California architects received training through apprenticeship in established architects’ offices, but with the growth of architecture programs at eastern universities and postgraduate education at the Ecole des Beaux-Arts in Paris, a new generation of architects

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INTRODUCTION

arrived in California after 1900 with an understanding of historic traditions. With wealth accumulated in the post–Civil War business boom and with a backward glance to European traditions for social and cultural assurance, California clients commissioned Beaux-Arts Classical Revival villas whose interiors were organized around a central hall with flanking rooms. The Beaux-Arts house throughout America was favored for its rational, ordered plan and aristocratic origins. In California, the axial formality of the French school found its most consistent expression in the Italian Renaissance revival urban palazzi of 1905 to 1915 as designed by Dennis & Farwell, William J. Dodd, Robert D. Farquhar, and other turn-of-thecentury architects trained in the classical traditions. The massing of these early houses would influence the design of the first Mediterranean villas of the 1920s which incorporated Italian and Spanish vernacular elements while retaining the symmetry of Beaux-Arts plans. At a time when regionalism was influencing the development of new American architecture, Southland architects described these early revival palaces and their civic building counterparts as “Italian–Spanish Renaissance” in style, a characterization that associated the buildings with California’s southern European heritage. As America searched for a national identity in the 1880s, Colonial Revival styles derived from America’s past were embraced. East Coast architects returned to 18th-century New England and mid-Atlantic traditions. California practitioners looked to the state’s colonial missions romantically portrayed in tourist literature and books of the time. Most notable among these sources was Ramona, in 1884 a best-selling novel by the New England writer Helen Hunt Jackson (1830–1885). A tale about the love of a young Mexican woman for a native Indian, the novel was set in a chaparral-covered California landscape presided over by majestic Spanish missions and haciendas lost to

“Americans pouring in, at all points, to reap the advantages of their new possessions.”12 A leading proponent of California’s Mission Revival was another East Coast intellectual, the Harvard-educated Charles Fletcher Lummis (1859–1928). After graduation, Lummis walked 3,507 miles from Cincinnati to Los Angeles, observing southwestern Native American cultures along the way. He wrote articles about his travels, sending them ahead to the Los Angeles Times, before finally arriving in 1885. With a romantic belief in the moral superiority of early Californians, in his lifetime, Lummis founded the Los Angeles Southwest Museum to house his collection of Indian artifacts; created several ethnic preservation groups; promoted the history of early adobe missions; and founded the California Arts and Crafts movement. He also built, with architects Theodore Eisen and Sumner P. Hunt as designers, El Alisal, meaning “Place of the Sycamore,” his house in the Arroyo Seco region north of downtown, using local river boulders and incorporating a gable and tower as a symbolic allusion to California missions. Through his various organizations and his magazine Land of Sunshine (Out West after 1912), Lummis promoted the connection between Mission Revival architecture and Arts and Crafts theories of the handmade and the authentic then influencing furniture design, painting, architecture, and the work of artists and architects living in the Arroyo Seco. In the West, the furniture of Gustav Stickley became known as “Mission style” furniture because Lummis and other Mission revivalists thought that its essential simplicity and darkness were qualities appropriate to mission buildings. Although European Arts and Crafts proponents adhered to a belief in the authenticity of materials and the value of craftsmanship, turn-of-thecentury California architects, in a gesture to modernity, seized on concrete stucco surfaces as an acceptable alternative to early mission adobe brick.

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HIGHLAND PARK, EL ALISAL

The first Mission Revival building was the California Building at the 1893 World’s Columbian Exposition in Chicago, designed by San Francisco architect A. Page Brown (1859–1896) with Bernard Maybeck. Maybeck had been with the firm of Carrère & Hastings when they built Florida’s 1888 Ponce de Leon Hotel and the 1889 Alcazar Hotel, America’s first buildings to incorporate “Spanish Renaissance” forms. Distinguished by the scalloped parapet known as the mission-order gable, the Mission style spread quickly in Southern California as Los Angeles city promoters incorporated mission forms into public building designs to assure new arrivals that they were becoming part of an indigenous California culture— albeit one that had already been largely dismantled to make way for development justified as Manifest Destiny. From storefronts to railroad stations and hotels, classic Spanish colonial details became almost overnight a part of Los Angeles’ architectural vocabu-

lary. The Mission Revival anticipated the broader interest in Spanish-Mexican traditions that influenced the design of the 1915 San Diego Panama–California Exposition, where Bertram G. Goodhue’s California Building and other structures evoked California’s past through Renaissance, Baroque, and Moorish details derived from colonial architecture. The buildings of the exposition, some of which are extant in San Diego’s Balboa Park, had a profound effect on builders and architects alike in 1920s Los Angeles. Architects and critics supported an interest in California’s colonial heritage as they promoted a residential architecture that both considered historical precedent and addressed the region’s specific climatic, topographical, and cultural conditions. Although Myron Hunt & Elmer Grey, Greene & Greene, and Irving J. Gill offered inventive early solutions to the search for California-appropriate houses and gardens, regionalism in California found its most consistent

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INTRODUCTION

BOYLE HEIGHTS, DIAMOND HILL NURSERY, OPENED 1892

expression in the widespread building of Mediter ranean Revival villas in the 1920s.

T H E GA R D E N S Early Los Angeles gardens were stylistically eclectic, incorporating European and American mid-19th-century design elements. The period’s fascination with exotic species took hold in California, where the ongoing development of water sources and the expansion of successful local nurseries assured that disparate species imported from around the world would flourish, planted

one next to the other, regardless of their compatibility in horticultural or aesthetic terms. In specimen-specific gardens like those planted by William Hertrich (1880–1966) for Henry E. Huntington in San Marino, a dazzling array of flowers, shrubs, and trees was assembled in a late Victorian triumph of man over nature, fulfilling the much-touted vision of California as a fertile paradise. In 1915 the critic Porter Garnett celebrated the passing of the “dowdy” Victorian garden in California and welcomed the planning of gardens in conjunction with the house. “It is pleasant, too, we more and more feel, to find something of the design of the house

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extended beyond its walls, carrying even the sense of shelter and human occupation that the house affords into the gardens about it.”13 The idea of integrating outdoor and indoor spaces—a defining aspect of the historical Mediterranean garden—determined the development of California landscape design in the first half of the 20th century. Before the first generation of landscape architects had graduated from professional schools after 1900, gardens in Southern California were designed by gardeners and nurserymen, often from England, Scotland, France, and Belgium, and by architects including Robert D. Farquhar, Greene & Greene, and Myron Hunt. These architects were guided by aesthetic ideals that determined the overall design of a house as well as that of its garden as it related to a project’s overall site and interior plan. Arts and Crafts and regionalist house designs featured garden plans that carefully considered native topography and incorporated California plants in open fields, meadow gardens and hillside terraces. Japanese gardens were studied for their unique horticultural and architectural traditions and influenced the design of many Los Angeles middle- and upper-class bungalow gardens. Reflecting the predominant eclecticism of the period, Asian gardens became exotic additions to larger tracts that were otherwise formal arrangements of lawns, pergolas, and flower beds. Some of Los Angeles’ earliest Italianate gardens were found behind Beaux-Arts villas built for successful businessmen seeking to assure their place in the city’s hierarchy. With axial plans incorporating fountains and parterres derived from European models, these early gardens reflected the influence of Charles Adams Platt and other East Coast landscape architects. They were designed to be viewed from porches and interior rooms and were well tended by gardeners. These formal town gardens differed in scale and complexity from do-ityourself suburban lot gardens, but they both

exuberantly combined elements from the region’s dominant traditions. Given California’s year-round moderate climate and the ready availability of water after 1913, swimming pools became an early feature of luxurious Los Angeles residences. At first “tanks” and “plunges” were housed in residential basements or conservatories, but by the 1920s, the exterior swimming pool surrounded by terraces and gardens had become a feature of California estates and reflected the region’s unique climate and outdoor living.14

C I T I E S O F LO S A N G E L E S Los Angeles as a municipality grew by annexing towns and residential areas outside downtown. Cities joined Los Angeles for political and economic reasons, but municipal water and power were the dominant benefits. Although the annexation process has made Los Angeles the largest city in California, some cities in Los Angeles County remain independent. Because the history of these independent entities intertwines with that of Los Angeles, houses from these areas are inseparable from Los Angeles residential history. Following are some of the cities that have been incorporated since the founding of modern Los Angeles at the end of the 19th century.

A RC A D I A Thirteen miles northeast of downtown Los Angeles, Arcadia was the site of an original 13,319-acre Mexican land grant made in 1839 to a Scottish trader, Hugo Reid, who had married a native Indian raised at the Mission San Gabriel. In 1888 a railroad employee called the area Arcadia, in recognition of its natural beauty and fertile soil. Elias J. “Lucky” Baldwin (1829–1909) purchased the original Reid rancho in 1875 and established a racehorse stable there. When

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INTRODUCTION

BEVERLY HILLS HOTEL, CIRCA 1916

Baldwin became mayor in 1903, Arcadia was incorporated and covered 11 square miles. In 1934 the renowned race track Santa Anita Park was founded on land that had been part of Baldwin’s ranch; the architect Gordon B. Kaufmann designed its grandstands. Although most of the rancho has been subdivided, Baldwin’s residential estate and eccentric Queen Anne/Stick–style cottage remain as part of the Los Angeles County Arboretum, created in 1947.

B E V E R LY H I L L S In the 1880s, the former 4,500-acre rancho Rodeo de las Aguas was cultivated by farmers raising beans,

wheat, and walnut trees. In 1900, with Henry E. Huntington, Burton E. Green (1868–1965), a realestate developer from Beverly, Massachusetts, and his partners acquired land in the area for oil exploration, but when the wells failed, they organized the Rodeo Land & Water Company in 1906. The architect Myron Hunt and landscape architect Wilbur David Cook Jr. (1869–1938), who was trained in the offices of Frederick Law Olmsted, designed the town of Beverly Hills in 1909 with undulating streets north of Santa Monica Boulevard. To encourage growth, Green sold residential lots and in 1912 built the Beverly Hills Hotel designed by Elmer Grey. To actress Norma

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Shearer, who arrived in 1923, the city still “looked like an abandoned real estate development,” with sidewalks leading to acres of bean fields,15 but by 1930 the former rancho had become home to movie stars and business moguls. The year 1924 saw the defeat of the annexation of Beverly Hills by the City of Los Angeles.

FLINTRIDGE Beginning in 1905, the United States senator Frank P. Flint (1862–1929), a key figure in persuading Theodore Roosevelt to back the Owens Valley Aqueduct project that brought water to Los Angeles, assembled 1,700 acres on the shady north side of the San Rafael hills south of today’s Foothill Avenue in the area of La Cañada, originally part of the Rancho San Rafael. In 1920, Flint, by then an attorney in Los Angeles, introduced his exclusive residential area called Flintridge with spectacular views to the San Gabriel Mountains. With streetcar lines to neighboring cities and paved access roads, the area became a wealthy bedroom community in the 1920s for Glendale, Pasadena, and Los Angeles, only 13 miles away. Today Flintridge remains part of the city of La Canãda Flintridge, incorporated in 1976.

G L E N DA L E At the foot of the Verdugo Mountains seven miles north of downtown Los Angeles, the town of Glendale emerged in 1876 as a stop on the railroad between Los Angeles and San Francisco. Located between the San Gabriel and San Fernando valleys, Glendale in the 1880s was a prosperous center of the citrus industry but stagnated during the depression of the 1890s that followed the real-estate boom. Modern Glendale was organized after the land developer Leslie C. Brand negotiated with Henry E. Huntington to bring the Pacific Electric Railway north to the town. In 1904 the line was complete, and in 1906 the city, with a population of 1,100, was incorporated at Brand’s instigation. By 1910, the population had doubled

to 2,742. A reliable and affordable source of water was an ongoing need for early Los Angeles communities, and in 1915, Glendale raised a bond issue to buy out the city’s independent water producers and create a municipal water utility. In 1918, Glendale absorbed its southern neighbor, the town of Tropico, and grew rapidly in the 1920s, with more than 60,000 residents living in the city’s expanded boundaries by 1925. An agricultural community until World War II, Glendale became a center for light industry in the 1950s.

L O N G B E AC H Nineteen miles from downtown Los Angeles, Long Beach was incorporated as a town in 1888 by the Long Beach Land & Water Company, which had assumed ownership from its original owner, the Englishman William E. Willmore. The real-estate promoter Charles E. Drake (1843–1928) went to Long Beach in 1901 and spent three decades developing the city as a seaside resort, an undertaking at odds with the prohibitionists who kept the city free of retail liquor stores and saloons until 1932. Harbor improvements from 1913 onward contributed to the viability of the city, and Drake’s “Walk of a Thousand Lights” pier became part of a popular amusement park known as “The Pike.” The discovery of the Long Beach oilfield at Signal Hill in 1921 and the expansion of the naval installations at the deep-draft Long Beach harbor in the 1920s improved the long-term economic prospects of the city. Long Beach suffered a setback when a major earthquake in 1933 leveled many early masonry buildings.

MALIBU Incorporated as an independent city in 1991, Malibu is 26 miles west of downtown Los Angeles and extends along the Pacific Coast to Ventura County. First inhabited by the Chumash Indians, Malibu was part of the 13,390acre Malibu Ranch acquired by Frederick H. Rindge (1857–1905) of Massachusetts in 1892 for $10 an acre. Rindge’s widow, May K. Rindge (1866–1941), spent her

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INTRODUCTION

MALIBU, MERRITT H. ADAMSON HOUSE, 1932

fortune preventing the state from building the Pacific Coast Highway and the Southern Pacific Railroad from laying tracks through her rancho. She constructed private roads and a standard-gauge railway near the coast to ship grains from the ranch to the Rindges’ private shipping wharf, now the Malibu Pier. In 1925 a state court authorized the construction of the state highway through the property. To pay her taxes, Rindge leased lots north of the Malibu Lagoon to movie celebrities, finally selling the lots in the 1930s. This area became known as the Malibu Beach Colony. Rindge finally sold the balance of her estate in 1940.

PA S A D E N A Founded on 4,000 acres of the 40,402 acre Rancho San Pasqual, Pasadena—its name derived from the Chippewa language and meaning “the valley”—is 10 miles from downtown Los Angeles, lying in the fertile San Gabriel Valley at the base of the majestic San Gabriel Mountains. In 1873, Daniel M. Berry (d. 1887), a teacher and journalist from Indianapolis, led a group from Indiana west to form the area’s first American community. Incorporated in 1885, Pasadena had 30,000 residents by 1907, owing to the city’s popularity as a winter resort.

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

MAP OF PASADENA AND VICINITY, 1924

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INTRODUCTION

Wealthy vacationers who traveled by rail from St. Louis, Chicago, and New York owned houses along Orange Grove Avenue or stayed at fashionable hotels, including the Mission-style Green Hotel, developed by Altadena resident Colonel George C. Green. After 1900, Pasadena became a center for artists and intellectuals who lived along the city’s natural western boundary, the Arroyo Seco, meaning “dry riverbed.” Here they pursued the reformist ideals of the Arts and Crafts movement. Minorities, including Chinese, Japanese, Hispanic, and African Americans who came to work on the region’s railroads, farms, and estates, formed communities in the northern and eastern parts of the city. By 1925, Pasadena was home to the Throop Polytechnic Institute (now the California Institute of Technology, or “Caltech”) and the annual Rose Bowl Game and Parade, which originated as “The Festival of Roses.” Organized by Pasadena’s active board of trade in 1888, the festival was created to promote the region’s winter climate, with members of the exclusive Valley Hunt Club riding their rose-covered carriages down Orange Grove Avenue in January. With tree-lined streets of well-kept houses and mature gardens, Pasadena was Los Angeles’ best-maintained early city, alluring to both conservatives and progressives. When they arrived in the Southland in 1920, the Austrian architect Rudolph Schindler and his wife, Pauline, wanted to live in Pasadena, which they described as “the LA equivalent of Lake Forest,” the posh suburb north of Chicago.16 This analogy was particularly apt, given that many of Pasadena’s residents were midwesterners.

SAN MARINO Eight miles from downtown Los Angeles and bordering Pasadena on the east, San Marino is on land that belonged to the Mission San Gabriel and, later, the Rancho San Pasqual. The first private house built there was the 1878 James de Barth Shorb residence, which

Henry E. Huntington purchased, along with hundreds of acres, in 1903. This estate became the Henry E. Huntington Library & Art Gallery, opened to the public in 1928. Huntington developed the San Marino area by building houses and bringing his Pacific Electric Railway to the San Gabriel Valley. To protect their estates and to avoid annexation by Los Angeles, the residents of San Marino incorporated in 1913. One of the nation’s wealthiest residential areas, the city has discouraged development.

S A N TA M O N I C A With a dramatic western bluff at the edge of the Pacific Ocean, Santa Monica, the “Zenith City of the Sunset Sea,” is 14 miles from downtown. It was founded in 1875 by Senator Paul P. Jones (1829–1912) and a sheep rancher, Colonel Robert S. Baker (1825–1894), with farmlands they had purchased for $55,000 from the original Californio landowners, the Sepúlveda family. Much of presentday Santa Monica, West Los Angeles, and Brentwood was formed from this early purchase. On July 15, 1875, the auctioneer of the first Santa Monica lots bellowed in the hyperbolic terms similar to claims used throughout the region to lure new buyers to Eden: At one o’clock, we will sell at public outcry to the highest bidder, the Pacific Ocean, draped with a western sky of scarlet and gold; we will sell a bay filled with white-winged ships; we will sell a southern horizon rimmed with a choice selection of purple mountains, carved in castles and turrets and domes; we will sell a frostless, bracing, warm yet languid air, braided in an out with sunshine and odored with the breath of flowers. The purchaser of this job lot of climate and scenery will be presented with a deed of land 50 feet by 150 feet.17

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

SANTA MONICA, OCEAN BLUFF, 1898

Jones built a wharf for his town and constructed a railway that connected Santa Monica to Los Angeles in the east. At the turn of the century, the formidable Collis P. Huntington (1821–1900), uncle of Henry E. Huntington, and his Southern Pacific Railroad company tried to make Santa Monica a commercial seaport, but their political machinations failed when San Pedro to the south became the port of Los Angeles. Santa Monica developed into a popular beach house community in the 1920s. Movie stars built bungalows along the Pacific Coast Highway. With Prohibition, tourists and Los Angeles residents took water taxis to gambling ships anchored offshore. Although it remained largely a resort, by the late 1930s Santa Monica was home to the Douglas Aircraft Company, one of the region’s leading industrial employers.

S O U T H PA S A D E N A In 1888, a 3.44-square-mile area south of Pasadena and six miles northeast of downtown Los Angeles became the independent city of South Pasadena. With the construction in 1886 of the Hotel Raymond and in 1896 of the Cawston Ostrich Farm, the town became a winter vacation resort and developed a quiet residential neighborhood of 19th- and early 20thcentury houses that remain today.

W E S T H O L LY W O O D One of the early electric railway owners in Los Angeles was General Moses H. Sherman (1853–1932), who with his brother-in-law Eli P. Clark (1849–1931), created the Los Angeles–Pacific Railway Company, eventually acquired by Edward H. Harriman (1848–1909), the competitor of Henry E. Huntington. In 1898, Sherman built a railway hub at

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INTRODUCTION

the corner of Venice and San Vicente boulevards, referred to as the Sherman Terminus. As workers’ houses and stores appeared in the area, the town of Sherman developed, spreading north to the frost-free farmlands of the Hollywood Hills. In the 1900s, Sherman elected not to be incorporated into the City of Los Angeles, unlike fashionable Hollywood, just to the east. Sherman became a less expensive residential alternative to its famous neighbor, and by the 1920s was known as West Hollywood. Because of the repeal of Prohibition and liberal landuse regulations permitting gambling, West Hollywood in the 1930s and 1940s was populated with nightclubs including the Mocambo and the Trocadero Café along the area’s Sunset Strip.

The Acanthus Press series on urban domestic architecture profiles the social and urban history of houses through archival photographs. The houses in this volume represent a glimpse at the many private residences designed for wealthy Angelenos as they built a modern American city. They were selected for the diversity of their architecture and owners, and for their place in the history of Los Angeles. Today 20 of the 38 houses profiled remain, almost all with later additions and alterations. As a result of subdivision and the cost of maintenance, none of these surviving houses have their original gardens.

. . .

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VILLA MIRAMAR S A N TA M O N I C A S AU N D E R S & S AU N D E R S , 1 8 8 9

OCEAN AVENUE FACADE

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EAST FACADE FROM NEVADA AVENUE

P E RC I VA L J O N E S (1829–1912) was born in Hereford, England and raised in Cleveland, Ohio. When gold was discovered on the West Coast, Jones and his brother set sail from Cleveland on September 26, 1849, traveling down the St. Lawrence Seaway, around Cape Horn at the southern tip of Chile, and up the coast to San Francisco. There Jones began a remarkable life in the early western states. He made a fortune as an investor in and superintendent of the Crown Point mine in Nevada. In 1872 he won a seat from that state in the United States Senate and remained in office for 33 years. Jones and Colonel Robert S. Baker, and Baker’s wife, Arcadia de Baker, acquired control of the 39,000-acre Rancho San Vicente y Santa Monica. With this land, Jones founded the town of Santa Monica in 1874. After OHN

the region weathered a financial decline, Jones began construction in 1887 of a 17-bedroom house on three and three-quarter acres at the corner of Nevada Avenue (now Wilshire Boulevard) and Ocean Avenue, with California and Second streets defining the property’s eastern and northern boundaries. Jones hired the young husband-and-wife team of Charles Saunders and Mary Channing Saunders to design his imposing Shingle-style house. Because Mary Saunders was trained in Rhode Island, it is not surprising that the west facade of the Jones house, with its two rounded towers connected by a porch facing Santa Monica Bay, followed in overall design the front of Robert Goelet’s Newport, Rhode Island, house Ochre Point, designed by McKim, Mead & White in 1882.1 Similarly, the gable projecting forward from the stairwell block on the

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

ENTRANCE AT NEVADA AND OCEAN AVENUES

PORCH

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VILLA MIRAMAR

HALL

entrance side of the Jones house was derived from the wide gable designed by Henry Hobson Richardson in 1874 for Newport’s William Watts Sherman house, expanded by McKim, Mead & White in 1881. The Jones house was a heavy composition of interrelated broad-gable roofs, deep eaves, and covered porches that lacked the overall unified complexity of its eastern sources. As Robert Judson Clark noted, compared to contemporaneous Queen Anne designs in Los Angeles, the Saunders & Saunders house was remarkably restrained. Inside, Villa Miramar’s paneled entrance was characteristic of the late Victorian living hall, an open space whose casual country-house feeling was evoked by exotic, portable rattan seating furniture.

At the time Villa Miramar was built, open fields for grazing were present within Santa Monica’s city limits. The grounds of the house combined elements of a small farm and a domestic ornamental garden, incorporating rose arbors, a tennis court, chicken coops, a stable, and a barn. These grounds were the site of an early game of basketball in the summer of 1896 when Rose Newmark, the daughter of a prominent Los Angeles pioneer family and a student at Stanford University, introduced the Joneses to the sport.2 Jones built the house for his aging mother and his second wife, Georgina Sullivan (1853–1936), a leading social figure in Los Angeles and the daughter of Eugene Sullivan, who established San Francisco’s

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

GARDEN PAVILION

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VILLA MIRAMAR

OCEAN AVENUE

Golden Gate Park. Although Jones’ main residence was in Nevada, he and his extended family came to Santa Monica for vacations. Civic leaders, politicians, and 19th-century luminaries including Mark Twain, Madame Modjeska, and Thomas Lamont were guests at Villa Miramar until Jones sold the house in 1912. Plans were drawn up for a house in West Adams designed by his son-in-law Robert D. Farquhar,3 but Jones moved to the former Hancock Banning house in

West Adams, designed by Carroll H. Brown, and he died soon thereafter. Following its sale by the Jones family, Villa Miramar became the Westlake Military School for boys preparing for West Point and Annapolis. In 1921 it was converted to a hotel. The house was demolished in 1938, and today the Jones property is the site of the Fairmont Miramar Hotel.

. . .

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D R . A N D M RS . A DA L B E RT F É N Y E S H O U S E PA S A D E N A D E N N I S & FA RW E L L , 1 8 9 7

EVA FÉNYES PRELIMINARY WATERCOLOR, SPRING 1897

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SOUTH ORANGE GROVE AVENUE FACADE

S C OT T M U S E F É N Y E S (1849–1930) was the daughter of Leonard F. Scott, the founder of the East Coast–based Scott Publishing Company and a descendant of the first governor of Massachusetts, John Winthrop. She and her second husband, Dr. Adalbert Fényes de Csakaly (1863–1937), met in Cairo in 1895. He was a Hungarian physician, and she was an American heiress returning to Egypt, a country she first visited in 1869 with the Hudson River School landscape painter Stanford R. Gifford. They married in Budapest in 1896 before returning to America and settling in Pasadena that same year. Although the exoticism of the Middle East had appealed to Americans since the first decades of the 19th century and was much in vogue in the 1880s, the Mediterranean climate of Southern California and the VA

couple’s North African romance must have determined the Fényes’ decision to build a Moorish style house. In February 1897, Eva Fényes purchased a 150-by210-foot lot at the northwest corner of South Orange Grove Avenue and Ellis Street. She hired Greene & Greene to draw up plans for a residence, but the architects declined the job, unwilling to work in an exotic style.1 She communicated with a Parisian designer who proposed to manufacture in France the paneling and ornamentation for une maison Mauresque. The sketches in a March 1897 letter from France were broadly Arabian in plan but Napoleon III in spirit, with a central patio on the first floor leading to a salon de concert in the rear to be decorated with palms, statuary, and painted ceilings. By the time the letter arrived, Eva Fényes had settled on the Los Angeles firm of Dennis & Farwell.2

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

CORNER TOWER

FRENCH PLAN, 1897

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D R . A N D M R S . A DA L B E RT F É N Y E S H O U S E

INTERIOR ALGERIAN COURT

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

ENTRANCE HALL

Throughout the 12 months of construction, Eva Fényes and Lyman Farwell, a fellow Middle East enthusiast, were in almost daily communication regarding the smallest details. She painted a watercolor of an early version of the house, possibly as a guide for the architects, whose final plans followed the spirit and basic configuration of Fényes’ painting.3 At the southeastern corner of the residence, an ornamented ribbed onion dome, with the Ottoman crescent moon and star at its peak, rose above a two-story block. Dr. Fényes’ onestory waiting room and office on the north side facing Orange Grove was connected to the main house by a domed porte cochere. Through this arched entranceway, past the kitchen wing, was a Moorish-inspired wood-

and-stucco laundry and stable with a square two-story tower enclosing a water tank. The details of the main house—black-and-white arched window surrounds, a carved wood overhang above the second-story bay, and shallow terra-cotta tile eaves inspired by Tunisian and Moroccan precedents—were exotic refinements to a sand-colored, stucco suburban villa. Using photographs taken by Eva Fényes in the winter of 1893, the architects copied an Algerian entrance for the front door and hallway designs.4 To provide readable drawings for the interior carved and gilded arabesque moldings and wall panels, Farwell consulted popular pattern books published for Western designers. “I have studied the Entrance Hall

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D R . A N D M R S . A DA L B E RT F É N Y E S H O U S E

DINING ROOM

frieze the most,” wrote Lyman Farwell in May 1897, “—have consulted the best authorities in Turkish, Moorish, and Arabian decoration (such as Owen Jones Grammar of Ornament).”5 North African houses were organized around a two-story wust al-dar, or patio open to the sky, often with a central fountain. For the elaborate carved and painted interior Algerian court integrated into the Fényes house by the first-floor stairway, the architects and client turned to photographs of Algerian public buildings, including the governor’s summer residence

and the archbishop’s palace at Tunis. They hired Los Angeles’ influential Colonial Art Glass Company, managed by Walter H. Judson (1872–1934), to manufacture an intricate octagonal roof dome made of “opalescent and meridian glass.”6 The interiors of the more than 30-room house were eclectic, with a Louis XVI/Adam–style ballroom, a Moorish-inspired library, a neo-Renaissance dining room, and a floral boudoir and bedroom for Mrs. Fényes’ daughter, Leonora S. Muse. A Louis XV–style salon was to the left of the entrance, decorated in

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

VIEW, STABLES, PORTE COCHERE; WATERCOLORS BY EVA FÉNYES, 1901–02

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D R . A N D M R S . A DA L B E RT F É N Y E S H O U S E

ALGERIAN COURT, SALON, LIBRARY, MIDDLE HALL; WATERCOLORS BY EVA FÉNYES, 1901–02

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

LIBRARY WITH VIEW TO BALLROOM

EVA FÉNYES BEDROOM

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D R . A N D M R S . A DA L B E RT F É N Y E S H O U S E

STABLES

shades of green, and above this room and below the southeastern corner dome was Mrs. Fényes’ yellow First Empire bedroom. Eva Fényes oversaw the decorating of the house, ordering furniture, carpets, and portieres from Cedar Rapids, Iowa, and from New York and Los Angeles. To complete the exotic interior patio, she purchased, after much communication with a supplier in Salt Lake City, a taxidermy peacock. Eva Fényes was a talented and prolific artist who befriended musicians and local Arroyo Seco landscape painters. She helped Charles F. Lummis establish the Southwest Museum and recorded in watercolor California’s endangered Spanish adobes and missions of particular interest to the Arroyo Seco intellectual community..7 Her paintings of the Fényes’ Orange

Grove villa provide a rare glimpse in color of a 19thcentury Islamic fantasy.8 By spring 1901, the roof of the Fényes patio was beginning to leak, as were the areas below the parapets and around the chimney. At great expense the art-glass dome was repaired by Judson, but the leaks persisted. In November 1903, the Fényes sold their Moorish villa partially furnished for under $10,000, less than the $10,500 spent to build the house. The house was resold, and in August 1915 the estate burned to the ground, reportedly for insurance money, the house being then valued at $30,000. Only the small one-story wing housing Dr. Fényes’ office survived, and it was moved in 1917 to nearby Loma Vista, where it has been preserved as a private residence.

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E L M I R A D E RO G L E N DA L E N AT H A N I E L D RY D E N , 1 9 0 4

DINING ROOM FACADE, 1904

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ENTRANCE FACADE, 1904

from St. Louis who founded the Los Angeles Title Guarantee & Trust Company and, with Edward L. Doheny, the Mortgage Guarantee Company, Leslie Coombs Brand (1859– 1925) assembled, by 1901, 1,000 acres north of downtown Los Angeles. From this land, he and his associates created the early community of Glendale. For his house north of the city, Brand turned to Moorish traditions. Like his neighbor Andrew McNally to the east, Glendale’s founding father had been drawn to the exotic buildings at the 1893 Chicago Columbian Exposition, N ENTREPRENEUR

which more than 27 million Americans visited during the year it was open. The memory of the fair was clearly in Brand’s mind when he approved plans by his architect and brother-in-law Nathaniel Dryden for a house loosely based on the fair’s India Building. By 1904, from the town of Glendale, south of Brand’s 450-acre property, residents could see El Miradero (“Grand View”), a white stucco Moorish-style pavilion majestically rising on a plateau at the base of the Verdugo Mountains. The overall plan of the single-story house continued the Eastern theme of the exterior, with the living

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

HALL, 1906

DRAWING ROOM, 1906

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EL MIRADERO

LIBRARY, 1906

PATIO, 1915

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

DINING ROOM LOOKING WEST

spaces built around an interior patio sheltered by an arched glass roof, but the rooms were decorated in a western late Victorian manner. An entrance living hall was flanked by a parlor at one end and a library at the other, with both rooms looking south to Glendale through the scalloped ogee arches of a shaded veranda. The dining room off the library faced west and had an open view through an ornamented Moorish picture window to the farmlands of the San Fernando Valley. By 1915, Brand added a tower block to the east side of the house, creating a porte cochere and a master bedroom and bathroom on the second floor, reached by a curving staircase originating in the living room. North of El Miradero, Brand built in 1909 a “Swiss” Craftsman lodge designed by Charles E. Shattuck to accompany a swimming pool and tennis

court. Northeast of the main house, he constructed the estate’s kennels and laid out the Brand family cemetery, which included graves for the beloved dogs kept by Brand and his wife, Mary Louise (1875–1945). Private aviation became a sport of many affluent Californians in the teens and 1920s, and the widespread construction of small landing strips made north-south travel possible. Beginning in 1912, Brand became an airplane enthusiast, at first collecting army surplus aircraft and graduating to a custom airplane manufactured in nearby Venice. “It is made of mahogany with many parts nickel-plated,” reported the Glendale Evening News; “It has deep, plush-lined seats. The aero plane can ascend six miles. It has a wingspread of nearly 44 feet, contains a cellarette and lunchbox, and will carry three passengers.”1

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EL MIRADERO

VIEW TO GLENDALE FROM VERANDA, 1904

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

SOUTH FACADE, CIRCA 1920

ENTRANCE GATE, CIRCA 1920

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EL MIRADERO

AIRFIELD, 1921

In a level field just south of his residence, Brand laid out a private runway complete with a white stucco and steel aerodrome in the Moorish style. He hosted “fly-in parties” that included prominent community members and movie stars who arrived in private planes. Although he did not pilot his aircraft, Brand took frequent trips in California, including to his summer house at Mono Lake, north of Los Angeles. The Brands had no children, and when Leslie Brand died, his estate deeded all of El Miradero to the City of

Glendale, except the house and its immediate land, where Mrs. Brand continued to live until her death from an automobile accident. The city then received the house and remaining property, with the stipulation that the entire estate be used as the Brand Library and Park. Today, the residence—with its interiors largely unaltered—has been incorporated into the Brand Library and Art Center, and the well-maintained grounds and cemetery are now open to the public. Shattuck’s Craftsman clubhouse burned to the ground in 1988.

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

FIRST FLOOR PLAN

SECOND FLOOR PLAN

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EL MIRADERO

AERIAL, AFTER 1945

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V I L L A M E R R I T T- O L L I V I E R PA S A D E N A W I L L I A M F. T H O M P S O N , 1 9 0 6

TERRACE DRIVE FACADE

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ENTRANCE GATES

on the west side of Orange Grove Avenue had open views to the Arroyo Seco and San Rafael hills, and those on the east side were equally well sited, with panoramic vistas across Terrace Drive to the San Gabriel Mountains and to downtown Pasadena. Hulett Clinton Merritt (1872–1956) acquired more than four acres bordered by South Orange Grove Avenue, Olcott Place, and Terrace Drive, a street where his father and business partner, Lewis J. Merritt, already owned a house. In May 1905, Hulett Merritt contracted for the construction of a 16-room gray stucco Italian Renaissance villa. He had hired William H E E S TAT E S

F. Thompson, a fellow Minnesotan, to work with Merritt’s Spring Street Company in downtown Los Angeles on the design and construction of the house. Hulett and Lewis Merritt made a fortune by mining iron ore from the Missabe Range in Minnesota and by building the Duluth, Missabe & Northern Railway. Merritt was a director of the MerrittRockefeller syndicate, which operated the Lake Superior Consolidated Iron Mines and became a principal shareholder of the United States Steel Corporation when that company purchased the syndicate’s mining and railroad interests.

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

VIEW EAST TO PASADENA FROM TERRACE DRIVE PARTERRE

In 1892, Hulett Merritt married Rosaline Christine Haben (1875–1954), a native of Saginaw, Michigan, whose mother was related to the distinguished Ollivier family prominent in French 19th-century military and political affairs. The Merritts came to California in 1898 and were involved in both the business and civic life of Los Angeles. Merritt was instrumental in bringing electricity to Southland communities, participated in the redesign of Orange Grove Avenue at the turn of the century, and helped establish the Tournament of Roses as an annual tradition. Merritt made national news in 1918 when the California government brought charges

against him for hoarding 500 pounds of sugar during a period of war rationing. He was convicted of the charge and appealed the case, winning a reversal of the decision in 1921. Its location and size were the distinctive qualities of the Villa Merritt-Ollivier. The central block of the Hshaped residence was set between two symmetrical wings, with a two-story kitchen extension at the north end and a loggia along the south side. The first-floor rooms included a formal dining room, a study, and a living room that accessed the loggia. A double staircase at the living room entrance led to the bedrooms and private baths on the second floor. In the basement were

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V I L L A M E R R I T T- O L L I V I E R

LIVING ROOM

MASTER BEDROOM

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

MASTER BATHROOM

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V I L L A M E R R I T T- O L L I V I E R

KITCHEN

a billiard room, a gymnasium, a tiled swimming pool, and what critic Porter Garnett described as a “‘New England Kitchen’ used for informal entertainments,” with rough-hewn beams and a recessed fireplace and cooking spit.1 As was customary in Los Angeles interiors of the period, a variety of exotic imported woods was used for dado paneling and cabinetry in the firstfloor rooms, as well as in the owner’s second-floor bedroom. Merritt was a collector of paintings, Oriental carpets, and German porcelains, and displayed these in his house and at the Merritt Art Gallery, which he founded on Green Street in Pasadena. Thompson sited the Villa Merritt-Ollivier on a ridge above Terrace Drive and preserved uninterrupted garden and lawn views on both sides of the villa by setting the driveway into a terrace east of the house with a gated entrance off Olcott Place. A stairway descended from the entrance door, down a rolling lawn

past a fountain and parterre, to a balustrade at Terrace Drive overlooking Merritt’s tennis courts across the street and the city of Pasadena beyond. From a terrace on the Orange Grove side, water flowed to a wall fountain flanked by stairways to a sunken garden with rose hedges bordering flower parterres along a central axis. A pergola at the western end, shaded by grapevines and wisteria, closed off this garden from an iron fence with concrete piers along Orange Grove. The Italianate design of this area, with its walls, balusters, and water feature, reflected the influence of Charles A. Platt’s Brookline, Massachusetts, garden of 1900 designed for Larz Anderson. Hulett Merritt continued to own Villa MerrittOllivier until after the death of his wife in 1954. Merritt died in 1956, and the Ambassador College of the Worldwide Church of God purchased the furnished villa and its gardens. With the exception of

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

WEST TERRACE

SUNKEN GARDEN

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V I L L A M E R R I T T- O L L I V I E R

PERGOLA

an altered west facade, the house has been preserved. It is wedged between modernist school buildings constructed on additional acreage along Orange Grove,

with the sunken garden retaining only a semblance of its original form. A developer purchased the entire property in 2005.

â&#x20AC;&#x201C; 153 â&#x20AC;&#x201C;

WILLIAM ANDREWS CLARK JR. HOUSE

AND

L I B R A RY

KINNEY HEIGHTS JOSEPH J. BLICK, 1906,

AND

R O B E RT D . FA R Q U H A R , 1 9 2 6

WEST FACADE

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

OBSERVATORY, GARAGE, AND LIBRARY

LIBRARY EAST FACADE

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WILLIAM ANDREWS CLARK JR. HOUSE

LIBRARY VESTIBULE

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

LIBRARY VESTIBULE CEILING DETAIL, APOLLO WITH LETO

Christopher Wren at Hampton Court.6 For the interior, Farquhar consulted the Pierpont Morgan Library in New York, the library at the Château de Cluny in France, and the 1920 library designed by Myron Hunt and Harold C. Chambers for Henry E. Huntington.7 On the west facade, in niches to the left and right of the library’s entrance doors, Farquhar had intended to place statues of Gutenberg and Plantin by his brotherin-law, the noted Beaux-Arts sculptor Frederick W. MacMonnies, who declined the commission because of prior commitments.8 Farquhar provided a landscape plan that introduced a lawn at the east side of the new building to complement the existing sunken terrace at the west side. This lawn and other plantings were installed under the supervision of Mark Daniels, who designed an open-

air, cast-stone Italianate reading pavilion built in 1928 at the library’s south side. By the time Farquhar and Daniels were designing the garden, Clark had acquired almost five acres comprising a city block bounded by West Adams, West 25th Street, Gramercy Place, and Cimarron Street. The literary pleasure garden had precedents in English 18th-century landscape design, most notably at Stowe and Stourhead, and it is therefore not surprising, given Clark’s scholarly interests, that the three-year plan Clark and Daniels created in 1928 for the development of the estate called for “shrines” dedicated to Keats, Shelley, and Goldsmith set in a landscape containing sunken gardens, pavilions, and a 90-foot bathing pool.9 This plan was a unique example in Southern California of a programmatic landscape

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WILLIAM ANDREWS CLARK JR. HOUSE

LANDSCAPE PLAN, CIRCA 1923

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

CORNELL LANDSCAPE PLAN, CIRCA 1937

Muses, the only women in the ceiling and visually subsidiary to the male ignudi sensuously posed above the doorways and the room’s marble dado. Clark is symbolically represented by objects representing law, literature, music, and the arts arranged between the male figures. At the end of the vestibule is the library’s drawing room, facing east onto the garden and furnished by Hunt under the supervision of Post. Shakespeare’s Antony and Cleopatra and Dryden’s version of the play All for Love are the sources for the salon’s Venetian ceiling vignettes and north and south wall paintings. The room’s overall decorative program is based on the story of the Egyptian queen’s wooing of the handsome Roman general away from his wife, Octavia, and the final joining of the lovers after death. The ceiling’s central panel depicts the moment at the end of Dryden’s play when Cleopatra, poisoned by a serpent’s

venom, cries out: “Already, death, I feel thee in my veins, I go with such a will to find my lord, that we shall quickly meet.”14 With its themes of male beauty, duty to family, and romance fulfilled only after death, when the tie between two lovers can be “too strong for Roman laws to break,” Cox’s murals can be interpreted as a cloaked homage to the liaison between Clark and the younger Post, with parallels to the affair of Oscar Wilde and Lord Alfred Douglas.15 William Andrews Clark Jr. predeceased Post by 12 years and was entombed at the Hollywood Memorial Cemetery in the Clark family mausoleum, designed by Farquhar. Clark’s will deeded the bulk of his estate to UCLA, proposing that an art gallery be built as a companion to the library and that these two buildings and the observatory be placed in a parklike setting open to the public. If Clark’s vision had been realized, his

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WILLIAM ANDREWS CLARK JR. HOUSE

AERIAL LOOKING DOWNTOWN ALONG WEST ADAMS STREET, 1939

West Adams property would have honored British architecture and landscape design, the fine arts, music, astronomy, and literature. In 1937 the University of California Regents called on the landscape architect of UCLA’s central campus, Ralph D. Cornell, to design a master plan for the library gardens. Cornell elaborated the planting on the north side and installed a low, curved wall at the end of the east lawn to close the vista east from the library’s drawing

room. Although Cornell’s plan reflects the early intention of the university to demolish Clark’s residence, this action was not carried out until 1972. The observatory was dismantled in 1951, and in 1990, Barton Phelps & Associates completed a row of sensitively designed brick office buildings along the property’s northern border. The William Andrews Clark Memorial Library and its grounds are maintained by the university, and the library is open to scholars.

. . .

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H E N RY E . H U N T I N G TO N H O U S E SAN MARINO M Y R O N H U N T & E L M E R G R E Y, 1 911

SOUTH FACADE, 1911

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VIEW NORTH FROM HUNTINGTON DRIVE, CIRCA 1911

H E TURN-OF-THE-CENTURY

financier, Henry Edwards Huntington (1850–1927), understood the fortune to be gained from unifying Los Angeles through transportation. With an almost $9 million inheritance from his uncle Collis P. Huntington (1821–1900), founder of the Southern Pacific Railroad, Huntington expanded the interurban Pacific Electric Railway Company. He brought commuter rail lines to square miles of Southland real estate whose development he and his coterie of business associates controlled. Like William Andrews Clark Jr. in Los Angeles, Huntington used his estate in San Marino to

bring the canon of western European culture to a maverick American city while creating an enduring personal legacy. Between 1890 and 1930, English estates, where wealthy landowners lived a cultivated, rural existence, became the model for the country house properties of American plutocrats. Huntington’s 500-acre San Marino ranch, which he acquired in 1903 from easterner James deBarth Shorb and developed until his death, was unique in Los Angeles for the ambition of its house and the scope of its commercial agricultural enterprise.

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

SHORB HOUSE WITH SOUTH PORCH, CIRCA 1908

Huntington began landscaping his ranch before he settled on plans for a new house. To layout and plant a self-sustaining estate, he hired in 1904 William Hertrich (1880–1966), who was born in Baden, Germany, and studied horticulture in Austria. Hertrich and his staff of 100 men set up nurseries where they seeded oranges and avocados and planted palms, redwoods, and pepper trees used to develop the ranch and the vast tracks of neighboring land acquired by Huntington. They built a 450-foot lath house, workers’ cottages, and culverts to stem winter flooding. By the turn of the century, formal gardens based on European traditions were becoming the norm for country estates. Hertrich and Huntington, however, pursued the creation of a late 19th-century specimen garden that made manifest the ideal of California as a new-

world Eden. Hertrich’s landscape plan was determined by Huntington’s collections of cactus and semi-tropical plants and by the economics of the estate’s commercial nursery and orchard. Huntington aggressively acquired the unique and unsual so that his estate would be unlike any other in California. In the fall of 1910 Hertrich delivered to Huntington’s son some rare rocks from a supply at San Marino. Upon learning of this, Huntington wrote his superintendent: “We had the only kind of rock in that part of the country and to scatter it around makes it common.”1 A watercolor for Myron Hunt and Elmer Grey, the architects of Huntington’s new house, reveals that an Italianate garden consistent with the style of the residence was proposed for its south terrace. The architects were early advocates of Mediterranean

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H E N RY E . H U N T I N G TO N H O U S E

COBB RENDERING , SOUTH FACADE, UNDATED

HUNT AND GREY RENDERING , 1908

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

ENTRANCE FACADE, CIRCA 1915–18

bowling alley and the acquisition of fountains, statuary, and stone vases installed by Hertrich in consultation with the Huntingtons.4 In 1905, Huntington turned to the civil engineer Edward S. Cobb to draw up plans for a new residence. In June of that year, Cobb presented to Huntington variations on a house elevation that quickly evolved with increasing restraint over the period of a week. With its wide pediment, columned portico, central block, and symmetrical wings, the engineer’s plans were for a type of Georgian Revival country house mastered by McKim, Mead & White and Charles Platt. In 1907, Huntington hired Hunt and Grey, already known to him through their design in 1906 of his beach house at Clifton-by-the Sea (Redondo

Beach) and of residences for Huntington’s son, Howard, and daughter, Clara H. Perkins, in their father’s Oak Knoll development. The architects began work immediately on new plans and traveled to New York to consult with their client and Arabella Duval Huntington (1850–1924), Collis’s widow, who became Henry Huntington’s wife thirteen years after her first husband’s death. By October 1908, the Shorb Second Empire house had been razed, and on its site along the ranch’s south-facing ridge rose Hunt and Grey’s Beaux-Arts residence, built to be fireproof, with reinforced concrete, tile walls, and a slab roof. The open views from the terrace and east porch were to the farmlands of the lower San Gabriel Valley that Huntington developed.

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H E N RY E . H U N T I N G TO N H O U S E

EAST PORCH, CIRCA 1915–18

With Arabella’s approval, the decoration of the firstfloor rooms was assigned to Duveen Brothers, the London-based art dealers whose partner Joseph Duveen had personally overseen the 1906 decoration of Mrs. Huntington’s town house in Paris. They in turn subcontracted the extensive woodwork for the San Marino house to London’s White, Allom & Company, known for its recreation of French and English 18th-century rooms at the Henry Clay Frick House in New York and at Buckingham Palace. The firm’s method of providing scale models before proceeding appealed to Huntington, who carefully monitored all decisions associated with the ranch’s development.5 By the close of 1909, White, Allom shipped finished paneling to San Marino and sent supervisors to oversee carpenters and installers in a shop set up on the

estate. The house was substantially complete by 1911, but for the following two years, in consultation with Huntington through the mail and in person, Hertrich continued to oversee painting and construction projects and received, at the ranch’s railway spur, crates containing furniture, paintings, and garden ornaments. Advance instructions regarding their precise placement were sent by Huntington from New York. In 1913, Henry Huntington sailed to Europe for the first time and married Arabella in Paris. In January 1914, with bulbs planted for winter blooms and a vegetable garden already maturing, the Huntingtons traveled to Los Angeles from New York in two private railcars. The couple arrived at the Pasadena Santa Fe depot and were chauffeured to San Marino for their first visit together.

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

FIRST AND SECOND FLOOR PLANS

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H E N RY E . H U N T I N G TO N H O U S E

AERIAL, CIRCA 1921

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YA M A S H I RO H O L LY W O O D F R A N K L I N M . S M A L L , 1 91 5

WHITLEY HILL, CIRCA 1916

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

GATEHOUSE AND SERVICE FACADE

For centuries, the exoticism of the Far East had attracted Western architects and their clients. Japanese traditions made their first impact on 19th-century American taste at the 1876 Centennial International Exposition in Philadelphia, and afterward at the 1893 Chicago World’s Columbian Exposition and San Francisco’s 1894 Midwinter International Exposition. Whereas architects like Greene & Greene synthesized and integrated Japanese elements into their uniquely Californian bungalow houses, others made literal interpretations of Japanese buildings, considered appropriate in a state that was part of the greater Pacific Rim.

With Walter Webber acting as the local supervising architect, Small designed the Bernheimer hilltop palace in the style of the Tokugawa period (1615–1867) and positioned the building at the top of three terraces reached by steps on the south side and, on the north, by a curving drive that ascended the hill to a gatehouse. Built of native-wood timbers set on concrete foundations and with a blue-tile roof supported by a system of corbels, the residence formed a quadrangle 116 feet square with a 40-foot-square inner courtyard. The rooms were arranged across the front and sides of the building, with the dining room in the northwest corner and a traditional tea room running along the north side

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YA M A S H I R O

HALL

SITTING ROOM

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

SITTING ROOM

COURTYARD

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YA M A S H I R O

TEA ROOM

DINING ROOM

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

MINIATURE GARDEN

of the courtyard. At the back of the house, overlooking the rear terrace and garage, were the kitchen and servants’ rooms. Metalwork, lighting fixtures, embroideries, and carved and painted wood panels made in Japan and installed by Los Angeles workmen, created an Oriental ambience in an otherwise Western interior.2 Adolph L. Bernheimer and Danish gardener Andreas Carl Orum (1880–1941) planted an extensive Japanese garden overlooking Hollywood with miniature bridges, gateways, pagodas, and pavilions set in a landscape of imported dwarf pines and cherry trees.3 Bernheimer ordered from Japan a pagoda that was placed beside a mountaintop pond stocked with gold-

fish and constructed an open pavilion and waterfall midway down the west face of the hill. The terraces were lavishly planted with specimen trees and shrubs, so that by the 1920s, Yamashiro was an imperial palace surrounded by a private forest and looking out to the ocean, the city, and the planted fields of the central Los Angeles basin. Adolph L. Bernheimer lived at Yamashiro with his brother Eugene (1876–1924), who had been vice president of their uncle Adolph Bernheimer’s Bear Mill Manufacturing Company. Adolph L. sold Yamashiro the year of his brother’s death and in 1925 acquired an oceanfront lot in the Pacific Palisades. In the late

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

HOLLYWOOD FROM YAMASHIRO, 1912

1920s, a movie-industry social club owned Yamashiro and used it as a meeting house. With the rise of anti-Japanese sentiment during World War II, Yamashiro’s land and buildings were badly neglected and vandalized. The current owner acquired the estate in 1948 and, while preparing to demolish the house, discovered its original decorative carvings and silk embroideries under layers of black

paint. At a time when Los Angeles’ residential landmarks were being razed to make way for postwar construction, Yamashiro’s proprietor appreciated the rarity of his discovery and spent more than 20 years restoring the house and property. Today the hillside terraces and steps remain, and the residence, with much of its original decoration preserved, is the restaurant Yamashiro.

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YA M A S H I R O

HOLLYWOOD FROM YAMASHIRO, 1929

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MI SUEÑO PA S A D E N A B E RT R A M G . G O O D H U E , 1 91 6

ENTRANCE DRIVEWAY

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ENTRANCE FACADE

J A N UA RY 1, 1915, the Panama–California Exposition opened in San Diego. Visitors discovered a romantic vision of California’s Spanish past, which confirmed what had already been put forward since the 19th century: that the state was the American outpost of Mediterranean culture. The exposition was a critical and popular success, and its most celebrated architect, the easterner Bertram G. Goodhue, received several subsequent Southern California commissions. These included in Pasadena the Throop Polytechnic Institute, and the Herbert Coppell house, which Goodhue designed with Carleton M. Winslow as resident architect. The design for the Coppell estate represents a transition between Goodhue’s early, picturesque residential projects and his unornamented, volumetric designs of 1918 for the Henry Dater property in Montecito and N

Goodhue’s own unbuilt residence in the same city. Although it retained decorative elements of Spanish Revival architecture—shallow hipped tile roof, pink stucco walls, recessed quatrefoil windows, ornate entrance and terrace doorway surrounds in the Baroque Churrigueresque manner—Goodhue used them symbolically in a building whose overall volumes were direct and unromantic. The Los Angeles Times responded to the house as being “Spanish Renaissance” in style, approached at the front entrance “over heavy flagging, such as was used in the missions.”1 The first-floor living spaces of Mi Sueño, “My Dream,” were arranged around a deep terrace that faced west to Pasadena’s Arroyo Seco. Off the dining room on the north side was an L-shaped wing containing the breakfast room, kitchen, and servants’ quarters. The living and dining rooms continued the Spanish

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MI SUEÑO

GARDEN RILL

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

SITE PLAN

style of the exterior with carved, polychromed plaster ceilings and massive tile and stone fireplaces with a gilded Spanish Revival reredos as an overmantel in the living room. The walls of the first floor were white plaster. The bedrooms on the second floor were paneled in a French Revival style. Goodhue designed a separate two-story garage with additional servants’ living spaces on the second floor.2 The estate was just under five acres and sloped west from South Grand Avenue to Arroyo Drive. Paul G. Thiene aligned the imposing front doorway with the entrance gates and planted cedars and orange trees along the driveway to counterbalance the mass of the east facade.3 Thiene linked the house’s interiors to the exterior garden spaces with a pergola at the south end of the living-room veranda and a rectangular pool off the dining room at the north end. At the back of the pool were a wall fountain and a Moorish rill that stepped downhill to a circular basin. Thiene planted a

lawn on the arroyo side of the house and preserved the mature live oaks already established when Coppell acquired the land in 1915.4 In 1916, The Craftsman magazine praised Thiene and Goodhue’s integration of the garden and residence for its regionalism and adaptation of European precedents. “We see how essentially this house has been designed and constructed with relation to the Californian landscape; the very placing of the formal garden close to the house is the formality of California rather than Italy or Greece or France.” As was often noted about the plain stucco walls of Mediterranean Revival houses, The Craftsman approved of the “bare spaces of concrete . . . which afford such wonderful opportunities for the play of light and shadow, for the background of brilliant flowers,” and provide a counterpoint to “the beautiful structure of the entrances which, while being wholly palatial, seem admirably suited to the simple wall surfaces.”5 The Coppell resi-

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MI SUEÑO

AERIAL OF ARROYO SECO, 1937

dence was an early example of Goodhue’s reconciliation of the past with contemporary concerns for simplicity and unornamented form. The influence of Irving Gill, whom Goodhue had successfully displaced as the lead architect of the San Diego fair, was present in the plain stucco surfaces of the exterior masses and the arches of the garden loggia. Herbert Coppell (1874–1931) was a Harvard graduate and a member of the old-line New York investment company Maitland, Coppell & Company. He married Georgia Myers (d. 1933), one of the daughters of George S. Myers of St. Louis and the sister of Mildred M. Cravens, who already owned The Terraces along South Orange Grove when the Coppells acquired their lot in 1915. Like many of their wealthy

neighbors, the Coppells wintered in Pasadena and traveled to California in their private railcar, the Mañana. After Herbert Coppell died, Mrs. Coppell’s son by a previous marriage, George Myers Church, and his wife, Augusta, moved into Mi Sueño. Following Church’s death in 1946, Augusta converted the Cravens garage to a house for herself and left the larger Coppell residence vacant. In 1950 a real estate company subdivided the Coppell property, remodeled the property’s garage as an independent house, and split the main residence in two by removing the entrance and garden terrace doorways.6 Today the two remaining sections of Mi Sueño are private residences and are well cared for by their owners.

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VILLA CAPISTRANO E D E N DA L E PIERPONT

AND

WA LT E R S . D AV I S

WITH

H E N RY F. W I T H E Y, 1 91 8

ENTRANCE DRIVEWAY

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MOORISH GARDEN

“

O M E N went into ecstasies over him. Men went into the smoking room,” quipped W. C. Fields about Julian Eltinge (1881–1941).1 Born William J. Dalton in Massachusetts, Eltinge was America’s most celebrated transvestite. By age 11 he had become a star, playing both male and female roles in vaudeville reviews with a soft singing voice that influenced the style of the next generation’s crooner, Bing Crosby. At the height of his fame in 1917, Eltinge went west to launch his film career and built a Spanish hilltop residence on the eastern side of the 1906 Silver Lake reservoir, just 10 minutes west of downtown Los

Angeles. The hilly area, known as Edendale, was home to the movie studios in the first decade of the 20th century before they moved to Hollywood. Capitalizing on the site’s dramatic elevation, architects Pierpont and Walter S. Davis, with their partner Henry F. Withey, designed the house on a plateau north of the driveway and laid out gardens on the south side two stories below the residence. The Davis brothers emphasized the changes in elevation by painting the first floor and garden retaining walls off-white and the upper stories terra-cotta orange. In overall effect, the estate evoked the garden settings of Moorish palaces with tiled fountain basins, an axial water rill, and

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

CIRCULAR STAIRCASE

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VILLA CAPISTRANO

GROUND FLOOR LIVING ROOM

LIVING ROOM

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VILLA CAPISTRANO

MASTER BEDROOM

SUNKEN GARDEN

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

VIEW TO SUNKEN GARDEN

planting beds terraced into the hill. The driveway from Silver Lake proved so precipitous that the forecourt was rarely used and guests entered from a service entrance on a level area east of the house. Although monastic in its architectural simplicity, the house was theatrically decorated with frescoed walls, brick-and-tile floors, and an eclectic mixture of Spanish Revival furniture, Chinese wall hangings, and movie celebrity memorabilia. Eltinge oversaw the decorating, which required the services of Norwegian painter Martin S. Syvertsen (1874–1947) for the varied wall patterns and cornice details. A circular stairway from the first-floor entryway led to the living and music room and a blue, yellow, and gold dining room with roughly troweled plaster walls. One floor up and

along the south side of the house were two bedrooms, including the master suite, with a Victorian French–style bed designed by the architects, and walls stenciled in a damask pattern to match the curtains. The room faced open city and ocean views. A Los Angeles landscape architect who studied at the University of California, Berkeley, Charles Gibbs Adams (1884–1953), planted the north side of the driveway with cactus, and terraced the south side with an eclectic Hispano-Moorish garden. A central axis originating at the upper terrace terminated at the brow of the hill with a vine-covered pergola overlooking the reservoir below. Other plantings included irises, lilies, orange and plum trees, acacias, and succulents.

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VILLA CAPISTRANO

SITE AND FLOOR PLANS

Villa Capistrano, wrote Elmer Grey in 1921, was as an actor’s house should be, “different from the homes of other men and women. Actors deal in their work with the romantic and picturesque, they must perforce become saturated with it; it is appropriate and natural, therefore, that such spirit be reflected in their homes.”2 At the Eltinge house, Grey experienced the colorful interiors and dramatic setting of the house and garden

as cinematic, a real-life creation of what was then being portrayed on the screen. As drag performance became associated with deviance in the conservative 1930s, Eltinge’s career faded. Before dying in his New York apartment, Eltinge made a cameo appearance in Bing Crosby’s 1940 film If I Had My Way. Eltinge’s Silver Lake villa survives today as a private residence, its gardens now lost.

. . .

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M A RS H A L L I A PA S A D E N A F R E D E R I C K L . R O E H R I G , 1 91 9

GARDEN FACADE

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H O U S E S O F L O S A N G E L E S , 1 8 8 5 – 1 91 9

FIRST FLOOR HALL

The landscaping of the property was carried out before the building of the residence, a practice that permitted houses to have an established garden when completed, sometimes several years later. Robert G. Fraser oversaw the planting of the estate as early as April 1914 and, as he had done at the neighboring Busch estate a decade earlier, terraced the western hillside with a rolling lawn from the house to a gated entrance off Grand Avenue at the bottom of the hill.2 In a period when the Italian tradition of incorporating architectural elements into hillsides influenced garden design in Los Angeles, the terracing of the Marshall garden was oddly old-fashioned for the imposing house.

Reflecting Pasadena’s Arts and Craft sensibility, the Pasadena Daily News in 1914 believed the Marshall garden to be regionally appropriate and natural:

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One of the novel features of the system of landscape gardening planned on the site is that the natural effect will be striven for, in place of the usual stiff, formal, and geometrical lines . . . in the earlier history of landscaping. The grading has been done so that the site is a perfect reproduction of a typical Southern California canyon and foothills . . . In order to heighten the effect of rusticity and naturalness, rocks with

MARSHALLIA

VIEW FROM DEN

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CLIENT

AND

HOUSE

LEWIS L. BRADBURY HOUSE Los Angeles 1887 Lewis L. Bradbury, owner S. & J. C. Newsom, architect

DR. AND MRS. ADALBERT FÉNYES Pasadena 1897 Dr. Adalbert and Eva S. M. Fényes, owners Dennis & Farwell, architect

ANDREW MCNALLY HOUSE Altadena 1888 Andrew McNally, owner Frederick L. Roehrig, architect

IVY WALL Pasadena 1898 John S. Cravens, Adolphus Busch, owners Frederick L. Roehrig, architect Robert G. Fraser, landscaping

CENTINELA Inglewood 1889 Daniel Freeman, owner Curlett, Eisen & Cuthbertson, architect VILLA MIRAMAR Santa Monica 1889 John P. Jones, owner Saunders & Saunders, architect

EDWARD L. DOHENY HOUSE Chester Place 1900, 1913, 1933 Oliver P. Posey, Edward L. Doheny, owners Eisen & Hunt, architect Alfred F. Rosenheim and Wallace Neff, alterations and additions Howard & Smith, Edward A. Howard, landscape H. Arthur Mann, decorator PAUL DE LONGPRÉ HOUSE Hollywood 1901 Paul de Longpré, owner Jean-Baptiste L. Bourgeois, architect

GRACE HILL Pasadena 1891 William Stanton, owner Frederick L. Roehrig, architect Thomas Chisholm, landscaping

EL MIRADERO Glendale 1904 Leslie C. Brand, owner Nathaniel Dryden, architect

THADDEUS S.C. LOWE HOUSE Pasadena 1892 Thaddeus S. C. Lowe, owner T. William Parkes, architect

HOLMBY HOUSE Hollywood 1905 Arthur Letts, owner Train & Williams, architect Myron Hunt & Elmer Grey, landscape architects

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CLIENT AND HOUSE

ADELAIDE A. TICHENOR HOUSE Long Beach 1905 Adelaide A. Tichenor, owner Greene & Greene, architect, landscape architect and decorator THE TERRACES Pasadena 1905 John S. Cravens, owner Hunt & Eager, architect Wilbur D. Cook Jr. and Olmsted Brothers, landscape architects

HENRY E. HUNTINGTON HOUSE San Marino 1911 Henry E. Huntington, owner Myron Hunt & Elmer Grey, architects William Hertrich, landscaping Duveen Brothers and White, Allom & Company, decorators RUSSELL M. TAYLOR HOUSE Berkeley Square 1911 Russell M. Taylor, owner Myron Hunt & Elmer Grey, architects and landscape architects

VILLA MERRITT-OLLIVIER Pasadena 1906 Hulett C. Merritt, owner William F. Thompson, architect

ELMER GREY HOUSE Oak Knoll 1912 Elmer Grey, owner Elmer Grey, architect and landscape architect

WILLIAM ANDREWS CLARK JR. HOUSE AND LIBRARY Kinney Heights 1906, 1926 David C. McCan and William Andrews Clark Jr., owners Joseph J. Blick, Robert D. Farquhar, Mark Daniels, architects Wilbur D. Cook Jr., Robert D. Farquhar, Mark Daniels, Ralph D. Cornell, landscape architects John B. Holtclaw, Edgar Cheesewright, George S. Hunt and Harrison Post, decorators DR. GUY H. COCHRAN HOUSE Los Angeles 1906 Myron Hunt & Elmer Grey, architects and landscape architects DR. AND MRS. ADALBERT FÉYNES HOUSE Pasadena 1907 Dr. Adalbert and Eva S.M. Féynes, owners Robert D. Farquhar, architect and landscape architect

DR. JOHN R. HAYNES HOUSE Los Angeles 1912 Dr. John R. Haynes, owner Robert D. Farquhar, architect and landscape architect CORDELIA A. CULBERTSON HOUSE Oak Knoll 1913 Cordelia A. Culbertson, owner Greene & Greene, architect, landscape architect and decorator SECONDO GUASTI South Arlington 1913 Secondo Guasti, owner Hudson & Munsell, architect Wilbur S. Cook Jr., landscape architect CASTLE YORK South Arlington 1913 John J. Haggarty, owner Knapp & Woodard, architect

VILLA MADAMA Shatto Place 1909 Ida H. Hancock Ross, owner John C. Austin, architect EDWARD M. TAYLOR HOUSE Altadena 1910 Edward M. Taylor, owner Myron Hunt & Elmer Grey, architects and landscape architects

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ANOAKIA Arcadia 1914 Anita Baldwin, owner Arthur B. Benton, architect

CLIENT AND HOUSE

JUDSON C. RIVES HOUSE Westchester Place 1914 Judson C. Rives, owner Alfred F. Rosenheim, architect ARTEMESIA Hollywood 1914 Frederick E. Engstrum, owner Frank A. Brown, architect A. Aurèle Vermeulen, landscape architect

MI SUEÑO Pasadena 1916 Herbert Coppell, owner Bertram Goodhue, architect Paul G. Thiene, landscape architect VILLA CAPISTRANO Edendale 1918 Julian Eltinge, owner Pierpont and Walter S. Davis with Henry F. Withey, architects Charles G. Adams, landscape architect

YAMASHIRO Hollywood 1915 Adolph L. Bernheimer, owner Franklin M. Small, architect Andreas C. Orum, landscaping

MARSHALLIA Pasadena 1919 Edwin J. Marshall, owner Frederick L. Roehrig, architect Robert G. Fraser, landscaping

WALTER C. DODGE HOUSE West Hollywood 1916 Walter C. Dodge, owner Irving J. Gill, architect Wilbur D. Cook Jr., landscape architect

WELLINGTON S. MORSE HOUSE San Rafael Heights 1919 Wellington S. Morse, owner Reginald D. Johnson, architect Paul G. Thiene, landscape architect Minne S. Muchmore, decorator

SHADOW HILL Beverly Hills 1916 Silsby M. Spalding, owner Hunt & Burns, architect Paul G. Thiene and Florence Yoch, landscape architects

FLORES ADOBE South Pasadena 1919 Clara E. Noyes, owner Carleton M. Winslow, restoration architect

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L A N D S C A P E A RC H I T E C TS A N D I N T E R I O R D E C O R ATO R S LANDSCAPE ARCHITECTS AND GARDENERS

Paul George Thiene (1880–1971) Alexandre Aurèle Vermeulen (1885–1938) Florence Yoch (1890–1972)

Charles Gibbs Adams (1884–1953) Thomas Chisholm (1857–1938) Wilbur David Cook Jr. (1869–1938) Ralph Dalton Cornell (1890–1972) Robert Gordon Fraser (1860–1946) William Hertrich (1880–1966) Frederick Law Olmsted Jr. (1870–1957) Andreas Carl Orum (1880–1941)

DECORATORS Edgar Cheesewright (1880–1957) John Barnett Holtzclaw (1870–1942) George Smith Hunt (d. 1966) Horace Arthur Mann (1892–1979) Minnie Sweet Muchmore (1855–1943)

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T H E A RC H I T E C TS

AUSTIN, JOHN C. Born in England, John Corneby Wilson Austin (1870–1963) immigrated to San Francisco in 1890 and in 1895 moved to Los Angeles, where he was involved for 30 years in designing the city’s architectural infrastructure, including churches, banks, libraries, schools, apartments, and government buildings. He designed well-known civic landmarks in association with other prominent Los Angeles architects, including the Art Deco Griffith Park Observatory and Planetarium (1935), with Frederick M. Ashley (1887— 1963), a commission they won in a competition that included Richard Neutra and John & Donald B. Parkinson; the Islamic Revival Al Malaikah Temple, now the Shrine Auditorium (1926), with G. Albert Lansburgh (1876–1969) and Abraham M. Edelman (1864–1941); and the temple-asskyscraper Los Angeles City Hall (1928), with Albert C. Martin (1879–1960) and John & Donald B. Parkinson.

style and, with his friends Charles F. Lummis and Sumner P. Hunt, founded in 1894 the California Landmarks Club, dedicated to the preservation of the state’s missions. Benton’s most noted Mission building is the Glenwood Inn (1902), later the Mission Inn, at Riverside, an homage to California’s Spanish-Mexican heritage and a response to the Ponce de Leon Hotel (1887) in St. Augustine, Florida, by Carrère & Hastings. A versatile architect, Benton worked in a range of revivalist styles and designed in Los Angeles the châteauesque Mary Andrews Clark Memorial Home (1913); among his many successful Anglican churches are the English medieval Ivy Chapel (1903) in the 19th-century Evergreen Cemetery and the Church of the Advent (1925). His residences include the Shingle-style Butts house (1894) and the medieval Wallace house in La Cañada (1911).

BLICK, JOSEPH J. BENTON, ARTHUR B. Arthur Burnett Benton (1858–1927) was born and educated in Peoria, Illinois. He worked as a draftsman for the Atchison, Topeka & Santa Fe Railway while attending the School of Art & Design in Topeka, Kansas, from which he graduated in 1890. He became a draftsman in the offices of the Union Pacific Railroad at Omaha, but in 1891 resigned and moved to Los Angeles. At first Benton worked as a draftsman in the office of early Los Angeles architect Solomon I. Haas, and from 1893 to 1896 he was with William C. Aiken, designing Shingle-style and Queen Anne houses. In 1896, Benton became an independent architect. Benton was a leading proponent of the Mission Revival

Joseph James Blick (1867–1947) and his family came to Pasadena in 1887 from his native Clinton, Iowa. At first Blick worked with his father, a building contractor, before entering the Pasadena office of T. William Parkes in 1889. In 1895, Blick formed a partnership in Los Angeles with Lester S. Moore (1871–1924) under the name Blick & Moore. Practicing until 1935, Blick worked on commercial and residential projects in styles ranging from Mission to Moderne. His Los Angeles buildings include the Shinglestyle Post house (1903), the Mission Revival Lunkenheimer house (1906), and the Craftsman Newcomb house, El Roble (1910).

– 346 –

N OT E S

THE

and Poetry, Tales and Anecdotes . . . (San Francisco: H. H. Bancroft

DAT I N G O F H O U S E S in these volumes has relied on

& Company, 1869), 264.

city records, notices filed at the commencement and completion of jobs posted in professional journals, newspapers, and family corre-

4. Los Angeles’ long history of politicians and developers

spondence. The date in the chapter heading of each house is the

putting the region’s natural ecology at risk is the subject of

date of substantial completion, chosen to indicate the year when

Mike Davis’ Ecology of Fear: Los Angeles and the Imagination of

the house owner took up residence. Birth and death dates of

Disaster (New York: Vintage Books, 1999).

owners and architects, often difficult to verify for the early years of

5. From 1900, flats, bungalow courts, courtyard buildings, and

California, have been obtained and cross-verified with census

tenement buildings have played important roles in Los

figures, published biographies, and birth certificates. The often

Angeles housing. This aspect of residential life in Los Angeles

elusive biographies of California architects and owners have been

is the subject of Todd Gish’s doctoral thesis for the USC

obtained from wide-ranging sources, including periodicals, mono-

School of Policy, Planning, and Development, “Building the

graphs listed in the bibliography, and standard publications,

Other Los Angeles: Urban Housing in the Suburban

including Who’s Who; The Macmillan Encyclopedia of Architects (New York,

Metropolis, 1900–1935,” 2005. See also Stefanos Polyzoides

1982); and the multivolume series published on the history of Los

et al., Courtyard Housing in Los Angeles: A Typological Analysis (New

Angeles in the early decades of the 20th century.

York: Princeton Architectural Press, 1992). 6. Ruby Archer, “Building’s Variations,” Los Angeles Times, August

INTRODUCTION

22, 1909, p. V-17.

1. This quote, from Aldous Huxley’s Americana, and its variant—

7. Some scholars believe that the Spanish name in 1781 was El

“seventy-two suburbs in search of a city,” attributed to many

Pueblo de Nuestra Señora de los Angeles de Porciúncula, but others

wits, including Dorothy Parker and Alexander Woollcott—

maintain that this was never an officially sanctioned name. See

have become the quintessential quips for detractors of Los

Leonard Pitt and Dale Pitt, Los Angeles A to Z: An Encyclopedia of

Angeles; ironically Huxley became a resident of Los Angeles

the City and County (Berkeley: University of California Press,

in 1937, at once attracted and repulsed by the freewheeling

1997), 299.

city. Hugh Rawon and Margaret Miner, The Oxford Dictionary

8. For a revisionist history of the railroad, see Richard J. Orsi,

of American Quotations (Oxford: Oxford University Press,

Sunset Limited, The Southern Pacific Railroad and the Development of the

2006), 176.

American West (Berkeley: University of California Press, 2005). 9. David Gebhard and Robert S. Winter, Los Angeles: An

2. Reyner Banham, Los Angeles: The Architecture of Four Ecologies

Architectural Guide (Salt Lake City, Utah: Gibbs Smith, 1994),

(Berkeley: University of California Press, 2001), 18.

xvi.

3. As quoted from the San Francisco Bulletin, September 1867 by

10. Frank Lloyd Wright, An Autobiography (New York: Duell,

Oscar T. Shuck, The California Scrap-book: A Repository of Useful Information and Select Reading, Compromising Choice Selections of Prose

– 359 –

Sloane and Pierce, 1943), 239.

BIBLIOGRAPHY

ARCHITECTURE AND DESIGN Adams. Charles Gibbs. “Gardens of the Spanish Days.”Annual Publication, Historical Society of Southern California, 15 (1932). Andersen, Timothy J., Eudorah M. Moore, and Robert Winter. California Design 1910. Salt Lake City, Utah: Gibbs Smith, 1974. Austin, John C. Architecture in Southern California. Los Angeles: [H. T. Grace], 1905. Banks, Charles Eugene. Houses and Gardens of the Pacific Coast. Seattle: Beaux Arts Society, [c. 1910]. Belloli, Jay, et al. Myron Hunt, 1868–1952: The Search for a Regional Architecture. Santa Monica, Calif.: Hennessey + Ingalls, 1984. Benton, Arthur B. “The California Mission and Its Influence upon Pacific Coast Architecture.” The Architect and Engineer 24 (February 1911). Bosley, Edward R. Greene & Greene. London: Phaidon Press, 2000. Clark, Robert Judson, and Thomas S. Hines. Los Angeles Transfer: Architecture in Southern California, 1880–1980. Los Angeles: William Andrews Clark Memorial Library, University of California, Los Angeles, 1983. Cook, Wilbur David, Jr., Charles Hall, and Ralph Cornell. Projects Designed since the Year 1906 by: Wilbur David Cook, Jr. Cook & Hall, Cook, Hall & Cornell, n.d. Unpublished office inventory of design projects by the firms. Charles E. Young Research Library, Department of Special Collections. Ralph Cornell Collection, 1411, Box 64. Cornell, Ralph. “A Garden Gem in a Land of Beautiful Landscaping.” California Graphic (May 3, 1924). [William Andrews Clark Jr.] ———. Half a Century as a Southern California Landscape Architect. Interview by James V. Mink, Enid H. Douglass, and Richard K. Nystrom. 1967. Oral History Program, University of California, Los Angeles. Los Angeles: Regents of the University of California, 1970.

“Country Houses of Southern California: Mr. Reginald Johnson Describes an Architecture in Harmony with the Matchless California Landscape in an Interview with John T. Boyd.” Arts & Decoration 32 (March 1930). Croly, Herbert. “The California Country House.” The Architect and Engineer of California 7 (December 1906). ———. “The Country House in California.” The Architectural Record 34 (December 1913). —————.”Houses by Myron Hunt & Elmer Grey.” Architectural Record 25 (April 1909). Daniels, Mark. “Garden Architecture.” California Arts & Architecture 38 (March 1931). Design Aid Architects with California Archives & Positive Image Photographic Services. ‘Anoakia.’ Anita Baldwin Residence, Historic Building Survey (HABS) Documentation, History & Interpretations, HABS Building Description. Los Angeles, June 1, 2000. Deuel, Elizabeth. “‘Villa Capistrano.’” Sunset Magazine 54 (April 1925). [Julian Eltinge] Flood, Francis B. A Survey of the Architecture of the Period 1868–1900 Existing in 1940. Unpublished master’s thesis, University of Southern California, 1941. French, Jere. The California Garden. Washington, D.C.: Landscape Architecture Foundation, 1993. Garnett, Porter. Stately Homes of California. Boston: Little, Brown, 1915. ———. “Stately Homes of California II: Anoakia.” Sunset, The Pacific Monthly (January 1914). Gebhard, David. “The Missions and California.” Harvard Architectural Review 1 (Spring 1980). ———. “The Spanish Colonial Revival in Southern California (1895–1930).” Journal of the Society of Architectural Historians 26 (May 1967). James B. Garrison, Mastering Tradition, The Residential Architecture of John Russell Pope. New York: Acanthus Press, 2004.

– 370 –

INDEX

10 Chester Place, 99 11 Berkeley Square, 218–223 170 North Orange Grove Avenue. See Fényes, House of Dr. and Mrs. Adalbert 1876 Centennial International Exposition, Philadelphia, 278 1893 Columbian Exposition, 20, 39, 41, 111, 278, 348, 351, 355 1894 California Midwinter International Exposition, 106, 278, 347, 356 1904 Louisiana Purchase Exposition, 129 1915 Panama-Pacific Exposition, San Diego, 20, 142, 305, 311, 329, 337, 351, 357 1915 Panama-Pacific International Exposition, San Francisco, 350 758 West Adams Street, 348 8 Chester Place, 88–103, 342 Academy of Fine Arts, 347 Adam style, 75 Adams, Charles Gibbs, 318, 344, 345, 349 Adler & Sullivan, 350 AIA. See American Institute of Architects Aiken, William C., 346 Al Malaikah Temple, 346 Alameda Street, 195 Alcazar Hotel, 20 Alhambra, CA, 270 Aliso Street, 15 Aliso Village, 349 Allan Hancock College, 187 Allen, Elizabeth Severance, 248 Allen, Thomas Henry, 355 Altadena, 37 Alvarado Terrace, 357 Ambassador College of the Worldwide Church of God, 151

Ambassador Hotel, 354 American Academy, Rome, 352 American Institute of Architects (AIA), Southern California Chapter, 347 American Legion, 85 American Tobacco Company, 67 Anderson, Larz, 151 Andrews, Archie M., 199 Anheuser, Lilly, 82, 85 Anheuser-Busch, 82 Anheuser-Busch Casino, 356 Annapolis (United States Naval Academy), 53 Anoakia, 260–265, 343 Anoakia Estates, 264 Anoakia Stock and Breeding Farm, 261 Arcadia City Hall, 355 Arcadia, 22–23, 261 Architectural Association of Southern California, 347 Ard Eevin, 349 Arlington Drive, 81 Armour Institute of Technology, 354 Armstrong, Alfred C., 37 Arroyo Craftsman, 357 Arroyo Drive, 67, 310 Arroyo Guild of Fellow Craftsman, 357 Arroyo Seco, 19, 27, 61, 79, 81, 135, 147, 177, 179, 305, 321, 326, 329 Art Deco style, 346 Art Institute of Chicago, 349 Art Institute of Manchester, England, 348 Artemesia, 272–275, 344 Arts and Crafts movement, 17, 18, 19, 27, 171, 231, 288, 347, 353, 357 Arts and Crafts style, 21, 133, 140, 173, 178, 183, 199, 220, 241, 246, 263, 287, 322, 326, 348, 351, 352, 353, 355 Ashley, Frederick M., 346

– 377 –

Associated Realty Building, 349 Atchison, Topeka & Santa Fe Railway, 14, 346 Atelier Pascal, Paris, 350 Austin, John Corneby Wilson, 186, 188, 193, 343, 346, 355 Automobile Club of Southern California, 187 Azusa, 350 Bacon Hill, 55 Baker, Arcadia de, 49 Baker, Robert S., 27, 49 Balboa Park, San Diego, 20 Baldwin Hills Village, 354 Baldwin, Anita, 261, 263, 264, 343 Baldwin, Clara, 261, 264 Baldwin, Elias Jackson “Lucky,” 22–23, 261, 263 Balloon Route Excursion, 108 Baltimore City College, 348 Baltimore, MD, 268, 321 Banham, Reyner, 11 Banning, Hancock, 53 Barmore House, 357 Baroque style, 20, 305 Barton Phelps & Associates, 169 Battle of La Mesa, 340 Bear Mill Manufacturing Company, 282 Beauvais, 212 Beaux-Arts style, 19, 22, 177, 179, 193, 206, 212, 251, 257, 261, 270, 321, 349, 350, 352, 355, 356, 357 Bel-Air, 259, 274 Bel-Air Country Club, 358 Bell, Alphonso E., 259 Bellevue Hospital, 174 Beman, Solon S., 349 Bent, House of Arthur, 353 Benton, Arthur Burnett, 260, 261, 346, 348

INDEX

Bergstrom, G. Edwin, 355 Berkeley Square, 218, 219, 343 Berkeley, Bubsy, 253 Bernheimer, Adolph, 277, 282 Bernheimer, Adolph L. (nephew), 277, 282, 344 Bernheimer, Eugene, 282 Bertram Goodhue Associates, 351 Betiller, Francis V., 355 Beveridge, Daeida Wilcox, 108 Beveridge, Philo J., 108 Beverly Hills High School, 350 Beverly Hills Hotel, 23, 352 Beverly Hills, CA, 23–24, 294, 295, 344, 349, 358 Bishop School, 351 Blacker, House of Robert R., 351, 354 Blacker, Robert R., 241 Blick & Moore, 346 Blick, Joseph James, 154, 155, 343, 346, 355 Blondeau, René, 105 Blossom, Benjamin and Minnie, 67 Blue Boy, 215 Board of Water and Power Commissioners, 239 Boardman, Harriette H., 353 Bourassa, Napoléon, 347 Bourgeois, Alice de Longpré, 347 Bourgeois, Jean-Baptiste Louis, 104, 105, 342, 347 Boyle Heights Nursery, 46 Bradbury Building 34, 353 Bradbury, House of Lewis L., 32–35, 342 Bradbury, Lewis Leonard, 33, 34, 342, 353 Bradbury, Lewis L., Jr., 213 Bradbury, Simona M., 34 Braly building, 355 Bramshill Park, 257 Brand Library, Art Center, and Park, 117 Brand, Leslie Coombs, 24, 111, 114, 117, 342, 350 Brand, Mary Louise, 114, 117 Brentwood, 27 Briggs, House of Mary L., 352 Brioschi, Othmar, 188 Broadway, 34, 349 Broadway Department Store, 99 Brown, A. Page, 20 Brown, Arthur, Jr., 352 Brown, Carroll H., 53, 347 Brown, Frank Andrew, 272, 274, 344, 347

Brunswig, Lucien N., 251, 355 Bryson-Bonebrake building, 356 Buckingham Palace, 207 Buena Vista Winery, 187 Bullock’s, 121, 355 Bunker Hill, 33, 34, 347 Burbank, 16 Burke, William R., 219 Burlingame, CA, 352 Burnett, Robert, 43 Burnham & Root, 347, 350 Burns, Silas Reese, 295, 353 Busch Gardens, 82, 84 Busch, Adolphus, 62, 67, 81–82, 84, 85, 140, 321, 322, 342 Busch, Lilly Anheuser, 82, 85 Byzantine style, 349, 351 Cahuenga Boulevard, 106, 109 Cahuenga Valley, 105 Calaveras Street, 195 California Building, 20, 348 California Club, 43, 350 California for Health, Pleasure, and Residence, 43 California Institute of Technology (Caltech), 27, 135, 327 California Landmarks Club, 346 California Pharmaceutical Association, 174 California Southland, 179 California State Board of Architecture, 348 California State Humane Society, 264 California Street, 213 California Supreme Court, 188 Calkins & Haas, 353 Camarillo, 99 Cambridge, MA, 356 Campbell, Daniel, 349–350 Campo de Cahuenga Treaty, 341 Canfield, Caroline, 295, 301, 303 Canfield, Charles A., 89, 295 Canoga Park, CA, 277 Carmel, CA, 351 Carondolet Street, 193 Carrère & Hastings, 20, 346, 350 Carson, House of William, 356 Casa de Adobe, 348 Casals, Pablo, 193 Castle Sans Souci, 349 Castle York, 256–259, 343 Catalina Island, 38 Cawston Ostrich Farm, 28

– 378 –

Centinela, 42–47, 342 Centinela Ranch, 43 Central Avenue, 357 Chambers, Harold Coulson, 162, 214, 215, 354 Chancellor, Frederick, 347 Chandler, Harry, 264, 321 Channing, Ellery, 356 Channing, Mary, 49, 177, 356 Channing, William F., 177 Chas. M. Plum & Company, 44 Château de Beauregard, 212 Château de Cluny, 162 Châteauesque style, 89, 355, 356 Cheesewright Studios, 331 Cheesewright, Edgar J., 155, 343, 345 Cheffort Brothers, 357 Chester Place, 88, 89, 342, 349 Chicago Art Institute, 357 Chisholm, Thomas, 55, 342, 345 Christian Socialist Economic League of Los Angeles, 233 Chumash Indians, 24 Church Federation of Los Angeles, 259 Church of the Advent, 346 Church, Augusta, 311 Church, George Myers, 311 Cimarron Street, 162, 166 Citizens Savings Bank, 108 City Beautiful movement, 14–15 Clark Memorial Hall, University of Virginia, 159 Clark, Alice McManus, 159 Clark, Alson, 199 Clark, Eli P., 28 Clark, House and Library of William Andrews, Jr., 154–169, 343 Clark, J. Ross, 353 Clark, Robert Judson, 51, 159 Clark, William Andrews, 155, 347 Clark, William Andrews, III, 157 Clark, William Andrews, Jr., 155, 156, 157, 159, 162, 166, 168, 169, 193, 201, 343, 353 Clas, Alfred C., 352 Classical Revival style, 19, 177, 215, 263, 350 Clifton-by-the Sea, CA, 206 Cobb, Edward Sigourney, 206, 212, 213, 347 Cochran, Guy H., 171, 174 Cochran, House of Dr. Guy H., 170–175, 343

INDEX

Codman, Ogden, 239 Colonial Art Glass Company, 75 Colonial Revival style, 17, 19, 195, 199, 349, 350, 353, 357 Colonial style, 199 Colorado Street, 354 Columbia University, 174, 357 Commercial Building, 352 Commonwealth Home Builders, 273, 275, 347 Community Presbyterian Church, 358 Cook, Wilbur David, Jr., 23, 142, 156, 253, 288, 343, 344, 345, 353 Coppell, Georgia Myers, 143, 311 Coppell, Herbert, 305, 310, 311, 329, 344 Cornell University, 355 Cornell, Ralph D., 84, 156, 169, 343, 345 Cornfeld, Bernie, 303 Cotswold style, 140 Country Club Terrace, 267 Court Street, 33, 34 Cox, Allyn, 166 Cox, Kenyon, 166, 168 Coxhead & Coxhead, 347 Coxhead, Almeric, 347 Coxhead, Ernest A., 347–348, 349 Craftsman style, 114, 117, 245, 275, 346, 351, 352, 353, 355, 357 Craig, James Osborne, 358 Cram, Goodhue & Ferguson, 351, 357 Cram, Ralph Adams, 351 Cravens, John Smith, 81, 82, 135, 140, 142, 143, 144, 342, 343 Cravens, Mildred Mary Myers, 135, 140, 143, 144, 311 Crenshaw Boulevard, 155 Crescent Drive, 295 Crocker, William H., 348, 352 Croly, Herbert D., 81, 82 Crosby, Bing, 313, 319 Crown Point mine, 49 Cucamonga, CA, 251 Culbertson, Cordelia A., 241, 245, 246, 343 Culbertson, House of Cordelia A., 240–249, 343 Culbertson, House of James A., 351 Culbertson, James A., 241 Culver City, 16 Curlett & Cuthbertson, 348 Curlett, Alexander, 348 Curlett, Eisen & Cuthbertson, 42, 43, 44,

342, 348, 350 Curlett, William, 348, 352 Curtin, Leonora F. M., 183 Curtin, Leonora S. M., 75, 179, 183 Cuthbertson, Walter Jones, 348 Cutler, Clarence B., 353 Dalton, William J., 313 Daniel Freeman Hospital, 46 Daniels, Mark, 162, 343 Dater, Henry, 305 Davis, Francis Pierpont, 312, 313, 344, 348–349, 358 Davis, Marion, 369 Davis, Walter Swindell, 312, 313, 344, 348–349 de Longpré, Alice, 347 de Longpré, House of Paul, 104–109, 342 de Longpré, Josephine Estievenard, 109 de Longpré, Paul, 104, 105, 106, 108, 109, 342, 347 de Young, Michael, 347 Del Mar, 350 Delano & Aldrich, 350 Deming, Mabel Reed, 352 Dennis & Farwell, 19, 70, 71, 177, 342, 349 Dennis, Oliver Perry, 349 Dennis, W. H., 349 Dennison, Arthur C., Jr., 166 Deutsch Building, 354 Dickens, Charles, 46 Dixon, Maynard, 263 Dodd & Richards, 349 Dodd, William James, 19, 349 Dodge, House of Walter C., 344 Dodge, House of Walter L., 286–293 Dodge, Walter Luther, 287, 288, 290 Dodge, Winifred, 287, 290 Doheny, Edward L., 89, 90, 97, 99, 111, 122, 295, 321, 342, 349 Doheny, Edward L., Jr., 99 Doheny, Estelle, 90, 97, 99, 102 Doheny, House of Edward L., 88–103, 342 Dorr, Anne and Cora, 329, 331 Douglas Aircraft Company, 28 Douglas, Lord Alfred, 166, 168 Drake, Charles E., 24 Dryden, Nathaniel, 110, 111, 168, 342, 349–350 Dryden, Thomas, 159

– 379 –

Duarte, CA, 33, 213 Duluth, Missabe & Northern Railway, 147 Dulwich Picture Gallery, London, 215 Durand, Henry C., 354 Duveen Brothers, 207, 215, 343 Eager & Eager, 353 Eager, Abram Wesley and Frank Octavius, 353 Eagle, Charles and John H., 327 Eaton, Charles Frederick, 178 Eaton, Charles S., 350 Ebell Club, 129 Echo Mountain, 62 Echo Park Court, 351 Ecole des Beaux-Arts, Paris, 18, 350, 352 Eddy, Arthur Jerome, 355 Edelman, Abraham M., 346 Edendale, 312, 313, 344 Edison Electric Company of Los Angeles, 135 Edward L. Doheny Memorial Library, 99 Egyptian style, 351, 357 Eisen & Hunt, 88, 89, 342, 348 Eisen & Son, 348 Eisen, Percy Augustus, 348 Eisen, Theodore Augustus, 19, 89, 348, 353 El Alisal, 19, 348 El Camino Real, 337 El Miradero, 110–119, 342 El Mirasol, Santa Barbara, 350 El Paseo, Santa Barbara, 357 El Pueblo de la Reina de los Angeles, 12 El Roble, 346 Elizabethan style, 121 Ellis Street, 71 Eltinge, Julian, 313, 318, 319, 344 Emery, Charles G., 67 English 18th century style, 162 English Gothic style, 155 English style, 131, 330 Engstrum, Franz Otto, 275 Engstrum, Frederick Edgar, 273, 274, 275, 344 Eureka, CA, 356 Evergreen Cemetery, 346 Exposition Park, 352 Eyre, Wilson, 140 F. O. Engstrum Company, 90, 275 Fair Oaks Avenue, 213 Fairhaven Hotel, 349

INDEX

Fairmont Miramar Hotel, 53 Falkenham, Joseph, 350 Faneuil Hall, 270 Farquhar, Marion Jones, 350 Farquhar, Robert David, 19, 22, 53, 142, 154, 159, 162, 168, 176, 177, 178, 179, 183, 232, 238, 343, 350, 354, 358 Farwell, Lyman, 74, 75, 349 Federal Indian School, 355 Federal Revival style, 16 Fehmer, Carl, 356 Fényes, Adalbert, 71, 74, 177, 178, 179, 183, 342, 343 Fényes, Eva Scott Muse, 71, 74–75, 79, 177, 178, 179, 183, 342, 343 Fényes, House of Dr. and Mrs. Adalbert, 70–79, 176–185, 342, 343 Festival Hall, 350 Festival of Roses, 27 Fields, W. C., 313 Fifth Street Store, 349 Figueroa Street, 155, 238, 347, 349 First Baptist Church, 358 First Church of Christ, Scientist, 351, 352 First Empire style, 79 First National Bank, 357 First National Bank of Hollywood, 108 First National Bank of Los Angeles, 135 Fleishhacker, Mortimer, 352 Fleming, Arthur, 62, 81 Flint, Frank P., 24 Flintridge, 24 Flood, James D., 348 Flood, Mrs. Michael, 193 Florencita Park, 267 Flores Adobe, 336–341, 344 Flores, José María, 340 Foothill Avenue, 24 Ford, House of Todd, 354 Fourth Street, 46 Frankfurt am Main, 356 Franklin Avenue, 121, 122 Franklin Avenue Square, 126 Fraser, Robert Gordon, 82, 322, 342, 344, 345 Frederick Fisher and Partners, 215 Freeman, Catherine Grace, 43 Freeman, Daniel, 43, 46, 342 Freeman, Grace E., 46 French 18th century style, 142 French 19th century style, 350 French Renaissance style, 219 French Revival style, 310

French Rococo style, 188 Frick, Henry Clay, 207 Froebel Institute, 353 Fullerton, CA, 357 Gainsborough, Thomas, 215 Gamble, David B., 183 Gamble, House of David B., 351 Gardenesque style, 84 Gardner Art School, 358 Garnett, Porter, 21, 151, 261 Gebhard, David, 14 Georgian Revival style, 206, 348 Gifford, Stanford R., 71 Gill, Irving John, 20, 286, 287, 288, 290, 291, 311, 344, 350–351 Glendale Boulevard, 89 Glendale Evening News, 114 Glendale, 16, 24, 110, 111, 114, 117, 342, 349, 357 Glenwood Inn, Riverside, 346, 348 Goelet, Robert, 49 Golden Gate Park, San Francisco, 53, 356 Goldsmith, [Oliver], 162 Goodhue, Bertram Grosvenor, 20, 143, 304, 305, 310, 311, 329, 337, 344, 351, 357 Goodwin, Henry, 105 Gothic Revival style, 351 Gothic style, 348 Gould, House of Edwin, 354 Grace Cathedral, San Francisco, 352 Grace Hill, 54–59, 342 Graham, Thomasella H., 350 Gramercy Place, 162 Grand Avenue, 135, 140, 321, 322 Grand Canyon Cattle Company, 321 Grayhall, 303 Green Hotel, 27 Green Street, 151 Green, Burton E., 23, 295 Green, George C., 27, 37 Greene & Greene, 20, 22, 71, 128, 129, 131, 133, 183, 240, 241, 245, 248, 273, 275, 278, 287, 343, 350, 351–352, 354 Greene, Alice, 246 Greene, Charles Sumner, 17–18, 129, 131, 133, 245, 246, 248, 351–352, 352 Greene, Henry Mather, 17–18, 129, 248, 351–352 Grey, Annabel, 231 Grey, Elmer, 23, 81, 171, 174, 202, 224,

– 380 –

225, 231, 319, 350, 351, 352, 353 Grey, House of Elmer, 224–231, 343 Griffith Park Observatory and Planetarium, 346 Griffith, Griffith J., 121 Grueby Pottery, 133 Guasti, CA, 251 Guasti, House of Secondo, 250–255, 343 Guasti, Louisa, 251, 253 Guasti, Secondo, 251, 257, 343 Gunite, 241, 246 Haas, Solomon I., 346 Haben, Rosaline Christine, 148 Haenke, J. Martyn, 295 Haggarty, John Joseph, 257, 259, 343 Haggarty, Bertha Mary, 259 Hall, Ellis G., 350 Hall, George D., 288 Hall, John, 352 Hamilton, George, 303 Hampton Court, 162 Hancock Ensemble, 193 Hancock Park, 187 Hancock, George Allan, 187, 193 Hancock, Henry, 187 Hancock, Ida Helena Haraszthy, 187, 188, 193, 343 Haraszthy, Count Agoston, 187, 251 Hardison, Mary, 337 Hardison, Wallace B., 337 Harriman, Edward H., 28 Harris, Murray H., 274 Hartwell & Richardson, 353, 356 Harvard Club of Southern California, 174 Harvard University, 19, 311, 350 Hastings, Thomas, 350 Hawthorne, 295 Haynes, Dora Fellows, 233, 239 Haynes, House of Dr. John Randolph, 232–239, 343 Haynes, Dr. John Randolph, 233, 238, 239, 343 Hearst, William Randolph, 369 Hebbard, William S., 348, 350, 351 Hébert, Maurice Auguste, 355 Heifetz, Jascha, 193 Hellman, building of Herman W., 356 Henry E. Huntington Library & Art Gallery, 27, 215 Herbalife, 303 Hermosa Street, 219 Herter, Albert, 350

INDEX

Hertrich, William, 21, 202, 203, 206, 207, 212, 213, 214, 215, 343, 345 Hewitt, H. Harwood, 349 Hibbard, Lester H., 354 Highland Park, 357 Hill Street, 33, 233 Hillcrest Avenue, 43 Himebaugh, P. C., 55 Hines, Thomas S., 287 Hispanic style, 358 Historic American Buildings Survey of Rancho Los Cerritos, 358 Hobart, Lewis Parsons, 143, 352 Hobart, Mabel Reed Deming, 352 Hogg-Swayne Oil Syndicate, 321 Holabird & Roche, 347 Holler, Philip Wilbur, 357 Hollywood Boulevard, 106, 277 Hollywood Hills, CA, 29 Hollywood Hotel, 349 Hollywood Memorial Cemetery, 168, 259 Hollywood Savings Bank & Trust, 108 Hollywood, 105, 109 Holmby Hills, 126 Holmby House, 120–127, 342 Holmby Kennels, 126 Holtzclaw, John B., 155, 343, 345 Hoover Street, 188 Horticultural and Agricultural Building, 356 Hotel Green, 355 Hotel Raymond, 28, 55, 61, 67, 337, 341, 355 Houghton, Edwin W., 356 Howard & Smith, 97, 202, 342 Howard, Edward A., 97, 342 Howland, Grace E. Freeman, 46 Hudson & Munsell, 250, 251, 343, 352 Hudson River School, 71 Hudson, Frank Dale, 352 Hughes, Mark, 303 Hunt & Burns, 294, 295, 344, 353 Hunt & Eager, 134, 140, 143, 343, 353, 355 Hunt & Hunt, 350 Hunt, Eager & Burns, 353 Hunt, George S., 155, 343, 345 Hunt, Harriette H. Boardman, 353 Hunt, Myron, 22, 23, 81, 140, 162, 168, 171, 199, 202, 214, 215, 225, 350, 352, 353 Hunt, Sumner P., 19, 34, 89, 295, 346, 348, 353

Huntington Hotel, 354 Huntington, Arabella Duval, 203, 207, 212, 214, 215 Huntington, Clara H., 206, 225 Huntington, Collis P., 28, 201, 206 Huntington, Henry Edwards, 16, 21, 23, 24, 27, 28, 162, 179, 201–202, 203, 206–207, 212, 213, 215, 225, 321, 343 Huntington, House of Henry E., 200–217, 343 Huntington, Howard, 206, 225 Hupp Motor Company, 199 Huxley, Aldous, 11 If I Had My Way, 319 Il Paradiso, 248 Independence Hall, 270 India Building, 111 Indians (Chumash), 24 Inglewood, 42, 43, 342 Irimoya style, 131 Irvine/Byrne Building, 353 Islamic Revival style, 346, 349, 355 Italian Renaissance Revival style, 188 Italian Renaissance style, 19, 147 Italian–Spanish Renaissance style, 19, 212 Italianate style, 21, 151, 162, 202, 246, 261, 321, 327, 350, 354 Ivy Chapel, 346 Ivy Wall, 80–87, 135, 342 J. H. & C. K. Eagle Silk Company, 327 J. W. Robinson, 349 Jackson, Helen Hunt, 19 Jacobs, Henry Barton, 212, 350 Janss Investment Company, 126 Janss, Harold and Edwin, 126 Japanese Imperial Garden, 131 Japanese Pavilion, 351 Japanese style, 131, 277, 278 Jenney, William L., 347, 349 Jensen, Jens, 274 Jesus Maria Ranch, 321 Jevne, House of Hans, 353 Jewelers Building, 352 John Randolph Haynes and Dora Haynes Foundation, 239 Johnson, Kaufmann & Coate, 354 Johnson, Reginald Davis, 328, 329, 344, 354 Jones, Alice, 350 Jones, Caroline, 357

– 381 –

Jones, John P., 342 Jones, John Percival, 49, 53, 350 Jones, Marion, 350 Jones, Owen, 75 Jones, Paul P., 27, 28 Judson, Walter H., 75, 79 Kaufmann, Gordon B., 23 Kearney, M. Theo, 355 Keats, [John], 162 Kelly, Arthur R., 122 Kerckhoff, William G., 353 Kinney Heights, 154, 155, 219, 343 Kinney, Abbot, 155 Kinney, Arthur W., 353 Knapp & Woodard, 256, 257, 343, 354 Kwiatkowski, Louis F., 67, 354 l’Anson, Edward, 355 La Cañada, 346 La Cañada Flintridge, 24 La Dolphine, 352 Lake Superior Consolidated Iron Mines, 147 Lamont, Thomas, 53 Land of Sunshine, 19 Landone Institute, 357 Lane, House of Rollin B., 349 Lansburgh, G. Albert, 346 Las Flores Canyon, 38 Laughlin, building of Homer, 355 Laver, Augustus, 348 Lawrenceville School, 174 Lawton, George W., 356 Lee, Francis D., 356 Leffingwell, Reverend Charles W., 353, 369 Letts, Arthur, 121, 122, 126, 259, 342 Letts, Florence Martha, 126 Letts, Forence Edna, 121 Leven Oaks Hotel at Monrovia, 353 Lexington Road, 295 Liggett & Myers Tobacco Company, 135 Lincoln Park, 357 Lindsay Collegiate Institute, 357 Lindsay, Lycurgus, 251 Little & Brown, 358 Lloyd, Harold, 34, 331 Lockwood, Ernest H., 82 Lodge, Thurlow, 348 Loma Drive, 171 Loma Vista, 79 Lombard, Harry Dana, 295

INDEX

London International College, 352 London, England, 207, 215, 257, 347, 355 Long Beach Land & Water Company, 24 Long Beach, CA, 14, 24, 99, 128, 129, 267, 343, 347 Lord & Burnham, 140 Los Angeles (City of), 24, 29, 155, 291 Los Angeles Board of Education, 290 Los Angeles Broadway Department Store, 121 Los Angeles Chamber of Commerce, 13 Los Angeles City Hall, 43, 346, 355 Los Angeles Country Club, 267 Los Angeles County Aboretum, 23 Los Angeles County Courthouse, 348 Los Angeles County Historical Museum, 352 Los Angeles County Jail, 352 Los Angeles Department of Water and Power, 355 Los Angeles Hall of Records, 352 Los Angeles Herald, 337 Los Angeles Hibernian Savings Bank, 187 Los Angeles Inter-Urban Railway, 15 Los Angeles Junior College District, 291 Los Angeles Orphan Asylum, 348 Los Angeles Parks Commission, 89 Los Angeles Philharmonic, 157, 193 Los Angeles Public Library, 351, 357 Los Angeles River, 12, 16 Los Angeles Society for the Prevention of Cruelty to Animals, 264 Los Angeles Southwest Museum, 19 Los Angeles Symphony, 193 Los Angeles Times, 12, 19, 61, 62, 89, 122, 140, 212, 264, 267, 273, 288, 305, 321 Los Angeles Title Guarantee & Trust Company, 111 Los Angeles’ Children’s Hospital, 174 Los Angeles–Pacific Railway Company, 28 Los Feliz, 121 Los Nietos, 347 Louis XIII style, 143 Louis XV style, 75, 271 Louis XVI style, 75, 245 Lourdou, Francis X., 251, 355 Lourdou, Georges G., 355 Lowe, House of Thaddeus S. C., 60–69, 342 Lowe, Leontine Augustine Gachon, 62 Lowe, Thaddeus Sobieski Constantine, 61–62, 67, 81, 84, 342, 354

Lummis, Charles Fletcher, 19, 79, 337, 346, 348 Lutyens, Edwin, 140 MacDonald & Dodd, 349 MacDonald, Kenneth J. and Kenneth J., Jr., 349 MacMonnies, Alice Jones, 350 MacMonnies, Frederick W., 162, 350 Madeline Drive, 135, 142 Maher, James T., 212 Maitland, Coppell & Company, 311 Malibu Beach Colony, Lagoon, and Pier, 25 Malibu Ranch, 24 Manifest Destiny, 20 Mankato Hotel, 349 Mann, H. Arthur, 99, 342, 345 Mannerist style, 188 Mariposa Avenue, 37 Markham, Gov. Henry H., 44 Marlborough Hotel, 347 Marlowe, Christopher, 46 Marsh, Robert C., 267 Marshall Field, 67 Marshall, Edwin Jessop, 321, 322, 326, 327, 344 Marshall, Humphrey, 326 Marshallia, 320–327, 344 Marston, Sylvanus B., 178, 183 Martin, Albert C., 346, 355, 356 Mary Andrews Clark Memorial Home, 346 Maryland Institute of Design, Engineering, and Mathematics, 348 Mashriqu’l-Adhkár, 347 Massachusetts Institute of Technology (MIT), 348, 350, 351, 353, 354, 355, 356 Maybeck, Bernard, 20, 352 Mazatlán, Mexico, 33 McCan, David C., 155, 343 McCoy, Esther, 351 McKenna, Morrison and Anita, 290–291 McKim, Mead & White, 49, 51, 55, 206, 349 McKinley Industrial School for Boys, 349 McLaughry, Anita Baldwin, 261, 263, 264, 343 McNaghten, Malcolm and Florence Edna Letts, 121 McNally, Andrew, 36–39, 41, 55, 111 McNally, House of Andrew, 36–41, 342

– 382 –

McNally, Nellie, 39, 55 Medieval Revival style, 257, 357 Mediterranean Revival style, 21, 34, 166, 310, 348, 349, 354, 358 Mediterranean style, 19, 21, 67, 84, 203, 231, 233, 270, 295, 329, 330, 354 Menlo Park, CA, 348 Merrill, John B., 357 Merritt Art Gallery, 151 Merritt’s Spring Street Company, 147 Merritt, Hulett Clinton, 147, 148, 151, 343 Merritt, Lewis J., 147 Merritt, Rosaline Christine Haben, 148 Merritt-Rockefeller syndicate, 147 Mexican Petroleum Company, 89, 295 Mexican-American War, 340 Mexico, 13, 33, 97, 277, 321, 351 Meyer & Holler, 357 Meyer, Mendel, 357 Mi Sueño, 304–311, 344 Miller, Frank, 348 Miller, Richard, 179 Millionaires Row, 37, 183 Milwaukee Building Company, 357 Miracle Mile District, 187 Missabe Range, 147 Mission Inn, 346 Mission Revival style, 19, 20, 43, 81, 251, 346, 348, 349, 350, 352, 353, 355, 356 Mission San Diego de Alcala, 351 Mission San Gabriel, 22, 27 Mission style, 19, 20, 27, 89, 155, 241, 251, 263, 346, 349, 354, 355 Mocambo, 29 Moderne style, 346, 355 Modjeska, Madame, 53 Mono Lake, 117 Montecito, 305 Moore, Lester S., 346 Moorish style, 20, 71, 75, 79, 106, 109, 111, 117, 177 Mooser, William, 348 Morgan, Julia, 352 Morgan, Walls & Clements, 251 Morris, William, 351 Morrow, Irving, 341 Morse, Anne Dorr, 331 Morse, Cora Dorr, 329, 331 Morse, House of Wellington S., 328–335, 344 Morse, Wellington Stanley, 329, 331, 344 Mortgage Guarantee Company, 111

INDEX

Mount Baldy, 62 Mount Lowe Incline Railway, 61, 62, 354 Mount Lowe Observatory, 195 Mount Saint Mary’s College, 102 Muchmore, Minnie S., 331, 344, 345 Mulholland, William, 15 Munsell, William A. O., 352 Murphy, Daniel, 352 Mussolini, Benito, 253 Mussolini, Vittorio, 253 Myers, George S., 135, 311 Myers, Georgia, 143, 311 Myers, Mildred Mary, 135, 140, 143, 144, 311 Myron Hunt & Elmer Grey, 20, 122, 170, 194, 195, 200, 206, 212, 214, 218, 219, 220, 342, 343, 354. See also Grey, Elmer; Hunt, Myron Napoleon III style, 71 National Bank of Commerce, Seattle, 356 Natural History Museum, 358 Neal, Marshall and Mary, 341 Nebraska State Capital, 351 Neff, Edwin Dorland, 39 Neff, Nellie McNally, 39, 55 Neff, Wallace, 39, 88, 99, 342 Neo-Renaissance style, 75 Neutra, Richard, 287, 291, 346 Nevada Avenue, 49 New Place, 352 New York Cloak & Suit House, 257 Newhall, George, 352 Newmark, Rose, 51 Newport, RI, 49, 51, 212 Newport Beach, CA, 275 Newsom, John J. and Thomas D., 356 Newsom, Joseph Cather, 14, 33, 356 Newsom, Noble, 356 Newsom, Samuel, 14, 33, 356 Newsom, Sidney, 356 Ninth Street, 233, 347 Nob Hill, San Francisco, 352 Nordhoff, Charles B., 43 Norman style, 55 Normandie Avenue, 121 North Cahuenga Boulevard, 106 North Inglewood, 43 Northwestern University, 353 Noyes, Clara Eliot, 337, 344 Noyes, George, 337, 340, 341

Oak Knoll, 206, 224, 231, 240, 241, 246, 343, 350 Oakland, CA, 33, 352, 356 Oberlin College, 129 Occidental College, 15, 354 Ocean Avenue, 49, 131 Ochre Point, 49 Olcott Place, 147, 151 Olive Street, 347 Olmsted Brothers, 343 Olmsted, Frederick Law, 23, 142 Olmsted, Frederick Law, Jr., 140, 142, 143, 345 Olmsted, House of Frederick Law, 354 Olympic Boulevard, 349 Olympic Games, 1932, 349 Ontario, Canada, 222 Orange County, CA, 264 Orange Grove Avenue, 27, 61, 62, 67, 74, 81, 140, 143, 144, 147, 148, 151, 153, 177, 354 Orum, Andreas C., 282, 344, 345 Out West, 19 Owens River Valley, 15 Owens Valley Aqueduct, 24 Pacific Coast Highway, 25, 28 Pacific Electric depot, Long Beach, 347 Pacific Electric Railway Company, 15, 24, 27, 201 Pacific Lumber Company, 329 Pacifc Palisades, 282 Palms, 16 Paloheimo, Leonora F. M., 183 Paloheimo, Yrjö A., 183 Palomas ranch, Mexico, 321 Palos Verdes, 142, 354 Pan-American Petroleum & Transport Company, 295 Parkes, Thomas William, 60, 61, 342, 346, 355 Parkinson & Bergstrom, 358 Parkinson, Donald Berthold, 122, 346, 355 Parkinson, John, 67, 122, 346, 350, 355 Pasadena Athletic Club, 331 Pasadena Daily News, 322 Pasadena Historical Museum, 183 Pasadena Historical Society, 183 Pasadena Nurseries, 55 Pasadena Playhouse, 352 Pasadena Public Library, 354 Pasadena Relief Association, 85

– 383 –

Pasadena Santa Fe depot, 207 Pasadena, CA, 13, 14, 25, 27, 55, 225 Patterson, Augusta Owen, 330 Peabody & Stearns, 356 Peace Theological Seminary and College of Philosophy, 253 Pebble Beach, CA, 143 Pennoyer, Anne Dorr, 331 Perkins, Clara H., 206, 225 Perkins, Dwight, 353 Perris, CA, 355 Perry & Reed, 355 Peters & Burns, 353 Phelan, James D., 348 Phillips Exeter Academy, 350 Phillips, House of Thomas W., 353 Physicians Aid Association, 253 Piatigorsky, Gregor, 193 Pico Street, 267, 270, 357 Picturesque California Homes, 356 Pierce County Courthouse, 349 Pierotti House, 357 Pierpont Morgan Library, 162 Platt, Charles Adams, 22, 151, 206 Polk, Willis W., 348 Pompeii Room, Doheny House, 90 Ponce de Leon Hotel, 20, 346 Pope, John Russell, 177, 212, 215, 350 Posey, Oliver P., 89, 90, 342 Posey, Sarah, 89 Post, Harrison, 155, 166, 168, 343 Postal Telegraph Building, 352 Praire style, 18, 155, 353 Prairie du Chien, WI, 357 Prentiss, Elizabeth Severance Allen, 248 Prentiss, Francis Fleury, 248 Presidio Terrace, 352 Puente High School, 347 Pullman, IL, 349 Queen Anne style, 16, 17, 23, 33, 44, 51, 233, 346, 348, 356 Ramona, 19 Ramona Gardens, 349 Ramsey, Charles K., 356 Rancho Barona Indian Reservation, 351 Rancho La Brea Oil Company, 187 Rancho Los Cerritos, 358 Rancho San Pasqual, 25, 27, 337 Rancho San Vincente y Santa Monica, 49 Rancho Santa Anita, 261, 263 Rand McNally, 37

INDEX

Rand, George D., 356 Rand, William, 37 Ravenswood, 126 Raymond, Emmons and Walter, 61 Red Cross, 144, 350 Redondo Beach, 43, 206 Redondo Boulevard, 43 Reeve, Jennie, 129 Reid, Hugo, 22 Renaissance style, 121 Renwick, James, 351 Reynolds, George W., 301 Reynolds, Joshua, 215 Rhode Island School of Design, 356 Richards, William S., 349 Richardson, Henry Hobson, 51, 348, 353 Richardsonian Romanesque style, 16, 347 Richardsonian style, 43, 348 Rindge, Frederick H., 24 Rindge, May K., 24–25 Riverside, CA, 348, 355 Rives, House of Judson C., 266–271, 344 Rives, Judson Claudius, 267, 268, 270, 271, 344 Rives-Strong office building, 267 Riviera Golf Club, 166 Riviera Management Company of Torrance, 291 Riviera, the, 177 Roach, Hal, 253 Roberts, J. William, 355 Robinson, Harry W., 349 Robinson, Virginia, 349 Robson, Edward Robert, 355 Rocha, Antonio José, 187 Rockefeller, John D., 248 Rodeo de las Aguas, 23 Rodeo Land & Water Company, 23, 295 Roehrig, Frederick L., 36, 37, 39, 41, 54, 55, 58, 80, 81, 82, 135, 320, 321, 342, 344 Roehrig, Frederick Louis Otto (father), 355 Rolls-Royce, 166 Roman Gardens, 349 Roman style, 348, 351 Romanesque Revival style, 233 Romanesque style, 81, 349, 358 Rome, Italy, 188, 352 Roosevelt, Franklin, 233 Roosevelt, Theodore, 24 Rose Bowl Game and Parade, 27 Rosedale Cemetery, 239, 357

Rosedale, 155 Rosenheim, Alfred Faist, 88, 90, 97, 219, 266, 268, 271, 342, 344, 356 Rosenheim, Samuel F., 356 Roslyn, New York, 212 Ross, Erskine Mayo, 188 Ross, Ida Hancock, 187, 188, 193, 343 Royal Institute of British Architects, 347, 355 Royal Stained Glass Company, 188 Russian Hill, San Francisco, 352 S. & J. C. Newsom, 32, 342, 356 Saint Hubert, 84 San Bernadino, CA, 129 San Diego’s Board of Public Works, 350 San Diego, CA, 20, 142, 305, 311, 329, 337, 351, 357 San Fernando Valley, CA, 16, 24, 114, 277, 295, 349 San Francisco Chronicle, 347 San Francisco City Hall, 348 San Francisco, CA, 12, 13, 14, 24, 347 San Gabriel Mission, 225, 337 San Gabriel Mountains, 25, 37, 55, 58, 147, 178, 195, 213, 261, 330 San Gabriel Valley, 24, 25, 27, 62, 202, 206. 355 San Marino, 21, 27, 179, 200, 201, 202, 212, 213, 214, 343 San Pedro Street, 15 San Pedro, 28 San Quentin State Prison, 121 San Rafael Heights, 328, 344 San Rafael Hills, 24, 147, 329 San Secondo d’Asti, 251 San Vincente Boulevard, 29 Sanders, Cora, 159, 166 Santa Anita Park, 23 Santa Anita racetrack, 327 Santa Barbara Clinic, 358 Santa Barbara, CA, 321, 350, 354, 355, 357 Santa Catalina Island, 188 Santa Cruz, CA, 202 Santa Fe, NM, 38 Santa Fe Trail, 187 Santa Maria, CA, 187, 321 Santa Monica Bay, 49, 62 Santa Monica Boulevard, 23 Santa Monica, 13, 27–28, 49 Santa Paula, CA, 99 Santa Rosa Street, 195

– 384 –

Sarah Siddons as the Tragic Muse, 215 Sartori, Joseph, 321 Saunders & Saunders, 48, 51, 177, 342, 356 Saunders, Charles Willard, 49, 356 Saunders, Mary Channing, 49, 177, 356 Schindler, Richard and Pauline, 27 Schindler, Rudolph M., 287 Schloesser, A. G., 349 Schmitz, Eugene, 348 School of Art & Design, Topeka, 346 Schwab, Charles M., 355 Scott Publishing Company, 71 Scott, Leonard F., 71 Scribes, 108 Seattle Labor Exchange, 356 Seattle School Board Architect, 355 Second Church of Christ Scientist, 356 Second Empire style, 55, 206, 348 Security Savings Bank, 321 Sepúlveda family, 27 Severance, Caroline and Theodoric “David,” 348 Severance, Louis H., 248 Shadow Hill, 294–33, 344 Shakespeare, William, 157, 168 Shatto Place, 186, 188, 343 Shatto, George R. and Clara R., 188 Shattuck, Charles Edwin, 114, 117, 357 Shaw, Frank, 239 Shaw, Richard Norman, 347 Shearer, Norma, 23–24 Shedd, John G., 67 Shelley, [Percy Bysshe], 162 Shepley, Rutan & Coolidge, 351, 353 Sherman Oaks, 277 Sherman Terminus, 29 Sherman, Moses H., 28–29, 108, 109 Sherman, William Watts, 51 Shingle style, 37, 44, 49, 55, 81, 177, 183, 199, 346, 348, 350, 355, 356 Shorb, James de Barth, 27, 201, 206 Shrine Auditorium, 346 Sierra Madre, 350 Signal Hill, Long Beach, 24 Silent, Charles, 89 Silsbee, Joseph L., 350 Silver Lake, 313, 318, 319 Sisters of Social Service, 271 Sisters of the Holy Child Jesus, 327 Sixth Street, 43, 347 Small, Franklin Maurice, 276, 277, 278, 344, 357

INDEX

Smith, Lewis Arthur, 347 Smith, Marion Macneil, 350 Smith, Thomas Roger, 355 Some Letters of Oscar Wilde to Alfred Douglas, 166 Sonoma, CA, 187 South Arlington, 250, 256, 343 South Grand Avenue, 310 South Orange Grove Avenue, 61, 62, 71, 81, 135, 147, 177, 311, 337 South Pasadena, 28 South Pearl Street, 233 Southern California Automobile Club, 353 Southern Colonial style, 295 Southern Pacific Railroad, 13, 14, 25, 28, 201, 251 Southwest Museum, 79, 264, 353 Southwestern National Bank, 135 Spalding Hotel, 355 Spalding, Caroline Canfield, 295, 301, 303 Spalding, Silsby Morse, 295, 301, 303, 344 Spanish Colonial style, 20, 106, 330, 348 Spanish Gothic style, 90 Spanish Mission style, 44, 219, 287 Spanish Renaissance style, 20, 305 Spanish Revival style, 39, 251, 301, 305, 310, 318, 331, 337, 350, 351, 353 Spencer, Robert C., Jr., 353 Spring Street, 15, 43, 347 St. Augustine, FL, 346 St. John’s Episcopal Church, 349 St. Mary’s Church, 347 St. Thomas Church, New York, 351 St. Vincent de Paul Church, 259 St. Vincent Ferrer Church, 351 Stanford University, 51, 174, 295 Stanton, Ellen Irish, 55 Stanton, Emily, 55, 58 Stanton, William, 55, 58, 342 State Normal School (future UCLA), 15, 275 Steinway Hall, 353 Stick style, 23 Stickley, Gustav, 17, 19, 133, 171 Stimson office building, 347 Stimson, George W., 55 Stimson, House of Thomas D., 347 Stimson, Thomas D., 233 Stocker, Clara Baldwin, 261, 264 Stockton, CA, 33

Stourhead, 162 Stow, William L., 212 Stowe, 162 Strong, Frank R., 267 Strub, Charles H., 327 Sullivan, Eugene, 51 Sullivan, Georgina, 51 Sullivan, Louis H., 347 Sunset Boulevard, 295, 355 Sunset Strip, 29 Syracuse, NY, 350 Syvertsen, Martin S., 318 Tacoma, Washington, 349 Taylor, Edward M., 195, 199, 343 Taylor, House of Edward M., 194–199, 343 Taylor, House of Russell M., 218–223, 343 Taylor, Joseph M., 220 Taylor, Russell McDonnell, 219, 220, 343 Taylor, Virginia Clark, 222 Teapot Dome scandal, 102 Tenth Street, 233, 347 Terrace Drive, 147, 151 “The California Country House,” 81 The Craftsman, 17, 171, 173, 310 The Decoration of Houses, 239 The Pike, 24 The Terraces, 134–145, 140, 311, 343 Thiene, Paul G., 301, 310, 330, 344, 345 Third Street, 34, 188, 347 Thompson, William Fullerton, 146, 147, 151, 343, 357 Throop Polytechnic Institute, 27, 305 Tichenor, Adelaide Alexander, 129, 133, 343 Tichenor, House of Adelaide A., 128–133, 343 Tichenor, Lester, 129 Tiepolo, 166 Tiffany Studios, 178 Tippett, William H., 350 Tokugawa style, 278 Toll House, 357 Topeka, KS, 346 Toronto University, 357 Torrance, CA, 351 Tournament of Roses, 148 Town and Country, 330 Train & Williams, 120, 122, 342, 357 Train, Robert Farquhar, 121, 357 Trocadero Café, 29

– 385 –

Tropico, 24, 350 Troy, NY, 353 Tudor Revival style, 274, 353 Tudor style, 81, 199, 268, 295, 352, 355 Tully, NY, 350 Twain, Mark, 53 U.S. Army and Navy, 354 UCLA. See University of California Underwood, Gilbert Stanley, 273 Union Oil Company of California, 337, 348 Union Pacific Railroad, 346 Union Passenger Terminal, 355 United States Military Academy (West Point), 53 United States Naval Academy (Annapolis), 53 United States Steel Corporation, 147 University Club, 108 University of California (UCLA), 15, 126, 159, 168, 275, 318, 352 University of California Regents, 169 University of Southern California (USC), 15, 43, 193, 349, 355, 357 Annenberg School for Communication, 353 University of Virginia School of Law, 157, 159 Valley Hunt Club, 27 Van Nuys, 277 Van Pelt, Garrett, 67 Venice Boulevard, 29 Venice of America, 155 Venice, 114 Ventura County, 24 Verdugo Mountains, 24, 111 Vermeulen, Alexandre Aurèle, 274, 275, 344, 345 Vermont Avenue, 187–188 Victoria University, 357 Victorian style, 21, 33, 114, 225, 318 Vienna Technische Hochschule, 354 Villa Aldobrandini, 246 Villa Capistrano, 312–319, 344 Villa d’Este, 246 Villa Madama, 186–193, 343 Villa Medici, 188 Villa Merritt-Ollivier, 146–153, 343 Villa Miramar, 48–53, 342 Villa Montalvo, 348 Village of the Queen of Angels, 12

INDEX

Ville de Paris, 349 Vista, CA, 329 von Borozini, Edith Dorr, 331 Voysey, Charles F. A., 140, 231 Waddell House, 357 Walk of a Thousand Lights pier, 24 Wallis, George, 347 Ware & Van Brunt, 356 Washington State University, 356 Washington University, 356 Wattles, Gurdon, 352 Webb, Philip, 140 Webber, Walter, 263, 278, 357 Wehle, Oscar C., 349 Weitze, Karen J., 43 Well Glass Company, 44 West 25th Street, 162 West Adams Street, 53, 89, 155, 156, 162, 169, 233, 251, 257, 259, 347, 348, 349, 352, 353, 355, 356 West Coast Furniture Company, 46 West Hollywood, 28, 286, 287, 344 West Mountain Avenue, 349 West Point (United States Military Academy), 53

Westchester Place, 266, 267, 270, 271, 344 Western Avenue, 219 Westlake Military School, 53 Westwood, 126 Wharton, Edith, 239 White, Allom & Company, 207, 343 White, Stanford, 348 Whitley Hill, 277 Whitley Terrace, 277 Whitley, Hobart J., 277 Whittier, 347 Whittier Narrows earthquake, 264 Wilcox, Harvey C., 105, 108 Wilde, Oscar, 159, 166, 168 William Andrews Clark Memorial Library, 169 Williams College, 354 Williams, Robert Edward, 121, 357 Willmore, William E., 24 Wilshire Boulevard, 49, 187, 188 Wilshire district, 187 Wilshire Ebell Club, 353 Wilson House, 349 Windsor Castle, 257 Winslow & Wetherell, 351

– 386 –

Winslow, Carleton Monroe, 305, 336, 337, 340, 341, 344, 351, 357–358 Winter, Robert S., 14 Winthrop, John, 71 Withey & Davis, 121 Withey, Elsie Rathburn, 358 Withey, Henry Franklin, 312, 313, 344, 358 Wood, Clarence Brandegee, 356 Woodbury, John and Frederick, 37 Woodside, CA, 351 Woodsome Hall, 257 Woodward Manual Training Program, 351 Woodward, Calvin Milton, 351 Wren, Christopher, 162 Wright, Frank Lloyd, 16, 349, 350, 353 Wyman, George Herbert, 34, 353 Yale University, 81, 135 Yamashiro, 276–285, 344, 357 Ye Alpine Tavern, 354 Yoch, Florence, 301, 344, 345 Zervos, Simon G., 144 Zettler, Francis Xavier, 188